Michael Schenker Group's 'Don't Sell Your Soul' - Album Review

Like a surprising number of veteran acts, particularly over the past decade or so, the German guitar wizard Michael Schenker has been busy - both in terms of live shows and new material. Whilst some older acts have only got back into the new album game again fairly recently, hence my past decade comment previously, Schenker has never really stopped. Even throughout the 1990s and 2000s he was generally pretty busy - but even by his standards he has been very active in recent years. Despite putting his Michael Schenker Group (MSG) band on the backburner for a while, he remained very busy with his career-retrospective band Michael Schenker's Temple of Rock for a good few years - before the Michael Schenker Fest tours and albums saw him reunite with many classic collaborators from the past. In more recent years, though, MSG has been back on the menu. The band's first album since 2008, Immortal (which I reviewed here), dropped in 2021 - whilst Universal (which I also reviewed here) followed a year later. Whilst these two albums were under the MSG name, they essentially felt like continuations of the Fest years - with big lists of collaborators filling both albums, giving them something of an all-star feel. As such, neither felt like true a MSG album. Despite going through many different incarnations over the years, with Schenker himself the only constant, each MSG album was made by a core band - with Schenker generally writing songs with whoever was singing for him at the time. Whilst the quality varied between albums, each one still felt a cohesive band effort. Both Immortal and Universal nominally featured core line-ups, the number of additional guests, particularly singers, gave the albums more of a varied feel. This was also continued on last year's My Years with UFO - which was released as a Schenker solo album. My Years with UFO did not feature a core band at all - and featured an even larger cast of characters helping Schenker re-record a number of classic UFO songs from the 1970s. Far from an essential, the album was certainly enjoyable - and was a fitting use of a number of guests. Schenker has been on tour for much of this year playing shows exclusively featuring UFO songs, which sadly I could not make, but he has also found time to write and record - as earlier this month he dropped the latest MSG album Don't Sell Your Soul. I would not say that anything Schenker has put out for many years at this point has been essential, but he has always maintained a decent level of quality - and Don't Sell Your Soul continues this. It is instantly recognisable as a Schenker release - and is does actually feature his current live band throughout this time with bassist Barend Courbois, keyboard player Steve Mann, and drummer Bodo Schopf, who have all played on some of Schenker's albums previously, returning from Universal. Vocally, though, there is some variety - but less than there has been of late. Erik Grönwall (H.E.A.T; New Horizon; Skid Row), who featured on one song on My Years with UFO and was part of the touring band here in Europe, is arguably the 'main' singer here - singing on five of the 11 songs. However, Roberto Liapakis (Valley's Eve; Mystic Prophecy; Steel Prophet), who has recently been touring with Schenker in the US, sang one song - whilst regular collaborator throughout the years Robin McAuley sang two and producer Michael Voss sang three. Whilst I like this album, my main problem with it is the vocal balance. Grönwall is capable of doing the whole album himself, although he sounds quite reined in here compared to his previous performances. In fact he ends up sounding a bit like Voss at times, and perhaps as the latter is doing backing vocals sometimes, too, which is a shame.

I am not sure why this is the case, as it seems strange to use a singer like Grönwall and not have him sound like his usual self. I would have rather, too, that Schenker stuck to just one singer and make a killer MSG album like he used to - but even with these different singers the album does feel a bit more cohesive than some of his others of late have, but this is maybe due to all of the vocalists sounding somewhat subdued. There are still some memorable songs here, though, and the first two feature Grönwall - with the title track kicking things off. A brief drum barrage opens things up, before a chugging rhythm takes over - and Schenker lays down a very distinctive guitar lead. Schenker's playing is so recognisable, and this lead resurfaces throughout the song - adding some flair to the mid-paced verses which feature Grönwall singing in a slightly soulful manner. The chugging rhythm, which feels like a mid-paced gallop, gives the song some energy - and as the song progresses Grönwall does open up somewhat. The second verse finds him in a more powerful mood, and he unleashes some big, long notes here - whilst the chorus features some subtle vocal harmonies and another big Schenker guitar lead. It is a memorable chorus but it is not as hooky as perhaps it could be. The guitar lead and the harmonies bury the lead vocal somewhat - but the chorus still gets the job done, and Schenker's later solo is filled with little tracks and wah inflections. Like much of this album, the opening number is solidly enjoyable - and similar to other recent efforts. Danger Zone packs a bit more of a punch. Opening with a lone shredded guitar explosion, Schopf soon kicks off a percussive drum groove which dominates the verses - which gradually build around Grönwall's vocals as the chorus is approached. Schenker's held chords and some subtle keyboards give the song more of an atmospheric feel - and Grönwall benefits from his vocals having a bit more room to breathe. The chorus feels more powerful, too, thanks to an anthemic riff from Schenker backing the vocals - whilst Mann lays down some big Hammond organ. It is a hooky chorus thanks to both the guitars and the vocals, whilst the organ gives it a true classic rock grounding. Schenker's solo later on is great, too, and it really lays into his neo-classical side. His playing is always full of melody and this solo is no different - and it helps the song to be one of the album's best overall. Eye of the Storm features McAuley on vocals - who has always been dependable when it comes to working with Schenker. The three McAuley Schenker Group albums are extremely underrated in my opinion, and McAuley's voice remains powerful and melodic - even if he is a bit grittier these days. He does well here, singing atop a Schopf double bass drum pattern - over which Schenker also lays down some choppy melodies. The rhythm section add an edge to the track which would otherwise be missing, whilst the occasional use of keyboards adds a majestic touch. McAuley is easily the most powerful of the album's four lead singers in terms of performances here - and he pushes himself during a powerful chorus which is quite memorable. Schenker's guitar solo is busier this time, too, propelled by Schopf's double bass drumming - meaning that the song overall just feels a bit more potent and metallic.

Voss takes the lead on the smoother Janey the Fox. Voss has been working with Schenker for many years as a songwriting partner and producer, as well as an occasional lead vocalist, and whilst he has a good relationship with Schenker he is not the most interesting singer. He has a slightly husky tone but he is nothing special - and I would rather someone else sang the song instead. It is quite a good tune, though, with a strange, creeping vibe during the verses - which culminates in a somewhat understated and poppy chorus which pits Voss' vocals against chiming clean guitars in a slightly Cheap Trick-esque manner. The song overall is a bit different for Schenker, but there is quite a lot going on guitar-wise. He does not riff away as much here, instead laying down clean guitar melodies and strange, effects-heavy noises - with his solo initially taking inspiration from the latter as Mann's keyboards swirl away. It is a fun song, but a stronger singer would have likely elevated it further. Voss sings the next two songs, too, with I Can't Stand Waiting returning to something more typical of the album's core sound - with a mid-paced, riffy verse feeling somewhat more anthemic, whilst the chorus actually sees Voss pushing himself a bit vocally and sounding more powerful. Grönwall may also be singing on the chorus, too, as some of the harmonies sound like him - and it is actually a pretty hooky chorus as a result of the vocal power here. Despite the song being a mid-paced rocker, too, it feels quite energetic. The drums have a nice crack to them, which help to drive the song, whilst the bass is quite high in the mix to propel the riffs. There is less of a keyboard presence here, too, meaning that the guitar riffing is always front and centre - with Schenker's riffing and solo work again on point. Sign of the Times is Voss' last lead vocal on the album, and the song picks up the pace with a snappy riff kicking things off - and an organic sound coming from the booming rhythm section. Elements of the song's later chorus form part of the intro, with Voss singing parts of it in a strange manner - and I think that, of Voss' three songs here, it is my least favourite. I do like some of the chorus vocal melodies which come later, but Voss really showcases his vocal limitations during this faster track. His thin voice holds the song back in my opinion - and given the speed of the piece someone with more power should have been employed to keep up with the flashier riffing and the busier rhythm section. As mentioned, the chorus is decent, and Schenker's later solo is fast-paced and full of melodic, metallic shredding - but overall the song feel like it never reaches its potential. Grönwall returns on The Chosen, and the pace slows down quite considerably. Opening with a creeping, snaking guitar lead, the song is quite hard to describe. At times it feels like something of a ballad - but it feels too rocking at times despite the slow pace to be truly such. Whatever the case, though, I do not think that the song really works. It does not seem to know what it truly wants to do - and it does not really showcase Schenker in any meaningful way. Ironically, though, it features Grönwall pushing himself vocally a bit at times - and there are moments where the power I know is there shows itself somewhat. Elsewhere, though, he sings in a strange melodic semi-whisper - with Mann's keyboards doing a lot of heavy lifting due to a lack of big guitar hooks, save for a later solo which does not fit with the rest of the song at all.

It's You feels much more rocking, and it is the sole song here to feature Liapakis. More known in the power metal genre, Liapakis has always sat at the heavier end of such thanks to his gruffer voice - but I actually think that he suits Schenker's style quite well - and It's You is quite a powerful mid-paced rocker with a chorus that actually soars a little bit, plus some heaviness during the verses thanks to the gritty vocals and chugging guitar rhythms. It is nothing special, but the song has plenty of life - and it feels especially powerful following the strange previous number. It just feels like a slightly more modern version of the songs Schenker was writing in the 1980s - and that is no bad thing. The guitar riffing is tight but not overpowering, the vocal melodies are hooky, and Schenker's solo throws in some wah tricks to add to the overall sense of melody. Sixstring Shotgun, which sounds like it should be an instrumental, is the final track to feature McAuley. It is not as good as Eye of the Storm, but McAuley still does a good job vocally. The song is a bit more dynamic, though, with a riffy intro soon cast aside for some clean guitar melodies and more of a slow-burning verse. The chorus later returns to the relative weight of the intro - but it does not hit as hard as some of the better choruses here, partially down to the lyrics which are poor. I quite like the song's overall more dynamic approach, but it never really takes hold due to the lumpy chorus - which is a shame as Schenker and McAuley's collaborations are usually better. Grönwall returns for the final two songs, then, with the strong Flesh and Bone up next. It is another somewhat faster song and there is an infectious energy throughout - and Grönwall sounds powerful during parts of the song, even though he is a bit low in the mix at times. It seems that Schenker has been hellbent here not to make the most of Grönwall's talents, which is strange, but the two could be good together if Schenker let Grönwall shine - as the chorus melodies and the overall power of the verse vocals show. Due to Grönwall's vocal approach and Schenker laying down some more metallic riffing, the song feels weightier - and it is another overall highlight thanks to these elements. The chorus vocal melodies are ones which get stuck in the brain, too, and I can see the song working well live. The album then comes to a close with Surrender, another faster song which opens with some busy guitar melodies before Schopf once again lays into his double bass drums. There is a metallic edge to the song as a result, then, but the guitar playing throughout is not as busy nor as potent as it could be. Schenker largely holds his chords here to allow the drums to lead everything - and whilst Grönwall delivers powerfully during a chorus which could have come from the Graham Bonnet era of Rainbow the verses do not feel all that interesting. It is one of those songs that seems to have quite a few ingredients for success but does not capitalise on them. Schenker's later neo-classical guitar melodies are excellent, but his lack of big riffing given that the heavier song could do with some is strange - and Grönwall again feels a bit subdued at times despite the decent chorus. It ends the album on a bit of a strange note, then, and it is always a shame when albums do not end well. Overall, then, Don't Sell Your Soul is a mixed bag. There are some strong songs here, alongside some good performances - but the two do not always match up. The production and mixing is not always that great - and the vocalists do not always bring their A-game. For me, Schenker needs a great singer to succeed - and I really wish that he would settle on someone again and forge a new creative relationship. It is probably also time for a new producer, too - someone who can shake things up and push Schenker creatively. I am not sure that Voss is that kind of person. Despite this, though, there are things to enjoy here - and Schenker fans will certainly find plenty of nuggets throughout.

The album was released on 3rd October 2025 via earMusic. Below is the band's promotional video for Don't Sell Your Soul.