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THE MASQUERADE BALL
German born Axel Rudi Pell has been active on the Heavy Metal scene since 1984. Initially he was the driving force behind the band 'Steeler', before embarking on a career under his own name. Recorded
between November 1999 and February 2000, 'The Masquerade Ball' marks his eleventh release as a solo artist in as many years.
In addition to Axel on guitars, the band is made up of Ferdy Doernberg on keyboards; Volker Krawcza on bass; Mike Terrana, who used to play for Yngwie Malmsteen, on drums; and finally ex-Hardline man Johnny Gioeli on vocals.
Although vocalist Johnny Gioeli first joined Axel on his previous CD 'Oceans of Time', the material had not been written with him in mind - the band was going through a period of change at the time, and there was no
certainty who would land the job. This is something that was clear from the outset with 'Masquerade Ball' however, and Johnny is able to make his mark singing material specifically written for him.
Despite being thought of as a metal guitarist, I would regard this album as belonging more to the traditional hard rock category. There are clear influences in the music from artists such as Ritchie Blackmore
and Dio amongst others, but the sound is much fresher and more up to date while still keeping much of the spirit of its predecessors.
The opening track on the album is 'The Arrival', which is a very short piece working as a scene setter for what is to follow.
It runs straight on into 'Earls of Black' which is a fast, upbeat track with driving bass line, showy guitar work, and a style that is very heavily influenced by Rainbow. The vocals are very clear - as they are throughout the album - and the chorus is one that you cannot help singing along to!
'Voodoo Nights' is a mid paced number, and as with the previous track it has a very catchy chorus, and demonstrates a good vocal range from Gioeli.
Some nice guitar breaks are very much in evidence particularly towards the end of the track.
'Night and Rain' is more of a ballad and opens with a slow moving repeating bass line, which bubbles along underneath the whole song, and acoustic guitar playing which is speedily replaced by electric lead.
The sound is constantly building up only to fall back again as bass pattern drives ever onwards. The vocals start quietly but quickly the sound wells up and, as we arrive at the chorus, the sound is much fuller and from this point on there is no looking back. The track continues its slow purposeful build up which leads to some superb lead guitar work, only to gently fade back at the end of the track, leaving a real sense of completeness. Hints of the Scorpions in this one I think.
'The Masquerade Ball' is the centre piece of the CD.
A very brooding piece with a very strong keyboard contribution. Vocally it is hard not to make comparisons with Dio (particularly with works like Rainbow Rising or Black Sabbath's Heaven and Hell), not only in terms of delivery but also the lyrical content. Nevertheless the effect is very uplifting and the musical backing is brilliantly orchestrated. Riffy bass work and soaring guitar work together with the harmonies of the backing vocals in the closing section, make this track the real jewel in the crown which left me feeling most impressed.
'Tear Down the Walls' follows on very well, but it is a return to the more typical hard rock sound of the early nineties, with fast running heavy guitar, thundering bass line and strong percussive work.
Then another slower paced track, in the shape of 'The Line'.
This has a very evocative slow guitar intro with moody keyboards providing the backing. Listening to the melody it is hard to believe that Zeppelin have not had some influence here, but then as so often happens on this album, just as you think you have the sound nailed down it changes again. The bass and guitar start pouring on the power and the overall balance changes to a sound once more reminiscent of the Scorpions. These mixed contrasts alternate throughout the piece, and again the overall effect is very satisfying.
'Hot Wheels' is another more traditional fast moving track, with a riffy guitar sound. It was apparently written for a local biker gang and makes for great driving music.
Another ballad follows with 'The Temple of the Holy'. Piano and haunting acoustic guitar work are the hallmarks of this track, and although the vocals seem a little stretched at times, the piece is still quite
moving.
The final track, 'July Morning', at 9.59 is the only non original piece, being a cover of a Uriah Heep number, but it fits in very neatly with the rest of the material on the album and makes for a strong ending.
In conclusion, although this is essentially a guitar album, Axel has pulled together a band that is more than proficient in delivering a strong rock album containing some excellent material. It has been very
well produced and is, above all, fun to listen to.
Although, as I have stated earlier, the music does not try to hide its influences, this is no bad thing and the sound should have fairly wide appeal to fans of Heavy Rock music - particularly if you enjoyed the likes of Rainbow or Dio first time around. I must say I have been suitably tempted by this release to go back and explore some of Axel's earlier releases which I hope to review here in the future.
Simon 9th April 2000
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