| Musical Style: Hard Rock/Heavy Metal | Produced By: Rex Carroll |
| Record Label: Girder | Country Of Origin: USA |
| Year Released: 2005 | Artist Website: Whitecross |
| Tracks: 11 | Rating: 80% |
| Running Time: 48:04 |
Whitecross represents one of the more groundbreaking bands in the history of Christian metal. Put together in the mid-eighties by guitarist Rex Carroll and vocalist Scott Wenzel, Whitecross released its self-titled debut in 1987, a very fine work that, despite a production job on the thin side of things, remains to this day one of the bands most well rounded and consistent albums musically. 1988 found Whitecross recording a four song EP, Love On The Line, in addition to its sophomore outing Hammer And Nail. Hammer And Nail delivered the more polished production values along with two of the better songs in the groups repertoire in “Because Of Jesus” and “Take It To The Limit”. Triumphant Return hit the shelves in 1989, a first rate effort featuring perhaps the finest combination of production, songwriting and musicianship of Whitecross’ eight album career. Carroll and Wenzel started to loose focus, however, on the 1991 release In The Kingdom. While In The Kingdom had its good moments in the catchy “We Know What’s Right” and the Van Halen-ish “Good Enough”, it fell a bit short as a result of including three ballads and a forgettable rock-rap number entitled “Holy War”. Whitecross continued its slide with High Gear from 1992 by remaining in ballad heavy territory – four of them! – while including way too many filler tracks. Following the release of High Gear, Carroll departed Whitecross due to burnout and went on to record two more albums with his new band King James. Wenzel, on the other hand, pressed on under the Whitecross moniker, producing three more albums - Unveiled (1994), Equilibrium (1995) and Flytrap (1996) – with an ever changing line up before disbanding the group for good.
A reunion show at Cornerstone 2002 and several additional live dates, however, helped put in place the foundation for the most recent venture from Carroll and Wenzel: and that is the re-recording Whitecross’ self-titled debut from scratch. The two decided to undertake the project due to not only the fact a high demand still exists for the album, but, similar to Saint’s reason for re-recording its 1984 debut EP Warriors Of The Son, to take advantage of advances in studio technology not available twenty years ago. The end result is the latest effort from Whitecross entitled, appropriately, Nineteen Eighty Seven. Initially released by Girder Records in the summer of 2005, Nineteen Eighty Seven was later re-issued by Retroactive Records in late 2007.
Those of you who have followed Whitecross over the years know that the group possesses a world class guitarist in Rex Carroll. Carroll, if anything, has not lost a step in that much of the albums material, which was already very good to begin with, really comes to life in the light of his pyrotechnical playing (just give “Who Will You Follow”, “Lookin’ For A Reason” and other several spins to understand my point). My overall feeling is that the opportunity to experience his adept soloing is worth the price of the album alone.
And then there is Rex’s counterpart, lead vocalist Scott Wenzel. Wenzel continues to contribute his gritty and raspy Stephen Pearcy (Ratt) influenced lead vocal style. It has always been my opinion that Wenzel hit his stride on Hammer And Nail and Triumphant Return, performing the sassy Ratt based mode of singing even better than Pearcy did. On Nineteen Eighty Seven, however, Wenzel begins to display a few signs of rust, reflected in a vocal delivery bordering on the irregular and strained at times. As a result, I am left with the feeling an element of consistency is lacking in his performance that was otherwise found on the bands past efforts.
From a production standpoint, Nineteen Eighty Seven stands heads and tails above the original, its sonics falling somewhere between Triumphant Return and In The Kingdom in terms of quality. The rhythm guitar, which once came across weak and thin, is now full and crisp and right up front in the mix. The drums now project the needed punch and power. The only drawback worth mentioning, nevertheless, is that the lead vocals reflect a rough and buried feel on several tracks.
In terms of the packaging, Carroll contributes some very interesting liner notes that go into detail in regards to the bands origin in addition to the trials, tribulations and rewards of life on the road. You will also find numerous never before seen band photos as well.
Album opener “Who Will You Follow” is one of several songs here to benefit from a crisper and more upfront rhythm guitar sound. Carroll’s work on lead guitar also stands out, especially as the song fades out over its final minute.
With its catchy chorus and pronounced bass line, the punchy “Enough Is Enough” still ranks with the albums better tracks. While the original version of the song was held back by muddy production values, things greatly improve as a result of cleaner and more refined sounding sonics. The only detraction, on the other hand, is Wenzel’s course vocal delivery, which comes across particularly strained during the songs verse portions.
The background vocals driving the mega-huge chorus to “He Is The Rock” have been eliminated but in no way is that a shortcoming in that the song still projects the same commanding and all out powerful presence. Once again, an uneven vocal performance from Wenzel is the only drawback worth noting.
"Lookin' For A Reason" allows Carroll to put on a literal clinic, his fiery leads decorating the song over its introduction in addition to an extended instrumental section. The lead vocals, on the other hand, sound markedly dry on this track.
On the anthem-like “No Way I’m Goin’ Down” Wenzel hits the nail on the head, putting forth by far his finest performance of the album. I really like how the song now fades into several seconds of guitar feedback as opposed to the drum solo on the original.
"Seein' Is Believin'" still includes the backward masking located just before its instrumental passage but no longer at the end of the song. When compared to the original, “Seein' Is Believin'" now moves at the faster and more upbeat tempo with a stronger performance from the rhythm section.
On “All I Need” the “gang style” backing vocals in its chorus have been toned down a bit, now coming across in a lower if not deeper sounding manner. The overall effect is to give the song added bit and edge.
The open air guitar solo “Nagasake” has been duplicated verbatim and still ranks among the albums highlights.
The backing vocals in the chorus to “Signs Of The End” have also been changed: in place of the guttural voice on the original, a whispered voice is used instead. Actually, in this reviewers opinion the guttural voice created the better effect.
Mercifully, Carroll and Wenzel decided not to re-record the syrupy keyboard ballad “You’re Mine”; in its place they re-worked the track “Love On The Line”, which originally appeared on the four song EP of the same name and later the Heavy Righteous Metal compilation.
A commanding riff backed by pounding drums carries “Love On The Line” forward until Carroll takes over with several seconds of bluesy leads. Continuing at a mid-tempo romp through its first verse, “Love On The Line” culminates upon obtaining a steadfast chorus with a hook of the refuse to go away variety. Carroll tops things off with more of his fiery lead work. Great song.
Nineteen Eighty Seven closes to a very fine instrumental bonus track entitled “Re-Animate”, which enabled Carroll to get to the finals of the North American Rock Guitar competition. No, he did not win but he did walk away with the Gibson guitar that makes its presence felt throughout the project.
I do not think I am out of line to suggest that it is the latest fashion trend for bands from the eighties to re-record their better material from the past. As previously stated, Saint re-recorded its six song EP Warriors Of The Son while Twisted Sister and Night Ranger have recently done the same with their classic material as well. All in all, when compared to the self title debut from 1987, Nineteen Eighty Seven holds up as a direct result of its solid production values and all around quality of its material.
Review by: Andrew Rockwell
Track Listing: “Who Will You Follow” (4:32), “Enough Is Enough” (4:34), “He Is The Rock” (4:50), “Lookin’ For A Reason” (3:36), “No Way I’m Goin’ Down” (4:57), “Seein’ Is Believin” (4:45), “All I Need” (4:19), “Nagasake” (1:55), “Signs Of The End” (4:14), “Love On The Line” (6:11), “Re:Animate” (4:03)
Musicians
Scott Wenzel – Lead Vocals
Rex Carroll – Guitars & Bass
Antonio Acevedo – Bass
Michael Feighan – Drums
Also Reviewed: Whitecross - Whitecross, Scream In Eden - Original Sin
