| Musical Style: AOR | Produced By: Varies |
| Record Label: Home Sweet Home / Retroactive | Country Of Origin: USA |
| Year Released: 1982, 83 & 85 / 2021 | Artist Website: |
We wouldn’t consider White Heart a master of one genre but rather skilled in many. The group specializes in a nice affiliating of pop-based radio friendly hooks with a founding of classic contemporary Christian music. Otherwise it places equal emphasis on AOR sensibilities alongside an eighties influenced commercial melodic rock affinity. Of every bit import is the White Heart willingness to step outside the box and make occasional forays into heavier rocking if not all out hard rock territory.
Hence, a musical depicting of the Home Sweet Home Records first three White Heart albums, White Heart, Vital Signs and Hotline released in 1982, 1984 and 1985 respectively. Only Hotline was released on CD back in the day, with White Heart and Vital Signs (not to mention Hotline) subject to various re-issues throughout the years too numerous to mention, at least according to Discogs (if it can be trusted with any accuracy). Enter Retroactive Records, whom in the spring of 2021 re-issued the three as part of the Legends Re-mastered series to feature 12 to 16 page mini booklets (layout and design by Scott Waters of No Life Til Metal Graphics) along with 1 to 2 bonus tracks and a foil stamped trading card. Re-mastering attributes to Rob Colwell of Bombworks Sound.
The initial White Heart lineup consisted of studio, session and/or backup musicians with previous experience in the Christian and mainstream music industries. The group traces its founding to the early eighties and keyboardist/guitarist Billy Smiley and keyboardist Mark Gersmehl, whom were joined by vocalist Steve Green in the Bill Gaither Trio’s backing band. Wishing to branch out from their anonymous side role and record the rock orientated material they had put together, Smiley and Gersmehl recruited guitarist Dann Huff (having previously worked with Barry Manilow, Sheena Easton and Barbara Streisand) and bassist Gary Lunn (an in demand Nashville session musician). A demo subsequently recorded making its way into the hands of Chris Christian led to White Heart signing with Home Sweet Home and later Myrrh Records.
My introduction to White Heart traces to the mid eighties when music director of the radio station at the Christian college I attended at the time. I immediately took to the pair of heavier cuts off White Heart in “You’re The One” and “Go Down Nineveh”. Former plays up Huff’s proficient guitar abilities and Lunn’s equally deft bass line in reinforcing a predominant hook basis, while latter proves more varied with smoother keyboard laced moments and others in which guitar commands the forefront of the mix. Two allow front man Steve Green to shine, a do it all type vocalist with a powerful voice capable of descending into muscular mid-ranged territory but also stretch with an upper end classic tenor form. To suggest his skills align with a heavier rocking format would be an understatement.
Perhaps due to being a younger man - and much to my chagrin - but back in the day I dismissed remainder of the album, which is a shame because it features some very notable material. “Hold On” is a solid pop-based rocker trending AOR territory and “Listen To The Lonely” a classic ballad oozing of bass driven emotion and Hammond B3. Again, it must be noted Green’s performance, whom helps bring to life the more reserved White Heart cuts and makes them that much more memorable (at least to these ears).
Hence, albums standout piece “He’s Returning”, a sublime rocker with an upbeat resonance celebrating the second coming with all the pomp and glory one might expect of the AOR genre. Song yields more than enough rhythm guitar to cross into heavier rocking territory. I would love to hear it covered by Stryper.
As one might expect, White Heart features its share of ‘safe’ CCM moments. At times it works, noting piano ballad “Carry On” which while a bit formula emanates enough underpinning guitar to hold my attention and laid back rocker “Black Is White” with several stretches of Huff’s delectable lead guitar. On occasion it doesn’t, such as “Everyday” in terms of its easy going demeanor with saxophone and female backing vocals, and “Nothing Can Take This Love” in combining bouncing rhythms with keyboards laid on a bit thick for my taste.
Final Verdict: A very solid effort with some exceptional material but also a bit inconsistent equates to 75%
Vital Signs brought change in the form of lineup, with the departed Green replaced by Scott Douglas, a fine vocalist in his own right. Change also in musical direction in that while White Heart did not suffer a sophomore jinx, Vital Signs introduced a more polished keyboard heavy sound that in comparison does not engage my interest to the same extent as White Heart.
Album gets to a solid start with “Sing Unto The Lord”, a stirring arena rocker composed of lush harmonies and invitation to the worshipful, ensued by “Draw The Line”, every bit blithesome with its raised up keyboards to reinforce an eighties AOR slant. In similar melodic rock vein is “Carried Away” with atmospheric keyboards to start only to pick up with guitars sneaking in as initiative elevates on the way to the moving refrain. Douglas does a fine job on each with his classic tenor vocal delivery.
Back to my college music director days, only songs I paid attention to were heavier cuts “Undercover” and albums title track. “Undercover” touches upon hard rock as driving rhythms and every bit assertive guitars join with layered vocal harmonies, while same applies to “Vital Signs” in allying acoustic sentiments with ample lower register groove. Huff takes opportunity to show off his prevalent guitar abilities on either.
Separating Vital Signs from White Heart is how it features a few too many ‘safe’ CCM moments. “Walking In The Light” and “Following The King” are not bad per se (both are quite catchy actually) but are also a bit heavy on the keyboard side. That said, I appreciate formers notable melody and acapella vocals and latter’s mirthful piano and inspiring focus to touch upon the faith based.
Where album loses me is when it gets a bit too contemporary for its own good. I pass on “We Are His Hands” with its lounge style keyboards, although I take to the moving vocals and message about what we should be as a Body of Believers. Likewise, I find ballads “Quiet Love”, acoustic based, and “Let Your First Thought Be Love”, piano driven, a bit too formula in not taking any risks. Live bonus track “Hosanna” might not be my cup of tea but is in similar vein as “Sing Unto The Lord”.
Final Verdict: Also home to its share of choice songwriting moments although on the musical conservative side adds up to 70%
In my opinion, White Heart started to come into its own as a rock band on Hotline. Album sees the group making a more forthright guitar based statement in if not trending hard rock territory comes close with an emphasis on assertive AOR infused melodic rock. New guitarist Gordon Kennedy, replacing Dann Huff who went on to join mainstream act Giant, plays no small role in this regard.
Kennedy’s licks and chops take center stage on albums title track, a brazen borderline metal cut seething with its austere energy and intense emotion as Douglas wails with his pristine tenor delivery. Likewise, “Heroes” is a natural hard rocker intrinsic to prevalent guitars and engaging melody (sort of like Daniel Band) but also seasoned by airy keyboards but not to fault.
Second cut “Gotta Be A Believer” maintains the guitar edges albeit not to quite the extent in upholding an amicable up-tempo allure with overlays of silky vocal melodies, while third “Jerusalem” takes a keyboard prominent AOR heading with an every bit prominent melody focus. Of note is how the two feature a duet between Douglas and mid-ranged co-lead vocalists Gersmehl (former) and Kennedy (latter).
Also keyboard heavy is “She’s A Runaway”, classy melodic rock to play up periodic rhythm guitar and Kennedy’s tasteful guitar solo, and “Turn The Page”, better of albums two ballads in exuding an animated bass line and vibrant lead guitar over its second half. Second ballad “In His Name” is albums only cut in which I pass in being entirely keyboard based does not do anything for me.
Hotline closes to a strong three-song stretch beginning with “The Victory”, silky smooth melodic rock home to lush keyboards and underpinning groove in abundance, ensued by “Walls”, albums shortest at a spirited two and a half minutes to feature Gersmehl’s lower register vocals and all the funk like rhythms you could ask. “Keep Fighting The Fight” comes across in the form of a Christian battle cry with a rollicking arena rock allure to close things in victorious fashion.
Bonus material is inclusive to worship rocker “Gloria” and a nine-minute interview with the group.
Final Verdict: By far the most complete and musically focused of the three albums justifies an 85% score
When placed alongside, I gravitate towards Hotline with its greater consistency in terms of songwriting and heaviness followed by White Heart to highlight its share of fine moments, albeit lacking similar levels of continuity. Vital Signs rounds things out as a fine work but perhaps due to upholding a more polished, keyboard heavy sound does not always hold my attention to the same degree. What one cannot question is talent when factoring vocalists Steve Green and Scott Douglas not to mention guitarists Dann Huff and Gordon Kennedy. There is not a weak link in light of supporting musicians Gersmehl, Smiley, Lunn and drummer David Huff. Fans of AOR with leanings towards the contemporary if not occasional heavier side of things would be well served to check the three out. Give credit to Retroactive Records for making each available again in such upgraded formats when factoring re-mastering and packaging.
Review by Andrew Rockwell
