Band:	Lizzy Borden
Album:	Master Of Disguise
Style:	Heavy metal
Release date:	July 1989

01. Master Of Disguise
02. One False Move
03. Love Is A Crime
04. Sins Of The Flesh
05. Phantoms
06. Never Too Young
07. Be One Of Us
08. Psychodrama
09. Waiting In The Wings
10. Roll Over And Play Dead
11. Under The Rose
12. We Got The Power
13. Vampire's Kiss [bonus]
14. The Orchestra [bonus]

With the current abundance of symphonic metal bands, ever wondered who actually invented the genre? Most would point to Savatage's 1989 release "Gutter Ballet" and they would be correct, of course, but credit goes too at times to a similar and, regrettably, far less known band/artist named Lizzy Borden. Released just months before "Gutter Ballet," "Master of Disguise" is credited as a Lizzy Borden album, but it is as far removed from the band's earlier heavy and power metal ("Love You To Pieces" and "Menace to Society") and more recent glam metal offering ("Visual Lies") as can be. Additionally the album sports a large number of guest appearances (9 to be exact) with only Lizzy Borden (the singer that is) and his brother and drummer Joey Scott appearing on every track and therefore it is better thought of as a Lizzy Borden solo album. Normally I am not too crazy about a long and prominent guest list (well the only prominent musician is bassist Joey Vera). But Lizzy Borden proves to be a competent band leader as everyone synchs together really well.

Unlike contemporary symphonic metal bands, Lizzy Borden draws his influences from the musicals of the 80s. Parts of "Love is a Crime" would not sound out of place in Starlight Express and the organ intro to "Be One of Us" strongly reminds of Phantom of the Opera, just to name two examples. Such an album is bound to be conceptual and, as such, the tracks interweave seamlessly due to the open-ended production. Which is incredibly clear one might add; despite what's going on every instrument can be heard at all times. The songs themselves are highly progressive, not because of overt technical musicianship but because of the eclectic arrangements. "Master of Disguise" also sports a large amount of ballads, which are every bit as varied and interesting as the rest of the album. Everything from power ballads to pop standards are present and, even at their softest, the ballads work out. But worry not, this is still a metal album and despite quirky arrangements, orchestral breaks (how they were able to afford a 50 man orchestra will remain a mystery) and crooning vocals, Lizzy Borden still know(s) how to rock out, particularly on the opening and closing tracks.

By now you will probably have figured out whether this album will appeal to you. Quite plainly, this album is not for everyone. If you cannot possibly imagine to stomach a pompous and commercial metal musical, stay clear. But those willing to get into "Master of Disguise" are in for a rewarding experience.