| Musical Style: Melodic Metal | Produced By: Caesar Kalinowski & Rex Carroll |
| Record Label: Pure Metal | Country Of Origin: USA |
| Year Released: 1987 | Artist Website: Whitecross |
| Tracks: 10 | Rating: 85% |
| Running Time: 39:09 |
Despite thin production, rudimentary cover art, bare bones packaging and an unseemly ballad, Whitecross 1987 Pure Metal Records self-titled debut is highly regarded as one of the more iconic albums to come out of the eighties ‘white metal’ scene. This much becomes evident when factoring the partnership between guitar virtuoso Rex Carroll, of the multiple Heaven’ Metal magazine annual guitar hero awards, and Ratt influenced vocalist Scott Wenzel, whom many say does the Stephen Pearcy mode of vocals better than Pearcy. It also does not hurt that Whitecross features in my opinion the finest song selection of the five albums Carroll recorded with the group. For those still in doubt, consider that Whitecross placed fourth in a Heaven’s Metal countdown of the top 100 Christian metal albums, while it ranked thirty-sevens in a similar list at the Christian Metal Realm. An Angelic Warlord article outlining the top 50 Christian metal albums of the eighties rated it thirtieth.
Whitecross traces to the late seventies when Carroll was part of a local Christian rock band A Band Called Light while attending Northern Illinois University. Upon graduating, he attempted to establish a musical career and subsequent to sending a demo tape to several labels, Mirage/Atlantic reached out and suggested he join mainstream hard rock act Fierce Heart. Carroll contributed all rhythm and lead guitar to the Fierce Heart 1985 self-titled debut but longed to get involved in another Christian project. After returning to Illinois, he started giving guitar lessons to Wenzel, who announced he was looking for a guitarist. Since Carroll was also seeking a vocalist, the two formed a partnership that led to the 1986 founding of Whitecross, a moniker drawn from Isaiah 1:18. The two began work on new material, and after recording a demo signed to Pure Metal Records.
As for the constructive commentary in the first sentence, an obvious low budget correlates with any production misgivings, keeping in mind production turned into a strong point on ensuing albums and would improve if Whitecross received a long overdue re-mastering and reissue. Cover art is far from bad, but I feel more thought might have produced better results than the band logo at the top with a white cross in the foreground, while CD packaging consists of a single page insert with lyrics in a difficult to read font. Ballad “You’re Mine” is sound musically and delivers a meaningful message, but its keyboards basis does not gel with the albums guitar driven nature not to mention it is a poor fit for Wenzel’s gravelly voice.
Opener “Who Will You Follow” embodies the Whitecross brand of eighties melodic metal and hard rock. It presents with a no-nonsense demeanor, launching to a flurry of effervescent guitar leads ahead of bulldozing its way to the plainspoken ‘Who will you follow? Satan or the author of life? Jesus paid the price. God made the sacrifice for you’ refrain. All the while Carroll imparts his prime soloing. This one sets the musical stage for the brilliance to follow. Lyric snippet:
Satan is the father of lies.
Follow him, you'll surely die.
You need to be told. Come out of the cold. Yeah
There'll be no one to blame if you play his game.
Jesus is King. He's why we sing.
Who will you follow?
Satan or The Author of Life?
Jesus paid the price.
God made the sacrifice for you!
Hence, ensuing cut “Enough Is Enough”, a Whitecross classic with its aligning of undaunted low end - realizing the work of bassist Jon Sproule and drummer Mark Hedl - and equally pugnacious hooks to compel at moments notice. The songs in your face mentality reveals a heavier side to Whitecross that transcends much of the ‘hair’, ‘pop’ and ‘glam’ metal of the time. Point I am trying to make is that outside the vocal comparison, Whitecross is its own band and not a Ratt clone.
“He Is The Rock” is every bit the showstopper. It takes a metal anthem approach, engrained to a sinewy pulse revealed in the plethora of burgeoning energy and some of the most immediately emphatic guitar riffs and catchy hooks you will hear. Taking the puissant drive to the next level are the staggering ‘He is the rock!’ backing vocals bedecking the kindled refrain. Wenzel’s high-octane vocals put any doubters to rest. Lyric snippet:
It's a Friday night, I'm ready to party
Gettin' down with the guys 'til half past three.
Cruisin' for trouble, action for fun
But who's foolin' who, we forget God's Son.
There is a way that seems right to a man
That many have traveled before
You must choose between the jaws of hell
Or find life through the narrow door.
He is the Rock
On which I stand
A more melodic albeit no less able heading reveals on “Lookin’ For A Reason”. Albums shortest at three and half minutes, it opens to cascading drums ahead of streaming forward to all the melodic guitar harmonies and accessible vocal melodies you could ask. Carroll nails albums most bristling stretch of extended lead guitar.
The metal anthem overtures reappear on “No Way I’m Goin’ Down”. Militant guitar riffs command from the get go, with thumping bass empowering the self-assertive verse sections and herculean groove the draw you in at once refrain repeating songs title in marked fashion. Momentum tempers at once to a near standstill for a bluesy passage only to give way to metal edged rhythm guitar. Lyric snippet:
Fooled me once, Fooled me twice.
That's the last time I'm takin your advice.
I didn't believe I was bound by sin.
You never let on bout the shape I was in.
Heard you callin, yeah you hypnotized.
Had me goin with your big disguise.
You thought I'd never get wise.
It's no wonder, they call you, the father of lies.
No way I'm goin down.
The three full-length songs that remain might be a slight notch below but are still quite good. “Seein’ Is Believin’” shines in this regard as an undeterred hard rocker, punching with its straightforward mid-tempo bearing but also not masking hooks found in its persuasive disposition. What sounds like ‘backward masking’ highlights songs mid-point ahead of the shred guitar solo in addition to the closing seconds.
“All I Need” resonates of classy melodic metal. Taking a self-assertive heading, it energizes through powerhouse verse sections only to crown for the venturesome refrain mingled with layered backing vocals. Credit Wenzel from manner in which his earthy delivery aligns with the enthused aura asserting the songs span.
Each Rex Carroll era Whitecross album includes an “Eruption” style open-air guitar solo and such is what we have in “Nagasake”. Obviously, it allows Carroll to exhibit his classically influenced and quite adept (not to mention jaw dropping) licks and chops accordingly.
“Signs Of The End” concludes the album in a smoldering direction. It elevates potency on high, revealed in the bottom heavy guitar tones - a darker embellishment reveals in the process - and thickly woven low end, noting the concentrated bass work. The convincing refrain stands out that much further due to the heavyset backend voice. Of course, Carroll closes things with a radiant stretch of lead guitar. Lyric snippet:
Man disobeys and we will pay.
And the rumors of war go on and on.
Won't you see the end is near?
You can't wait, don't hesitate to find your place in life.
You weren't put here on this earth to live your days in strife.
We've got to realize this world will fall away.
But God sent his Son, the Word, to guide you on your way.
There is something to like about each of the five Rex Carroll era Whitecross albums, with the debut in my opinion encompassing the finest song selection. “Enough Is Enough”, “He Is The Rock” and “No Way I’m Goin’ Down” are classics, albeit there is something to like about each of the albums tracks with possible exception ballad “You’re Mine”, which is miscast in a metal guitar driven environs. Fans of eighties metal and hard rock would do themselves a favor by tracking down a copy of Whitecross no matter how hard to find or pricey. In the meantime, let’s hope for a reissue.
Good news is that in 2005 the group re-recorded and released Whitecross via Girder Music under the fitting new title Nineteen Eighty Seven with bonus material in the form of the track “Love On The Lone” (another classic appearing on the EP of the same name and Heavy Righteous Metal compilation from 1988, respectively) and instrumental “Re-Animate”. Nineteen Eighty Seven was re-issued on Retroactive Records in 2007 and again as a ‘Gold Edition’ in 2015 with the new bonus track “Angels Wing”.
Review by Andrew Rockwell
Track Listing: “Who Will You Follow” (4:03), “Enough Is Enough” (4:04), “He Is The Rock” (4:36), “Lookin’ For A Reason” (3:33), “You’re Mine” (4:02), “No Way I’m Goin’ Down” (4:11), “Seein’ Is Believin’” (4:28), “All I Need” (4:13), “Nagasake” (1:52), “Signs Of The End” (4:03)
Musicians
Scott Wenzel - Lead Vocals
Rex Carroll - Guitars
Jon Sproule - Bass
Mark Hedl - Drums
