The Masquerade Ball

On Axel Rudi Pell's fourth album, "Between the Walls," namesake guitarist - and chief songwriter - must have decided it was the best album he had ever made. The reason for this unsupported assertion is that every album since has, structurally, been the same. It goes something like this:

1) Worthless instrumental opener
2) Speedy song that is usually very forgettable - as it is here
3-7) The core quality of the songs and songwriting are found
8-10) More forgettable songs, usually with one more rocker thrown in

This formula progressed in quality on the fifth and sixth album, both also with Jeff Soto on vocals, but the pinnacle was recognized with the previous album - the first to feature Johnny Gioelli on the mic - "Oceans of Time." The formula begins an initial decline here, revealing the songwriters chronic inability to make all tracks of uniform eminence.

There are only three rockers here, continuing what was demonstrated on the previous album, showcasing a slower, darker edge. "Oceans of Time" was dreamy, filled with plush distinctive keys to provide an ethereal backdrop, so one may sail on idyllic notes, here it is menacing darkness that reigns supreme. The reason this album ranks in the apex of ARP’s well established - and overused - brand, is how well it pulls off the power metal elements. Where the traditional rockers can only be described as “serviceable” at best, the gloomy and depressing nature of the epics showcase high class examples of the genre.

Despite there power metal qualities in the music, if there is one drawback to the band, it is the overall bland lyrical writing. It very seldom deviates from the topics of mythology, magic and wizardry. The only deviations there are usually are about sex or are odes to music. While there are some clever metaphors scattered throughout, the lyrics are insignificant. It is a shame since they limit the amazing voice of Johnny Gioeli. What he is permitted to sing, he really gives life and charisma to, but one cannot stop and think what type of lyrics he would contribute if were permitted. Some of his individual highlights are during Voodoo Nights, his falsetto wails just before the final refrain and which end the song. Or the final melody of The Line or bridge sections just before the main refrains of Night And Rain. July Morning is a cover of Uriah Heap's epic, which is far too close to the original. The production and performances all ace the 1971 original, but this fails to build on these technological advances, making it a by the numbers copy.

The choice cuts are "Voodoo Nights," "Night and Rain," "The Line," "The Temple of the Holy." Each are incredibly powerful, unique and full of dark melodies that really capture the depressive spirit the album was reaching for, demonstrated by the outlandish fantasy influenced cover concept scaled back here to fit the lyrical tone. Five skeletons dressed in subterfuge and carrying staffs are entering a ball, while the closest one is looking back as if to tell the listener to join them. One of the bands most fitting cover depictions.

Despite the juvenile simplicity of the lyrics, the album is still one of Axel's strongest overall. The fact that the lineup here was the longest tenured does not go unnoticed. The continuity is on full display throughout and it is hard to find a negative point towards any performance. It is highly recommended to at least be heard, to be appreciated.

After the great "Oceans Of Time" I couldn't wait no longer for a new Axel Rudi Pell CD, and two years later arrived "The Masquerade Ball" with two new members: Ferdy Doernberg on the keyboards and Mike Terrana on the drums.

This CD starts the same way as the previous CD by Axel, with one short intro and the fast song "Earls Of Black", the guitars on this one is even faster than "Pay The Price" and blew me away for the first time I listened to, same thing goes to "Voodoo Nights" which by the end of the song there is a little stop in the guitars/drums for an amazing scream by Gioeli. Other fast songs on it are "Tear Down The Walls" and "Hot Wheels" also great job done by Axel and the band.

The epic "The Masquerade Ball" is a breath-taking song and when you start to listen to the keyboards intro you know something cool is coming out of it and it is great vocals once again delivered by Mr. Gioeli as the song goes on in the light way getting prepared to blow when guitars are started by Axel and when this goes faster it blows everything down to make the fans bang in their own room thinking they're right in front of the band in a live concert.

The ballads on this CD are "Night And Rain" a cool ballad but not one that I get to listen over and over as the ballad "The Line" which is another hell of a ballad composed by the king of ballads. To finish the CD Axel covered Uriah Heep's ballad "July Morning" and he covered really cool making it even better than the original.

Right after an amazing album in "Oceans of Time", featuring newly recruited vocalist Johnny Gioeli, ARP saw a further change in their line-up and a further evolution of their sound. Although this album is not quite the riveting masterpiece that it's predecessor was, it ranks as probably one of the better releases by this band and one that enjoys a good amount of play during my many long commutes.

Not long after former Malmsteen vocal extraordinare Jeff Scott Soto left the ARP fold, drummer Jorg Michael also opted to leave the band in order to devote full attention to Stratovarius. He was replaced by recent member of Yngwie's solo work and expert drummer Mike Terrana. His work is on full display on such classic cookers as "Earls of Black" and "Hot Wheels". A good contrast in the sheer amount of power in his kit when compared to Jorg can be found by comparing the percussion sound on the title track with "Magic" or a similar track on another previous release.

The overall structure of this album is, in many ways similar to that of "Magic", the last album featuring Soto on vocals. We have a very atmospheric intro, although the guitar part on "The Arrival" hints that we are in for a very heavy follow up. The musical foreshadowing is fulfilled when "Earls of Black" nails your ears with a vengence. This track reminds me a bit of the "Nightmare" off of "Magic", although I must say that the guitar solo to this one is far superior, especially the descending guitar harmonics that sound like a crowd of falling spirits at the beginning.

"Voodoo Nights" is a mid-tempo track that is a bit short and simple in overall structure. It has a very memorable chorus, and would probably be a good single if ARP bothered with such things. "Night and Rain" is a somber blues ballad of sorts with some rather nostalgic lead playing, reminding alot of Tony Iommi. The title track has a similar structure to the title track of "Magic", but it is not quite as repetitive and actually has a stronger vocal delivery. As often is the case, the title track is the strongest overall song on here, and functions as a quasi-ballad/down tempo rocker.

"Tears Down the Walls" and "Hot Wheels" are both classic straight-forward ARP rockers. The former has a very strong chorus, the latter has some neat motorcycle sounds at the beginning, both have melodic guitar lines and excellent solos. "The Line" and "Temple of the Holy" are both ballads with more expressive lead work. The latter reminds a great deal of "Eyes of the Lost", my favorite track off the "Magic" album. The former sounds a bit more like later ballad work on "Shadow Zone".

The closing track on here is "July Morning" and takes my pick for a real standout track on this album because it's extremely different from anything else I've heard from this band. It has a good deal of rock organ work courtesy of Ferdy Doernberg, but the real point of interest is the style of the song. The best way I can describe it is as a sort of hard rocker hommage to Deep Purple or Rainbow. It actually has a recurring melody that reminds me a tiny bit of a Handel composition from the later Baroque era.

In conclusion, this is a definite must have for fans of ARP and others in the traditional metal scene who love music inspired by Rainbow, Deep Purple, Malmsteen and Dio. Power Metal fans will like the faster tracks on here and the melodic sound that the band exhibits. I would even venture to guess that some in the more gothic side of metal may be attracted to ARP's lyrics and the dark images on their album covers. This is a great album, and deserves a wider audience than it currently has.

In a lot of ways this album reminds me of Savatages later years. It still has some very heavy songs, but most of them or soft. The riffs are great, they still sound like they came out of the 80's, but some of the riffs are very melodic and very speed metalish. For some examples check out the songs Hot Wheels, which is very Motely Cureish, and Voodoo Nights. The one thing that this album creates is tone. I have never seen a band do this as great as it is done in this album. The beginning track, The Arrival, is very dark sounding, with low bass notes and low sound distorted guitar effects. Then the keyboard comes in with this weird symph stuff and then BOOM! You into the next song, which is the heaviest song off of this album Earls of Black. The drummin is pretty good, especiall on these fast songs. Very fast upbeat tempos. The one thing that isn't really great about this album is the ballads. There are five ballads, out of ten songs, nine if you don't count the intro. All of them are pretty good, but if you don't like ballads then....well your just not gonna like that part. Two ballads that are the best have to be Night and Rain and The Maquerade Bell. On Masquerade it is mostly soft, but gets heavy with some pretty cool solos. Plus it has awsome keyboards backing it. And of course the vocals are just great. It reminds me of newer Savatage. Really great; from the high pitched fastness of Tear Down the Walls to the slow melodic vocals of July Morning. If you like traditional style, 80's ballads, and speed metal, you must have this one!