Many acts have been more prolific than usual of late thanks to the COVID-19 pandemic and the inability to tour, but the German guitar virtuoso Michael Schenker, at least over the past decade or so, has never needed an excuse to write new music and record a new album. Despite putting out a lot of albums under various guises over the course of the 2010s, last year Schenker returned to his traditional solo vehicle, the Michael Schenker Group (MSG), for the first time in the studio since 2008's In the Midst of Beauty. MSG had been put to one side in favour of the heavier Temple of Rock, which also allowed Schenker to plunder his non-MSG back catalogue more liberally live, and then Michael Schenker Fest - which was essentially the ultimate version of MSG that brought back many of the band's classic members for a big celebration of its catalogue. I am sure that all involved had a great time on the Michael Schenker Fest tours, but it had the feel of a short-term project. Getting so many schedules to line up was likely quite the challenge, so I am not surprised that Schenker has returned a simpler live configuration of late - and it also does not surprise me that he has returned to the MSG name. MSG has been Schenker's moniker since the early 1980s, and it is a brand that commands respect - despite the various eras and line-ups that Schenker has led over the years. The first MSG album since 2008 though, last year's Immortal (which I reviewed here), felt some more like the third Michael Schenker Fest album than a true MSG album - which was due to the amount of talent that it contained. Schenker has solidified things on the live front again now, but Immortal featured a vast cast of characters - some of whom where previous MSG alumni, some of whom are in MSG now, and some of whom were just guests. Having clearly enjoyed working with the current MSG line-up live last year, though, Schenker seemed to want to capture that magic in the studio - which lead to the release of Universal, the latest MSG album, back in May. The core of the album was recorded by the current MSG line-up, but a few guests were still invited along, too. Joining Schenker on most of the songs here are previous MSG folk and current live band members frontman Ronnie Romero, drummer Bodo Schopf, and keyboardist Steve Mann - along with new bassist Barend Courbois (Vengeance; Tank; Blind Guardian). There are a number of other familiar faces here too, though, such as vocalists Gary Barden and Ralf Scheepers, bassist Barry Sparks, and drummers Simon Phillips and Brian Tichy. A few new faces have also joined the fun, though, including guest spots from vocal legend Michael Kiske (Helloween), bassist Bob Daisley (Rainbow; Ozzy Osbourne; Uriah Heep; Black Sabbath; Gary Moore), drummer Bobby Rondinelli (Rainbow; Black Sabbath; Blue Öyster Cult; Riot; Axel Rudi Pell) among others. Despite this, though, Universal feels more like a true 'band' effort than Immortal - and it really showcases the talents of Romero in particular who is the primary lead vocalist throughout.
The great thing about Universal, too, is how concise it is. Some versions come with two bonus tracks, but the main album features 11 songs, one of which is a short instrumental piece, all of which are very digestible in length. Universal feels like an old-school MSG album as a result, which is nice considering that Schenker's recent releases have tended to be on the longer side. It opens with Emergency, a strong mid-paced hard rocker that very much has that old-school MSG vibe - although there is actually more than a little hint of Ritchie Blackmore in Schenker's main riff here. Mann's Hammond organ backing enhances this slight Deep Purple/Rainbow vibe somewhat, too, whilst Phillips' tight double bass drum grooves keep the song ticking. I have sometimes been critical of Romero on this blog, but I feel that he has really found a home with Schenker of late - and his vocal performance throughout this album is very strong. He can sometimes be a bit over the top, but his vocal on Emergency is quite understated - perfectly carrying the melodies of the snaking, mid-paced track. Schenker's guitar playing is a majestic as ever, too, with the song's main riff being a catchy one - and his neo-classical solo is packed full of memorable phrases and melodic leads. Under Attack follows, and it is the first song there that features the current MSG live band in full. The Blackmore vibes from the opening track are gone, and instead the track is very much in the classic MSG mould - with a muscular guitar riff that drives everything and the prominent bass presence of Courbois giving the song real weight. Emergency had more of a fleet-fingered feel, but Under Attack is much heavier - although the production, courtesy Schenker and his long-time collaborator Michael Voss, helps to give the track a warm feel. Mann's keyboards add depth, but they are less prominent this time, and there is an anthemic chorus that features a strong backing vocal refrain that is bound to go down pretty well live. It is a very memorable song as a result, and I would not be surprised to see it appearing in the band's setlists going forward - as its riff-heavy sound and big chorus are made for the stage. A short keyboard-led instrumental piece Calling Baal, written and performed by Tony Carey (Rainbow; Planet P Project), then essentially acts a spacey and extended intro for A King Has Gone - which is Schenker's tribute to the late Ronnie James Dio. It seems a bit strange to release a Dio tribute 12 years after his death, but the song is very enjoyable - featuring Carey and Daisley, who have both worked with Dio in the past. Kiske takes the lead vocal this time, and his strong, higher-pitched voice works well throughout the neo-classical track - whilst Rondinelli's drums add his trademark hard-hitting sound into the mix. The song's lyrics make lots of references to Dio's lyrics, and Kiske handles them well - whilst Carey adds plenty of roaring Hammond to the track. Schenker's guitar solo is another memorable and melodic one, too.
The Universe loses some of the overt rockiness of the opening few numbers, and goes for a slower-paced, somewhat more epic sound - and features Romero duetting with original MSG frontman Barden. Barden's voice has certainly deteriorated over the years, but he turns in a memorable performance here. Romero does much of the heavy lifting, with Barden adding his melodic croon to some of the slower sections - and the duet works well as a result. Schenker's guitar playing is actually fairly understated throughout the song, too, especially early on. The song does grow in stature as it moves along, which calls for some bigger riffs, but in general he lays down melodies for the two singers to croon atop - whilst Mann adds keyboard depth and the rhythm section keep a mournful beat. Schenker has always known when to pull back and allow others to shine, unlike some other guitar playing solo artists, and this is a perfect example of that mindset - although the lengthy, closing guitar solo still allows him to shine with a trademark melodic display. Long Long Road is another track courtesy of the current live band, and it is another fairly organic hard rocker. It has a bit of a 1980s sheen throughout, though, largely thanks to Mann's keyboards. The keyboards have a bit of a pomp edge throughout, and there are a few twinkly melodies that are sprinkled throughout the track - which clash nicely with Schenker's busy, yet mid-paced, riff. The chorus is another very catchy one, too, and Romero really owns it vocally. Subtle vocal harmonies make the chorus sound nice and big, and it is another song that is likely to go down well live thanks to its hooks and general melodic nature. Wrecking Ball features the final guest vocalist of the album as Scheepers, who also appeared on Immortal, takes over the microphone. Unsurprisingly, the song is heavier than much of the rest of the album, but it is not as heavy as Scheepers' previous contribution Drilled to Kill. The organic nature of the rest of the album is maintained throughout Wrecking Ball, but Schenker's riffing is much meatier and louder - whilst Mann's Hammond roars and adds a slightly aggressive edge to the track. Scheepers sounds great vocally as always, too, and his screeching traditional heavy metal vocal style suits the riffy song nicely. It is a track with a lot of balls, and it gives the album an injection of pace and power as a result. Yesterday is Dead returns Romero to his rightful place behind the microphone, and the track is another mid-paced hard rocker with a strong Tichy drum groove and a chorus that would go down well live thanks to its anthemic pace and slow-burning pre-chorus. This pre-chorus section helps the song to have a dynamic sound thanks to its keyboard arrangement, and the pulsing bass playing of Sparks throughout gives it its bouncing rhythm.
Another standout song for me is the heavier, mid-paced hard rock of London Calling. It is not a Clash cover, but instead a tribute to the British rock scene of the 1970s as well as the NWOBHM movement of the 1980s. Schenker himself was of course a part of his movement in the 1970s as a member of UFO, and MSG has also contained a lot of British musicians throughout the years and were regular visitors to the UK throughout the 1980s. Schenker clearly feels an affinity with the UK as a result, despite his German heritage, and London Calling showcases this. It is a very British-sounding song, too, with lots of Hammond organ and a stomping groove that recalls many of the 1970s British hard rock acts. Romero supplies a great vocal, too, and his delivery of the crunching chorus helps to bring it to life. The lyrics are a bit wordy at times, but his conviction manages to keep things on track - and the song is one of my favourite cuts here thanks to its heavier sound, Romero's excellent vocals, and Schenker's solo. Sad is the Song slows things down quite considerably, but the song is not exactly a ballad. The opening moments have slight Blackmore nods again, with a bit of a Gates of Babylon feel thanks to Schenker's neo-classical melodies and an Eastern-tinged vibe - which is accentuated by Phillips' off-kilter drumming. This sound dominates the verses, but the choruses are more traditional in style. The pace is upped during the choruses and the melodies are much more traditional in tone - with the strong Romero vocal and some atmospheric keyboards. Schenker's solo makes use of the slower tones of the verse section as a backing, though, and it allows him to indulge in a different playing style. His solo in Sad is the Song is more atmospheric and effects-heavy than usual; and it sounds quite different from the rest of the solos here. The album comes to a close in more of a traditional manner, though, as the pace is raised again for Au Revoir - a catchy, old-school sounding Schenker tune with a busy guitar riff and some excellent drumming from Phillips. Schenker and Phillips have a great understanding that goes back many years, and the two team up perfectly here for the snappy riffing - which Sparks holds together with his busy bass playing. Mann's Hammond adds additional melodies where necessary, too, and Romero sings atop everything in his trademark powerful manner. Reflecting back on Romero's performances throughout this album, this may well be his best recorded work yet. He reined in some of his excess here, and there is a warmth and emotion that has not always been present previously. Even throughout this faster, heavier song he sounds more organic than usual - and that suits the 1970s grooves of Schenker and Phillips. The song ends the album on a high, although there are no weak moments here really. The whole album showcases Schenker's songwriting and guitar playing, but also the talents of many other musicians and singers. I like the fact that this feels like more of a band effort, though, despite the multiple guests, and the focus on Romero as a singer works well. Schenker seems to be on a roll currently, so I imagine that it will not be too long before we hear more from him - but for now Universe is another excellent album for his fans to enjoy.
The album was released on 27th May 2022 via Atomic Fire Records. Below is the band's promotional video for Emergency.
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