Reviews

Michael Schenker has never been a guy short on music, and with Michael Shenker Group, his solo work, and all the other projects he devotes time to, he has proven the well is far from running dry. This album is another worthy addition to his legacy, but not one that will change it. It is a pretty standard 2020's Schenker product, and possibly suffers for exactly that reason - it is a little too standard, and ultimately predictable. The majority of the album's vocals are handed by Eric Gronwall, recently exited from Skid Row. There are also appearances from Robin McAuley and Michael Voss (who have both crossed paths with Schenker many times over the years), and the power metal vocals of Roberto Dimitri Liapakis even show up. All seasoned veterans as vocalists, and appearing on hundreds of albums - they were an easy choice to include. Mixing up the vocals is a nice touch, and are really the only moments of surprise on the album, as musically is doesn't have much that longtime fans haven't heard before. Opener 'Don't Sell Your Soul' grooves with an Iron Maiden style gallop, but is ultimately quite restrained musically and vocally for an opener. The understated but very smooth solo (really Schenker's signature style), catches interest, and helps the songs to be a repeat listen grower. 'Danger Zone' is similar, in that it doesn't jump out the speakers, instead rumbling low, like an idling engine. As always, the solo is perfectly placed, but overall it doesn't really pop as the second track on the album. Track 3, 'Eye Of The Storm' allows the album to start stretching it's legs, and is more in the usual Schenker style. It has a distinctly 80's neoclassical feel in places, and McAuley's vocals sound like it is 1985 again. Depending on what you are looking for, this feels more like the album fans are here to listen to. 'Janey The Fox' is a slower modern sounding song, that is again slick - and not very memorable. Every album needs breathing room, but it hadn't felt like it had really opened up enough yet to warrant it this early. 'I Can't Stand Waiting' is another mid-paced track, and doesn't feel like much of a stretch for any of the musicians here. A guitarist like Schenker surely could not be challenged by songs this simple? Much like 'Eye Of Storm' earlier, 'Sign Of The Times' has a distinctly 80s sound - and the album is so much better for it. At this point it is obvious that Schenker is looking to keep his sound fresh and modern, but the songs here that have more of a throwback style or riff are actually where the album shines the most. Modern doesn't have to mean simple, and artists like Wolfgang Van Halen have proven with his Mammoth WVH band that you can use throwbacks in modern songs and still keep things sounding fresh. The solo here is one of the best on the album, and is so distinctly Schenker that you hear the entire history of his discography revealed to your ears. He even puts in a second one just as sublime later in the track. The most successful of the modern sounding tracks is the speedy 'Flash And Bone', showing that by adding a hook, the song can be infinitely better. 'Surrender' drives the album to a close, and is one of the best tracks on display. Gronwall carries the vocals well, but doesn't really push himself hard, and the song could have used the pipes of someone like Jeff Scott Soto to really lift it. Overall, it is a pleasant listen, and although it won't break into any Top 5 Schenker albums lists anytime soon, it is still worth spending time with. It does beg the question though, is Michael Schenker, now in his 70s, looking to play it fairly safe from here on? He has earned the right to coast if he wants to, but there are hints throughout this album that by pushing himself slightly harder these songs could benefit from some sharper edges.