“I never wanted fame or success,” says Michael Schenker, in an interview I read recently. “. I was always happiest when I was left in the sand box with what I liked the most. Without rivalry, without competition, only focussing on pure, unfiltered creativity.”
Now, that might be true, and he certainly strikes you as a man who doesn’t want to rest on anything, take things easy, but “left in the sand box” implies – to me at least – some kind of solo introspection. And whatever else this is, it isn’t solo. This is bombastic, its massive, it is the type of record that says: “if less is more, then just think how much more, more could be.”
It’s a very different record, actually, to the Michael Schenker Fest couple that he’s put out. The singers are different (mostly – but we’ll get to that), and the feel is totally different.
It’s arguably heavier. “Drilled To Kill” proves that, and it has the mighty Ralf Scheepers on, which means that, basically, it sounds like Primal Fear, and it’s a really good metal song, its got a brilliant solo, and it has some superb organ.
It also, in honesty is probably the high water mark. “Die On Me Now” is a proper arena shaker and Joe Lynn Turner does his thing. Its polished as hell, but – and, I don’t really know what – something is missing.
The third of the singers on the album is Ronnie Romero and he wraps himself around a power metaller in the shape of “Knight Of The Dead”, and “After The Rain” is equal parts 70s pomp and Maiden prog and, as it has Michael Voss on it, it sounds by and large like the sort of melodic thing that his day job Mad Max do for fun.
The playing, it has to be said, is exemplary. Schenker’s solos are brilliant, that’s a given and he’s one of the best, and if we are being totally honest, it probably deserves better lyrics than the fairly average “Devil’s Daughter”, which is more dated than its title.
“Sail Into The Darkness” – one which rather believes that “Holy Diver” is a lot of fun and that all metal should sound a bit like it – is better, and “Queen Of Thorns And Roses” does that almost Edguy thing, and is one of the best on offer.
It’s tempting to think of all the bands he’s been in and think Schenker is doing a bit of a magpie routine here and taking bits from them all, certainly, “Come On Over” is what UFO would have sounded like if Phil had been a chest beater instead of a cantankerous sod, and the latin flavoured “Sangria Morte” is the kind of thing he’s been doing for a few years. It’s good fun too.
The last one “In Search Of Peace Of Mind”, first appeared on a Scorpions album after he’d left and sees the Fest gang back together mostly (as Barden, McAuley and White get a verse each) and its….alright. It tries to be epic, but its lyrics aren’t great, really.
What saves it, is Schenker, and the same is largely true of the album. His work here is brilliant. In football terms he’s a 9/10 when everyone else has a six at best. Basically, he’s scored a hat-trick, played a blinder and carried the team.
He’s “Immortal”, the fact this is his 50th anniversary and he sounds this good makes that beyond question, whether this record is, I am not so sure.
Rating 7/10
