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Whiplash > Thrashback > 1998, 12" vinyl, Massacre Records (Limited edition) > Reviews
Whiplash - Thrashback

Remember when we used to be good, guys? - 70%

autothrall, December 9th, 2010

Thrashback is the 6th full length album from Jersey's Whiplash, and their 3rd through Massacre Records. As the title pretty obviously implies, this was the 'comeback' album, the inevitable return to the band's roots, even though it comes in direct succession to such folly as Cult of One and Sit Stand Kneel Prey. Whatever the reason, Portaro decided to reunite with the other Tonys of the early lineup, Bono and Scaglione, and abandon the glossy groove metal and bizarre heavy/speed metal roots of the preceding pair of albums, and though the vocals here won't always remind you of Ticket to Mayhem or Power and Pain, the music is definitely feeling like 1987 all over again, albeit with a cleaner production and less overall speed and aggression.

The general tendency of this record is that the faster it goes, the better it gets. Songs like "Thrash 'til Death" (yes, before Destruction, just like "Nailed to the Cross") and "Nails In Me Deep" are both classic examples of this band at their best, ripping and explosive as they twist their heavy/speed metal roots into a street ready thrash impetus reminiscent of the Metallica debut Kill 'Em All, and at some points ("Resurrection Chair" for example) it's got a real street flair akin to the band Zoetrope. There are some spots in which the band steps out of this comfort zone, like the frenetic neo-classical shred off duels between Symphony X guests guitarist Michael Romeo and keyboardist Michael Pinella, which seems a little strange to feature on a thrash trio's record; "King With the Axe" starts like some Manowar epic, then busts out the hi octane riffs. "Killing On Monroe Street" is the best at channeling that NWOBHM spirit that influenced early Metallica, and "Stab" once again sounds like the Bay Area legends, with some fast as fuck bass.

Thrashback has a lot going for it, especially the vocals. Not all of the riffs stick with the listener, but it's clear this was Whiplash doing what they always did best, and thus it's easily the best record the band had released since 1990's Insult to Injury. The band could (and did) easily mesh a few of these cuts in with their classic material for live shows, and it would have been a great direction for them to continue, had bassist Tony Bono not sadly passed away a few years after its release. I don't think I'd rank it up alongside the first three in over quality; for all its vigorous, youthful renewal, it's just not that catchy for the most part, but at least it's successful enough to not feel like you're being slapped in the face by 90s bullshit, and it was good to see a band realize this in such order after straying from the path only 1-2 years earlier.

-autothrall
http://www.fromthedustreturned.com

Back With A Vengeance - 89%

Noisenoir, April 3rd, 2005

When you are informed that your favorite thrashers are reunited in their original line-up (the legendary "Three Tonys") and that five of their comeback songs are written back in 1985(!) you expect the album to be simply breathtaking. And it really is! Nostalgia hits with a vengeance the sensations of the listener as the riffing dives into the glorious hellhole of mid '80s mind-blowing era.


What is evident in this album is that Whiplash never lost it through the years although there are some points in their evolution strike as awkward. For example, the drumming at some points seems repetitive with a drum machine precision, and then there is the vocal thing. Tony Portaro's voice has lost that distinctive rawness that sent chills up my (and everyone else's) spine and to my dreadful ears I could clearly hear at some points a Mustaine-ish and elsewhere a Hetfield-ish tone! The lad must be cursed!
One cannot expect someone to sound the same after 15 years (I did) but Portaro's improved larynx took something away from the legendary Whiplash thrashing (and some points down in this review). Don't get me wrong, Thrashback still manages to deliver what a hardcore thrasher is seeking. HEAD BANGING! Some of the lyrics in the old songs have been re-written but the lyrical themes remain socially and/or politically influenced.


To the songs:
"King with the Axe" is the best song in this album coming from the "Thunderstruck" demo and climbing on top of the list for thrash masterpieces. Majestic intro, which gives way to a guitar riff that, will haunt you until your dying days and the vocals here are what could be described as "menacing". "He's coming at you...Full force...The Kiiing with the AXE".
"Thrash 'Til Death"! Well, is there something to add? A two minute and thirty six seconds of mayhem and I dare you to stand still while listening to this song.
"Nails In Me Deep" is actually "Chained Up, Strapped Down" from the Thunderstruck demo and has the solo of the album and solid rhythmic work.
"Stab" classic Whiplash equals agonizing rhythm, constant pounding and here is the vocal thing I was telling you about.
"Killing on Monroe Street" is where you can have a taste of Scaglione's superb drumming and find out why Slayer picked him up for their tour the first time Lobardo left the band. He was only 18 as he says in an interview.
"This" has a slow tempo and to my ears, the guitar has a strange "stoner" aesthetic with the occasional thrashing stabs in the background. Strange but everyone can use the intermission.
"Memory Serves", "Resurrection Chair" and "House with no doors" are the rest of neck breaking songs that might be outstanding in any other album but here are simply original thrashers.
"Strike Me Blind". Portaro once said that he never cared about singing, his passion is the guitar and he had to sing when they started out and could not find someone to sing the songs as they were in his mind. Here he has 2:25 minutes to let off steam without the burden of vocals.


You should have this album along with "Ticket To Mayhem" and "Power and Pain". R.I.P. Tony B.