Michael Schenker Fest's 'Revelation' - Album Review

Any self-respecting list of the greatest guitarists of all time should only be taken seriously if Michael Schenker is included somewhere - and preferably fairly high up. While there are certainly guitarists, from both before and after Schenker's heyday, that have innovated and pushed the instrument further than he ever did - there are few who can boast a career as lauded or have a style so distinct. Schenker burst into the scene as a teenage member of the German heavy metal pioneers Scorpions, and appeared on their 1972 debut album Lonesome Crow, before jumping ship to join the rising British hard rock act UFO in 1973. Throughout the rest of the 1970s, Schenker helped UFO to become one of the most interesting and distinctive rock acts of the decade, and co-wrote many songs that have since before true classics of the genre. He left the band in 1978 after five successful studio albums and the defining live album Strangers in the Night - which was released in 1979 after he had already left the band. A brief but fairly unfruitful Scorpions reunion followed, although he stuck around long enough to contribute to a handful of tracks on their 1979 album Lovedrive, before Schenker struck out on his own and formed the Michael Schenker Group (MSG) which - despite a few other projects including a reunion with UFO in the 1990s - has been the main vehicle for his songwriting ever since. Despite often being presented as a band, in truth MSG has always been Schenker's solo project - with many members coming and going over the years. Lots of well-known musicians from the rock and metal worlds have been a part of MSG over the years, but it is the band's original run of classic studio albums in the 1980s that are the most lauded. It is perhaps this reason then that in 2016, Schenker decided to get together with many of the musicians and singers that had helped make those albums such a success and booked a few shows in Japan in the name 'Michael Schenker Fest'. Joining him were previous MSG singers Gary Barden, Graham Bonnet, and Robin McAuley; as well as bassist Chris Glen, drummer Ted McKenna, and multi-instrumentalist Steve Mann - all who had been a part of MSG at various points throughout the band's history. The shows were a success, and Michael Schenker Fest has since become a permanent entity. The band has toured around the world, playing shows that often push the three hour mark, and released their debut album Resurrection (which I reviewed here) last year. Resurrection was a strong album, but less than eighteen months later the band have released their second effort Revelation which carries on where the first one left off. Michael Schenker's Temple of Rock singer Doogie White also returns for the second effort, but sadly there is an enforced change in the band's line-up due to the untimely death of McKenna earlier this year. The drum stool throughout Revelation is occupied by two former MSG drummers, Simon Phillips and Bodo Schopf, both of whom have played with Schenker on numerous occasions throughout his career.

As with Resurrection, the band's four singers feature throughout the album. Sometimes singing alone and other times sharing the vocals. The album's opening track Rock Steady features all four, and is a strident, mid-paced hard rocker that kicks the album off in style. Some trademark Schenker slow-burning guitar leads open the piece up, with Barden's croaky vocals recalling those very early MSG albums, before Bonnet's foghorn of a voice takes over as Schenker leans into a tough verse rhythm. The song is one of only three to feature Schopf's drumming, and his leaden, Vinny Appice-esque beat really makes the piece feel nice and heavy. Schenker's songwriting is usually much pacier, which is demonstrated throughout the rest of the album, but this track is a great example of his heavier style. The song's chorus is simple but catchy, with Mann's prominent Hammond organ stabs adding a melodic counterpoint to the tough rhythms. While the album rarely sounds this weighty again, the song acts as a strong opening statement - and introduces the whole band perfectly. Under a Blood Red Sky is more typical of Schenker's modern songwriting style with a neo-classical opening guitar patter, Phillips' relentless double bass drumming, and White's dramatic vocals. Temple of Rock was a great time for Schenker's career, which saw him release two excellent studio albums and undertake numerous lengthy tours, which certainly set him up for this current venture. White was a big part of Temple of Rock, so it is great to see their collaborations carrying on via the Fest - and this is another strong track that is up their with the Schenker/White collaborations of the past. Phillips' drumming really keeps the piece moving at all times, while White's Dio-esque delivery of the chorus adds a slight hint of power metal to the album. Not to be outdone, Schenker launches into a fast-paced solo part way through the song, reminding us all just who steers this particular ship - despite an impressive supporting crew. Silent Again initially sounds like is going to be an instrumental piece, as the opening riff and melodies are similar to previous Schenker instrumentals, but then McAuley starts singing and the song morphs into another pacey rocker. McAuley's era of MSG was characterised by a more AOR-esque sound, and that has been somewhat carried forward here. While the verses are more modern sounding, with Schenker's choppy riff and Schopf's driving beats, the chorus is a more overtly-melodic affair with subtle vocal harmonies and Mann's big keyboard arrangement. It might not be as smooth as those late 1980s MSG albums, but is certainly feels more commercial than many of the material here and adds a slight American influence to the album. Sleeping With the Lights On is the second of three songs to feature all four singers, and it is one of the album's highlights for me. Barden again kicks things off over a gentle intro, with Bonnet and White sharing the verses with their powerful voices mixing together perfectly. The real winner here however is the chorus, which McAuley leads, with everyone harmonising together nicely to deliver the snappy melodies with aplomb. It is one of the most instantly-memorable pieces here, and unsurprisingly was chosen to be one of the album's lead singles.

The Beast in the Shadows is the first song to feature Bonnet in full, and it is also one of the first songs that Bonnet and Schenker have written together since 1982's Assault Attack album - as his songs on Resurrection were co-written with producer Michael Voss. Unsurprisingly the song sounds a bit like a lost track from the Assault Attack sessions, with the darker, heavier feel of that album present throughout. While Bonnet is not as strong vocally as he was, he still possesses a big, loud voice. His bellowing style is perfect for the song, and he really drives everything forward - especially during the soaring epic chorus which recalls songs such as Samurai and Desert Song. Schenker's lengthy solo is a special one too, and seems to build on the power of Bonnet's vocal performance and push the song to new heights. The melodies throughout the solo twist the vocal melodies around perfectly and the two parts compliment each other perfectly. It is another album highlight for me, and shows what a singer and songwriter Bonnet still is. Behind the Smile is another White co-write, and it opens with a somewhat Medieval-sounding folky intro before launching into another weighty Schenker riff - with Mann's gothic keyboards adding atmosphere. Keyboards are a much greater part of this album than they were on Resurrection, and their presence certainly helps to really add depth to many of the songs. Mann's playing is all over this piece; with driving piano riffs sitting behind the guitar during some parts to help anchor Glen's bass and Phillip's simple beat, and gothic atmospherics setting the tone elsewhere. This is another instantly-memorable piece for me, and it is another that really brings out the best of all involved. Another lengthy Schenker solo showcases his distinct style, while White plunders his days as a member of Rainbow for the melodic, yet dynamic chorus. Crazy Daze is Barden's first full outing on the album, and the track is a bit of up-beat boogie with Mann's piano once again driving the piece - recalling Armed and Ready at times. Out of the four vocalists that make up the Fest, Barden's voice is the least-preserved. In truth he was never the greatest of singers, but he was a big part of making those early MSG albums such a success so it is great to see him still writing songs with Schenker after all these years. He is easily the best frontman of the four though, and you can real her his charasma dripping out of the song despite his vocal shortcomings - which makes his performance enjoyable to listen to. It is a great example of Schenker's more-basic writing style, with a brash AC/DC-esque riff that surfaces throughout the piece, and a simple chorus that allows Barden to belt out some tasty hooks. There are better songs here, but as a throwback to those early MSG albums it works nicely. Lead You Astray is McAuley's territory and it throws off the AOR shackles that characterised his era of MSG and instead goes for a more straight ahead hard rock sound, with Phillips' double bass drums keeping everything ticking and Glen's bass rumbling away constantly. McAuley's voice is not as smooth as it once was, so the heavier vibe is probably more suited to his modern style - although Mann does spice up the chorus a little with some subtle synths which does act as a bit of a look back to albums like 1989's Save Yourself.

We are the Voice features a fifth singer in the form of Ronnie Romero (Lords of Black; Rainbow; The Ferrymen), so unsurprisingly the song is somewhat heavier to allow for Romero's tougher voice to feel more at home. Unfortunately the song is not a Schenker/Romero collaboration, as Voss wrote the song's lyrics, but the two seem to work well together. While being initially impressed with Romero when he joined up with Rainbow in 2015, I have gone off him a bit over the last couple of years. His tone is a bit nasally at times, which grates on me a bit when listening to studio recordings of him. Live he is a different story, and packed full of power, but the nasally sound unfortunately dominates this song. It is a fairly catchy piece, but overall it is one of the album's weaker moments for me and Schenker should stick to his established vocalists in future. Headed for the Sun is another Barden offering, and is it certainly more involved and epic-sounding than Crazy Daze. Schenker's riff during the verse is excellent, with a real bouncing rhythm, and Mann's short bursts of classically-inspired piano really add some class. I had feared that Barden would sound a bit out of his depth if the band attempted anything more grand-sounding with him, but he holds his own here. The chorus sees him straining a bit, but overall he sounds good and the vocal melodies throughout are strong - with some subtle harmonies employed here and there to help him out a bit. Old Man is the last of the three tracks to feature all four singers, and it opens with a strange modern-sounding riff that is quite different from Schenker's usual style. Considering Schenker is one of those musicians that claims he has not listened to any new music since about the mid-1970s, which I always think just sounds utterly ridiculous and I cringe when I hear/read those interviews, this left field riff comes somewhat out of the blue. The rest of the song is largely in Schenker's usual style however, with plenty of strong vocal performances from all involved and plenty of dramatic keyboards. My favourite part of the piece is actually the slow-paced mid-section that features Barden crooning atop some delicate clean guitar melodies - which acts as a bit of a respite before the lumbering modern riff comes crashing back in. Still in the Fight is the last of the vocally-driven songs, with Bonnet signing things off in his inimitable style. As with The Beast in the Shadows, everything is turned up to eleven, with Bonnet's loud voice roaring out of the speakers while Phillips' gives no quarter behind his double bass drums. It is not as heavy or dramatic as the former Bonnet piece however, but Assault Attack is still recalled thanks to Mann's keyboard textures and Bonnet's distinctive tones. There are stronger songs here, but it is still an enjoyable moment and lacks none of the passion found elsewhere. The album's true final piece however is Ascension, an instrumental that recalls Schenker's guitar-focused pieces of the past. His instrumentals are usually similar in kind, with distinct repeating melodies and occasional neo-classical runs that really sum him his playing. It ends the album on distinctly Schenker note, and gives the listener one final reminder why he is such a revered player. Overall, Revelation is another strong album from Schenker that shows that he is still a great songwriter and guitarist. In truth though, the album is a real team effort with everyone really putting in a shift. The commitment to this mammoth band project from all is commendable, and I cannot see that Michael Schenker Fest will be over any time soon.

The album was released on 20th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Sleeping With the Lights On.