Unlike other metal bands who ditched their makeup, Lizzy Borden actually became more serious and legitimate when he cast away some of his early gimmicks for 1989's Master of Disguise. Ironically, his best album to date also was his last for over a decade due to record label strife and most likely a lack of public interest in theatrical metal during the decade of the 90s. Nevertheless, Master of Disguise was a powerful statement to the world and a very fine chapter to his legacy during the 80s.

Having a sort of Phantom of the Opera feel, the provocative Master of Disguise is an extremely well-conceived and executed concept record, using a wide array of sound elements, from orchestration to soundtrack style interludes between songs. Most importantly, the dozen songs here are well written and extremely memorable. The sound is prime 80s metal, rising above glam schmaltz and existing in the classic world where riffs where meant to be arena sized and cause fists to spontaneously pump in the air. The anthemic nature of "Master of Disguise", "Love Is a Crime", "Phantoms" and "Psychodrama" help immensely in selling this album to listeners. Lizzy Borden also offers somber, acoustic balladry in "Under the Rose" or the ominous "One False Move". He also croons to piano in "Never Too Young". Orchestration works its way into the title track and "Waiting in the Wings". The result is a very listenable record that should have found wide appeal to the metal crowd of the 80s who grew up with the idea of larger-than-life music and image.

It's a shame Lizzy's career plummetted out of sight right after this album's release, since it was his strongest and most intelligent to date. Do yourself a favor and check this one out if you are curious about one of the more forgotten gems of the late 80s.

Review by John Chedsey

Review date: 07/2001

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