Now 22 studio albums into a solo career, white haired German guitarist Axel Rudi Pell isn't pulling any punches, the track record speaks for itself. In fact, despite surviving sporadic live appearances to an almost exclusively central European fanbase, he's kept a stable line-up since ex-Rainbow drummer Bobby Rondinelli joined in 2013 (otherwise the nucleus has been together from ‘98 on. Amazing!)

For someone who’s been able to issue four platters in as many years: cover tunes, another ballads compilation (his sixth!) and now a second studio effort, would think the prolific Pell didn't need to include a Led Zeppelin number amongst the nine originals. And choosing the oft heard "Immigrant Song" really adds nothing beyond a chance for the guitarist to strut his stuff. Know virtually every album includes someone else's work (even if as a bonus track) but News Flash... we fans don't listen to your vast assortment of albums to hear OTHER people's music. 

So, what's on offer, in terms of new content? Pell, following 102 second intro, "The Resurrection" the band tears into "Forever Strong", one of the fastest, heaviest ARP songs in recent memory. Axel has never been one to embrace the speed quotient (even though VERY capable, as this one demonstrates), preferring to accentuate the emotions in his playing. That said, won't hurt having a couple more like this one on each release. Can't see this one being left out of any forthcoming live set. Follow-up "Guardian Angel" is one of those instantly recognizable Pell-Johnny Gioeli vocal compositions: mid-tempo, locked into the patented ARP sound. A little wah wah, flange guitarwork starts off the aforementioned Zep track, up third in the running order.

"Darkest Hour" returns to what one came here for, a sort of brooding (at least emotive), slow fist-pumper. Plenty of room for Gioeli to showcase his overlooked talent. For real evocative playing, must opt for the heavily keyboarded balladry of 10+ minute "Ankhaia" (mythical city based on Egyptian ankh, symbol of eternal life). Everyone in the band gets into the act, adopting non-Western rhythms/instrumentation. A fleet fingered flourish (and accompanying keys, courtesy of Ferdy Doernberg) enliven "Hells On Fire", a mere two seconds from being the shortest cut of the batch. 

Listen to that sustain, as Axel squeezes the strings, to begin "Crying In Pain", a piano ballad. More playing than singing on that one. Up-tempo "Right On Track" makes way for "Taken By Storm" finale, which begins with sporadic acoustic guitar notes, before eventually taking off, ending the disc on that familiar mid-tempo vibe. Workman-like effort, if unsurprising in content. Know he could probably create an album in his sleep, at this point, but feel a little outside influence (shake-up) could harness all the energy/intensity to elevate above merely competent.