Metal Reviews

The Ballads

Axel Rudi Pell

Not exactly your ordinary run of the mill collection of love songs… "The Ballads" offers something for listeners far more inviting from this renowned metal guitarist/lyricist that reaches new heights.

Released back in '93, Pell, as many of his Teutonic peers, assembled a fine roster of contributing artists to fill his then band, most notably vocalist Jeff Scott Soto who ranks right near the top with Mike Vescera in the rent-a-singer department… and make no deference to the fact that neither is short of oncoming requests for their able assistance.

A Pell original begins the listening journey, one that captivates the imagination while giving the heart just a little squeeze along the way, "You Want Love," before giving way to Alphaville's "Forever Young" given the full power-ballad treatment and Pell's neck throttling closing solo for that added boost.

Along the way, Pell recalls many of his earlier workings, some vocal-less as "Dreams of Passion" follows from the "Eternal Prisoner" from '92, and his appreciation for the classical styling of one Deep Purple are brought into focus for "Tearin' Out My Heart," and "When a Blind Man Cries." Done back to back, the first a fine version of a Purple original, and Soto's performance really shines, combining a 60/40 emulation of both Joe Lynn Turner and Gillan, really belting it out with Pell's able six string support and then producer/songwriter Bob Rock taking the vocal duties for the latter.

At first, such a grand undertaking seems a bit risky considering Pell's reputation having always been built on a foundation of solid rock, and the twenty or so percent of weaving the soft, silky variety amongst it.

A full album of nothing but slow songs however, when placed side by side might get a tad monotonous… and on the rare occasion it does.

For the most part, Pell, always with the ability to write moving portrayals within a gently sewn song structure and never short on harmonious histrionics, does justice to the idea of an album's worth of "Ballads" which taken at face value, is a wholesome and inspired production… and with many here having never been released before, makes for an interesting listen on a windy, cool day for a stolen moment of self-reflection.

Released in Europe by SteamHammer
Distibuted by SPV GmbH, P.O. Box 72 1147, 30531 Hannover, Germany
Website : http://www.spv.de

Review By Vinnie Apicella

The Masquerade Ball

Axel Rudi Pell

One thing I'll say about these European acts, they don't skimp on material-you wanna talk about money's worth… and granted, for a lot of fans, we're talking bucks trying to get a hold of some of this stuff!

Thankfully, many of the best they have to offer across the sea is now becoming more and more visible in other parts of the world that's hungered for it for so long.

Axel Rudi Pell, lead guitarist / songwriter, has been toiling in the fine art of melodic metal expressionism for quite a number of years now and here on the eleventh album (eleven!) he delivers exactly what you'd expect to get from many of the German greats who've continued to excel in their role of metal traditionalists.

On the one hand, I can approach this from an angle of a listener hearing the band for the first time and going with that perspective rather than, "Yes, another epic adventure from the German guitar great, now having exhausted his thirteenth lead singer in a matter of six years… and the new band, and all that stuff."

And so I shall… The fact is, I haven't heard a thing this man has done since his own early version of Steeler came out with stuff like "Strike Back" near the end of the eighties… and you know what?

That's not far off from what this sounds… or what his solo material likely continues to sound like-The "Undercover Animal" unleashed again to wreak havoc on the unsuspecting villagers… Pell's got a knack for incorporating pleasant melodies within a solid surface-and yes, what's new?

"The Masquerade Ball" features vocalist Johnny Giolli for a second go-round, having first appeared on '98s "Oceans of Time," and many American fans might remember him as once fronting the Journey-inspired Hardline a while back, and his performance here just fits beautifully with this atmospheric mix of heavy weather and calm evening breezes.

"Voodoo Nights" has single written all over it-a mid-tempo, chorus-clad anthemic cruise down an abandoned starlit highway.

"Night and Rain" is an instantaneous classic of the emotionally moving variety, clothed in the finest Rainbow reflection, circa 1983, and able to touch anyone who's sat in deep thought on a dark evening alone at one time or another.

"Masquerade Ball" does not venture far off into epic territory where each note serves the purpose of a storybook fantasy-until of course we finally arrive at the ten-minute and a half title track and then its lights out!

After a slow opening where Giolli does an on target interpretation of Glenn Hughes, for about the rest of the eight minutes Pell and the band tear into rhythmic rage of majestic proportions-in most cases there's always at least one… and this one's it!

"July Morning," at the conclusion can also be counted among those of epic quality-an audio adventure to captivate the imagination and further boost the credibility of these multi-dimensional talents… it should also be noted this one's a remake of an old Uriah Heep tune!

Other album highlights include "Earls of Black" way back in the beginning… and how did I miss this one, "Tear Down the Walls" with its catchy pre-chorus and equally clutching chorus, and all I'm thinking along the way here is why don't they write 'em like this anymore?

This one's got a Dio, "Night People" flavor to it, up till the pre-chorus then its pure ARP!

"The Masquerade Ball" has a conceptually grabbing quality to it but without being held together by recurrent themes… stirring and well proportioned, Pell continues to glide effortlessly along the dividing line between pure power and easy listening.

From the impressive semblance of proven musical talent, right down to the nightmarish cover art, it looks like ARP delivers yet again another model of classically conspired consistency in what well could be his finest hour.

By Vinnie Apicella