Michael Schenker Group Temple of Rock Tour – North America VIP Tix Now Available

Michael Schenker teams with Robin McAuley for Temple of Rock Tour

“Michael Schenker’s guitar playing has left an indelible mark on rock and roll history.” – Ultimate Guitar

Legendary guitarist Michael Schenker has announced he will offer VIP Ticket Packages for his Temple of Rock North American Tour. The packages offer concert attendees an opportunity to hang out with two of rock’s legendary icons – Michael Schenker and Robin McAuley. VIP Packages also include admission to the show and soundcheck prior to the show; photo opportunities at soundcheck; tour bus send-off after the show; and autographed posters. The VIP Ticket packages are limited to 10 per show, are sponsored by Dean Guitars, and can be purchased for $250 at: http://www.serge.org/msgviptickets.htm. Read more

Michael Schenker | Temple of Rock

by John Kindred
Staff Writer –

Re-tooling the rock and roll machine for another studio album, Michael Schenker is back with Temple of Rock. This is a follow-up to MSG’s 2008′s In the Midst of Beauty and ’09′s Gipsy Lady, both of which reunited Schenker with original MSG frontman Gary Barden. Gipsy Lady certainly left a bad taste in everyone’s mouth. We have become accustomed to Schenker’s acoustic instrumental forays, but on that album, Barden sounds tired, with the magic and voice gone. The album failed to have that old spark that worked well for the duo in the past. The new decade hasn’t been kind to Schenker, as more recent releases haven’t held up to the classic albums of the ’80s or even some of the standout efforts he released in the ’90s.

Interestingly enough this isn’t a MSG album but rather a solo effort. Joining Schenker on Temple of Rock are vocalist Michael Voss, the familiar Wayne Findlay, former Scorpion drummer Herman Rarebell and old pal and former UFO bandmate bassist Pete Way. As with recent past efforts, a revolving door of guest musicians appear on the album: Most notably, William Shatner, Rudolf Schenker, Leslie West, Doogie White, Robin McAuley and Carmin Appice. This certainly is a who’s who list of class-act musicians, each having played a part in with the historical evolution of the hard rock and metal genres.

Temple of Rock comprises the spoken-word introduction by William Shatner and features 12 new songs. The first musical number, “How Long,” is featured at the beginning and then again at the close of the CD. The second version of the song is structurally the same as the first, but this one includes guitar solos by Schenker, West and Michael Amott. The Japanese edition included the bonus track “Remember.”

As with all MSG and Schenker albums, his signature rhythmic style and soloing are the primary moving forces throughout the entire album. His unique style gives the music its hard rock edge and its melody. You can’t go wrong with the musicians assembled to backup Schenker. Usually, the ace in the hole is carried by the singer. Michael Voss’s voice adds a radio-friendly AOR vibe to Temple of Rock. Except for the songs “Before the Devil Knows Your Dead,” which is sung by Doogie White and “Lover’s Sinfony,” which is sung by Robin McAuley, Voss handles all of the lead vocals on the album. MSG fans surely have a favorite style of vocal they like to hear over Schenker’s guitar. This will play heavily into whether this album becomes a revered CD in your collection.

Temple of Rock has its moments of brilliance as well as mediocrity. Unfortunately, one the strongest songs is “Before the Devil Knows Your Dead.” Sung by White, who does have that emotional gritty edge to his voice; his vocals flow and ebb smoothly over Schenker’s melodic riffs. From a continuity standpoint, this plays against Voss. Although Voss shines on several tracks, including “Scene of Crime,” “How Long,” “Speed” and “End of An Era,” there are just a few tracks in which his vocals are lifeless: “Hanging On,” “Fallen Angel,” and “With You” that lack any punch and just fall flat. Robin McAuley’s vocal take on “Lover’s Sinfony” has flavors of previous MSG albums, Perfect Timing and Save Yourself, embedded within context of the vocal melody. It’s a good song; it’s just not a great song. The first single, “Miss Claustrophobia,” from the album is a signature Schenker tune that is full of melody as it builds to anthem-style chorus.

After 40-plus years, Michael Schenker remains a player’s player. There’s not much drastic change in Schenker’s musical style. Although with this go-around, there are subtle influences from other cultures that peek through here and there that weren’t in his compositions before. His mastery of the guitar continues to impress and inspire. Where others have hit rock bottom and never recovered, Schenker always does and finds solace in his guitar. The body of recorded works by Schenker in the Scorpions, UFO, The Plot and MSG, side projects, such as Contraband and Siggi Schwartz, and a compilation cover albums released by Shrapnel Records is extensive. Michael Schenker most certainly is a living a legend; his legacy runs deep as he continues to influence and inspire others. He is a true “guitar hero.”

Gennre: Hard Rock

Band:
Michael Schenker – Guitar
Michael Voss – Vocals
Herman Rarebell – Drums
Pete Way – Bass
Wayne Findlay – Keyboards

Guests:
Rudolf Schenker (SCORPIONS)
William Shatner (Captain Kirk from “Star Trek”)
Leslie West (MOUNTAIN)
Michael Amott (ARCH ENEMY)
Doogie White (ex-RITCHIE BLACKMORE, ex-YNGWIE MALMSTEEN)
Robin McAuley (SURVIVOR, ex-MSG)
Don Airey (DEEP PURPLE)
Paul Raymond (UFO)
Simon Phillips (TOTO, THE WHO, JUDAS PRIEST)
Carmine Appice (KING KOBRA, VANILLA FUDGE, ROD STEWART, JEFF BECK, OZZY OSBOURNE, BLUE MURDER)
Chris Slade (MSG, ex-AC/DC)
Chris Glenn (MSG, ex-ALEX HARVEY)
Neil Murray (MSG, ex-WHITESNAKE, ex-GARY MOORE)
Brian Tichy (WHITESNAKE)
Elliott “Dean” Rubinson (Owner of Dean Guitars)

Track Listing:
01. Intro
02. How Long
03. The End Of An Era
04. Saturday Night
05. Fallen Angel
06. Hangin’ On
07. With You
08. Miss Claustrophobia
09. Scene Of Crime
10. Lovers Sinfony-Speed
11. Stormin’ In
12. Speed
13. Before The Devil Knows You’re Dead
14. How Long (guitar battle version)
15. Remember (bonus track for Japan)

Label: INAKUSTIK

Hardrock Haven rating: 7/10

UFO | THE CHRYSALIS YEARS (1973-1979)

by John Kindred
Staff Writer

UFO is a blues-based hard rock band from the United Kingdom. The band was formed by the trio of Phil Mogg, Andy Parker and Pete Way in ’69. UFO released two studio albums, 1970′s UFO 1 and ’71′s UFO 2: Flying, prior to signing on with Chrysalis Records, which paved the way for their international success. During this time, the band’s featured guitarist was Mick Bolton from 1969 to ’72 and then Bernie Marsden, who later joined Whitesnake, briefly filled the slot in 1973.

In 1973, UFO asked the then 18-year-old Michael Schenker, from the Scorpions, to join the band after Schenker had filled in for Madsen at a headline gig in Germany. Schenker’s arrival denoted a period of six years in which UFO delivered some of its best-recorded works to the world, releasing five studio albums and one live double album from 1973 to ’79. The albums of that time period include: Phenomenon (1973), Force It (1975), No Heavy Petting (1976), Lights Out (1977) and Obsession (1978). The live album Strangers in the Night was released in 1979. The band’s core during this time comprised Mogg, Schenker, Way and Parker, with additional support from Danny Peyronel on No Heavy Petting and Paul Raymond on Obsession.

Paying tribute to UFO’s contributions to the hard rock and metal communities, Capitol/EMI Records have released the five-CD set THE CHRYSALIS YEARS (1973-1979). The five-CD collection features the 2007 re-mastered albums: Phenomenon, Force It and No Heavy Petting; the 2008 re-master of the albums Lights Out and Strangers In The Night; and the 1999 re-master of Obsession. Also included is a rare previously unreleased 45-minute concert recording from UFO’s first U.S. tour that was recorded in 1974 at Atlanta’s Electric Ballroom. Eighty-one tracks are culled from the original studio recordings (re-masters of course), including a live, unreleased concert from ’74, the band’s first-ever released singles from Chrysalis “Give Her The Gun” and “Sweet Little Thing,” BBC Radio Sessions, B-sides and rare remixes.

Eighty-one songs is a lot to digest for those who have never heard UFO, but as you listen, you will unearth some of rock’s most overlooked gems. The foundation is laid by Schenker, as the band moves from a predominantly blues-based hard rock unit to slightly experimental excursions and a heavier more metallic sound as they close out the 1970s. Most hard rock and metal fans know “Lights Out” or “Rock Bottom,” but here, they can experience instrumental songs, such as the elegant “Arbory Road” or “Lipstick Traces.” “Between the Walls” falls at the end of the song “This Kids” and is similar to the work Schenker performed with Scorpions on Lonesome Crow. “Try Me” from Lights Out features one of Schenker’s most melodic solos that he ever recorded. “Love to Love” from Lights Out is one of the greatest hard rock songs ever recorded and shows off the musical ability of the band. From the guitar, bass, drums and vocal, you can’t top what UFO deliver on this song.

Mogg is a singer who is really good at his craft. At times, he is great, and when he is, he truly shines. Pete Way set standards for performance that NWOBHM bands were soon to emulate at the end of the ’70s and into the ’80s. Andy Parker was the steady pulse that drove the ship. Schenker provided the aerial acrobatics that, when intermingled with Moggs vocals melodies, provided a magical spark of energy.

Strangers In The Night was the album from the tour that should have broken the band stateside. By 1978, tensions in the band led to Schenker leaving to rejoin the Scorpions and later forming the Michael Schenker Group, MSG. Schenker’s departure was the final nail in the coffin and stopped the band in its tracks from being the next big thing on America. Having almost reached the pinnacle of success that would have made the group a household name, the band slipped back a step or two.

The band release five more records on Chrysalis Records before moving to a new label. Between 1980 and 1992, the band worked with numerous guitarists who attempted to fill Schenker’s shoes as best they could. The band has had considerable turnover of musicians over the years, with Mogg being the constant band member. Schenker returned to UFO on 1995′s Walk on Water (Eagle Records), and he stayed with the band for two more albums on Shrapnel Records; ’00 Covenant and ’02 Sharks. He finally was replaced by guitar virtuoso Vinnie Moore on 2004′s You Are Here (SPV Records) who has been with UFO since then.

Band:
Phil Mogg (vocals)
Michael Schenker (guitar)
Pete Way (bass)
Andy Parker (drums)
Danny Peyronel (vocals, keyboards on No Heavy Petting)
Paul Raymond (keyboards, guitar on Obsession)

Track Listing:

DISC ONE
1. Give Her The Gun (Single A-Side)
2. Sweet Little Thing (Single B-Side)
Phenomenon
3. Oh My
4. Crystal Light
5. Doctor Doctor
6. Space Child
7. Rock Bottom
8. Too Young To Know
9. Time On My Hands
10. Built For Comfort
11. Lipstick Traces
12. Queen Of The Deep
Bonus Track
13. Doctor Doctor (Single Edit)*
Bob Harris session (28th October 1974)
14. Rock Bottom
15. Time On My Hands
16. Give Her The Gun

DISC TWO
Electric Ballroom, Atlanta, GA 5th November 1974**
(Previously Unreleased)
1. Oh My
2. Doctor Doctor
3. Built For Comfort
4. Give Her The Gun
5. Cold Turkey
6. Space Child
7. Rock Bottom
8. Prince Kujuku
Force It (Side One)
9. Let It Roll
10. Shoot Shoot
11. High Flyer (4:09)
12. Love Lost Love (3:22)
13. Out In The Street

DISC THREE
Force It (Side Two)
1. Mother Mary
2. Too Much Of Nothing
3. Dance Your Life Away
4. This Kid’s (Including ‘Between The Walls’)
No Heavy Petting
5. Natural Thing
6. I’m A Loser
7. Can You Roll Her
8. Belladonna
9. Reasons Love
10. Highway Lady
11. On With The Action
12. A Fool In Love
13. Martian Landscape
Lights Out (Side One)
14. Too Hot To Handle
15. Just Another Suicide
16. Try Me
17. Lights Out

DISC FOUR
Lights Out (Side Two)
1. Gettin’ Ready
2. Alone Again Or
3. Electric Phase
4. Love To Love
Lights Out Bonus Track
5. Try Me (Single Remix)*
John Peel session (27th June 1977)
6. Too Hot To Handle
7. Lights Out
8. Try Me
Obsession
9. Only You Can Rock Me
10. Pack It Up (And Go)
11. Arbory Hill
12. Ain’t No Baby
13. Lookin’ Out For No 1
14. Hot ‘N’ Ready
15. Cherry
16. You Don’t Fool Me
17. Lookin’ Out For No 1 (Reprise)
18. One More For The Rodeo
19. Born To Lose
Bonus Track
20. Only You Can Rock Me (Single Version)*

DISC FIVE
Strangers In The Night
1. Natural Thing
2. Out In The Street
3. Only You Can Rock Me
4. Doctor Doctor
5. Mother Mary
6. This Kid’s
7. Love To Love
8. Lights Out
9. Rock Bottom
10. Too Hot To Handle
11. I’m A Loser
12. Let It Roll
13. Shoot Shoot

Strangers In The Night Bonus Tracks
14. Doctor Doctor (Live Single Edit)
15. On With The Action (Live Single B-Side)*

*Available on CD for the first time
**Previously unreleased

Label: CAPITOL / EMI

Hardrock Haven rating: n/a

James Byrd

by John Kindred
Staff Writer

James Byrd first gained notoriety with the band Fifth Angel before forming his solo band in the ‘80s. His neo-classical-virtuoso guitar style was influenced by Ritchie Blackmore, Uli Jon Roth (Scorpions era), Gary Moore, Al DiMeola, Neal Schon and Michael Schenker.

“One of the best European sounding guitarists I have heard in years, he definitely has ‘the vision’ and aims for each note and makes it count,” — Yngwie Malmsteen.

In the ‘80s Guitar for the Practicing Magazine (now known as Guitar One) listed Byrd in their one-off feature, “The 10 best guitarists you have never heard.”

Discography:

Solo:
• James Byrd’s Atlantis Rising – S/T (1990)
• James Byrd – Octoglomerate (1993)
• James Byrd – Son Of Man (1995)
• The James Byrd Group – The Apocalypse Chime (1996)
• James Byrd’s Atlantis Rising – Crimes Of Virtuosity (1998)
• Byrd – Flying Beyond The 9 (2001)
• Byrd – Anthem (2002)
• James Byrd’s Atlantis Rising – Beyond the Pillars (2011)

with Fifth Angel
• Fifth Angel – S/T (1988)

Hardrock Haven: James it’s nice to talk with you again.

James Byrd: Hi, nice to hear from you again as well.

Hardrock Haven: Last time we discussed the re-release of ‘97s Crime of Virtuosity as well Byrd Guitars, Yngwie, Fifth Angel, etc. Today you are back with a new release, Beyond the Pillars on Lion Music, which is yet again another album going back deep into the vaults of unreleased material. What did rediscovery this “lost” material mean to you?

James Byrd: I had truly forgotten the recordings, and I was really surprised at how good the performances were.

Hardrock Haven: Hearing the music must have been like traveling back in time. Was it an emotional high or low transitioning Fifth Angel to your solo band?

James Byrd: It was definitely a high. Although Fifth Angel ended up being a bitter disappointment when people I’d placed my trust in, started breaking agreements and demanding new terms, I realized just how easy it was to move forward artistically when you didn’t have to deal with out of control egos and endless debates before taking a vote on every decision. It felt great and freeing.

Hardrock Haven: What was the inspiration for the music we are going to hear when we put Beyond the Pillars in our CD players?

James Byrd: Just having the freedom to make my own musical decisions without being second guessed by anyone gave me a lot of energy. A lot of my writing makes use of subjects that interest me, and since I was a kid, I have been obsessed with Atlantis and what’s called “forbidden archeology”. But we were very young, so girls were on our minds (and hanging around as we recorded), so there are a lot of love songs.

Hardrock Haven: Are there any memories of this time period that came flooding back when you heard the master tape again that you had forgotten?

James Byrd: Oh yeah. Warm fuzzy, blurry memories of girls from the Deja Vue, the smell of beer which permeated every fiber of The Music Bank, going out to clubs after the sessions. We had a very good time.

Hardrock Haven: If there is new material in the pipe line the why this release it as opposed to new material?

James Byrd: Well as you may have noticed, the music industry (along with the rest of the economy) isn’t what it used to be. I undertook to start my guitar company Byrd Guitars, making instruments for the public in 2001 because the writing was on the wall in terms of money from labels, and aside from these guitars being a passion of mine, I thought it wise not to have all my eggs in one basket. So discovering the tapes, and finding out they were worthy of release, enabled me to give something to fans who hadn’t had anything new in too long.

Hardrock Haven: Final thoughts on the release of Beyond the Pillars?

James Byrd: I’m pretty proud of it actually, it’s hard to believe I was so young and the tracks sound so fresh and high energy after not hearing them for 23 years. I think there’s some great writing.

Hardrock Haven: One of your heroes, Gary Moore passed away this year. How did the news hit you personally?

James Byrd: I was stunned really. It’s a huge loss. I remember playing some of his songs when I was 19, and he was a great musician. And then of course it makes you aware of your own mortality. Very sobering really.

Hardrock Haven: When you look back at your career, what would you do or not do differently?

James Byrd: That’s so hard to answer; even the bad things lead to where I went, and one has no way of knowing where they’d be. There can’t be regrets, but obviously everyone wonders about where they would be if they’d made different decisions. Fifth Angel ended very badly, but I can’t regret the time I put in there because it launched me.

Hardrock Haven: In my mind you are a lot like Michael Schenker, almost a cult guitar hero. Not necessarily main stream enough, like Malmsteen or Satriani, to be known as well as they are. So has social media (facebook,myspace, twitter, etc.) and the web in general helped to garner more notoriety?

James Byrd: Well I just started “face booking” about a year ago, and I am always surprised at the people from my past who find me, and the messages I get from fans. I don’t really know about more notoriety, but it obviously can’t hurt.

Hardrock Haven: Fifth Angel has recently reformed. Were you asked or invited to participate with the band? If you weren’t asked, would you play with them again if they came calling?

James Byrd: How can a band with only one original member (Ed) be viewed as legitimate? I was asked and my answer was absolutely not. There’s only one reason why someone would try to do this using the name, and I’m afraid the answer isn’t pretty. I said no for both artistic and personal reasons and either of those alone would be enough for me not to entertain the idea.

From an artistic perspective, if you call something a “reunion”, you have two choices: Either make a contrived effort to make an album that sounds like people remember the band, or to make an album that sounds different. If you make an album that sounds like people remember, well, you haven’t grown as an artist have you. You are just pandering to people’s sense of nostalgia. And if you make an album that’s different, well then what’s the point of claiming it’s a reunion? You’re going to just alienate the old fans. So it’s a no win in my opinion.

And on a personal level, I had decided when I heard about this so-called reunion that I wouldn’t say anything, but now I will: I was truly offended that Ed had the audacity to think he had a right to exploit a legendary band name for his own purposes, and I wanted nothing to do with it because that guy is the reason the band kept breaking up from the beginning.

I am saying something now, because I guess you hadn’t heard, but their new drummer quit, and their fifth vocalist also quit. I believe he was the 4th vocalist to throw in the towel. And this is actually a part of the reason I felt releasing Beyond The Pillars would be good; Fifth Angel fans have been jerked around since 2003 with repeated promises of a reunion, and when Jeff McCormack and David Fefholt (both friends of mine now) both quit a couple of months ago, I was able to release an album that was not an imitation of the past, but the real deal; a genuine time capsule from 1987. Hopefully it will fill some of that desire for a solid 80′s album, and it’s a good one.

In conclusion about Fifth Angel, all I can say now, is I hope they will show some respect for what the band was during its brief but shining moment in the spot light, by just letting the memory of the band rest in peace.

Hardrock Haven: Touching on your custom guitars, BYRD Guitars, how is the business going?

James Byrd: I’m definitely not getting rich at it in this bad economy, but it has been incredibly satisfying. This isn’t some signature guitar I put my name on that some company halfway around the world makes. I spent years and tens of thousands of dollars developing and patenting it, and each order from customers is a custom build, and I am the builder. It’s creative, and there is tremendous satisfaction in fulfilling someone’s guitar dream and building them the perfect instrument.

Hardrock Haven: Are there any other projects you are working on now?

James Byrd: Aside from guitar builds, I’ve been fabricating a chopper. I’ve been a custom fabricator since I was 20 years old, and a biker most of my life as well. As a rule I never talk about albums until they are finished, I guess I am superstitious.

Hardrock Haven: James thanks for taking time to do this interview.

James Byrd: Thank you!

Amadeus Awad : Ghost Stories

by John Kindred
Staff Writer

The musical journey for Beirut-based Amadeus Awad has not been an easy one. Inspired by a video performance of Ritchie Blackmore with Deep Purple at the 1974 California Jam music festival, Awad’s passion to learn to play the electric guitar was ignited. Born and raised in Tripoli, North Lebanon, a culture that didn’t celebrate or accept the musical concepts from Western nations, Awad was financially challenged and lacked the availability of instruction that others took for granted. Growing up in a war-torn country in the middle of a civil war also amplified the challenge, but that didn’t deter Awad.

His perseverance led him to become a skilled, self-taught musician. At age 14, Awad Formed his first rock band, the Thorn Birds, and honed his skills on classic rock songs from bands such as Deep Purple, Dio and Rainbow. At 19, he moved to Beirut and went to school at the Beirut School of Fine Art and earned a Bachelor of Art degree in Musicology. At 22, he landed the gig as the guitarist for The Armenian artist Guy Manoukian. Pushing his career forward has led Awad to compose music for TV ads, documentaries and short films while he also worked as a session player live and in the studio for other artists. He also was a key player in forming Sphere, a band that featured Guy Manoukian on keyboards.

Awad continues to move forward on his chosen career path, producing his first solo instrumental album Ghost Stories. The album features five songs in which Awad merges his rock influences with the music of his own culture. He uses exotic scales and instruments to bring a fresh take on electric guitar-dominated instrumentals.

The influence of Ritchie Blackemore is evident in the way that Awad approaches phrasing his solos. His use of the WAH pedal witihin the context of the compositions tips its hat to the legendary Michael Schenker. Awad demonstrates a keen awareness to avoid unnecessary overplaying or shredding. His tasteful performance is highlighted in these five songs. Awad musical guitar style highlights his ability to incorporate melodic passages, neo-classical, legato and arpeggiated runs into his phrasing.

“April Rain” is a tranquil acoustic number with Middle Eastern flair. “Immortal Dunes” has a Blackmore Night-ish vibe. The solo has the same tonal signature of Blackmore’s guitar sound. “Ghost Stories” is driven by the heartbeat of a clock. Tasteful guitar licks abound over the musical bed of drums, guitar and clock. “Virtual Eclipse” is the barn burner here. Not that it’s a shred monster in the vein of a Paul Gilbert or maybe Malmsteen, but the song allows Awad to let loose with more tasty chops. Hints of a Satriani influence are in there as well. “Autumn Eyes” opens with an acoustic guitar melody and sad “slide work” before Elia Che enters on vocals. The song has a pleasant, melodic yet sad quality. Awad shines yet again, providing an elegant balance of rhythm and solo work for you to enjoy.

The dogma associated with Eastern culture, at least from the way we see the Middle East portrayed in the main stream media, leaves us believing that their culture is old, uncivilized and barbaric. Awad shines a light on a people who also have a voice that should be heard. The soul of man can be heard in the notes that he plays and the music that he writes. Awad displays his understanding of the instrument and crafts music that is tasteful, enjoyable and satisfying to listen to.

Genre: Instrumental Hard Rock

Label: Independent

Track Listing:
1. April Rain
2. Immortal Dunes
3. Ghost Stories
4. Virtual Eclipse
5. Autumn Eyes (featuring Elia Che on Vocals)

Web:
http://www.facebook.com/amadeus.awad.band
http://www.reverbnation/amadeusawad
http://www.youtube.com/amadeusawad

Hardrock Haven rating: 8/10

MSG to SWEDEN ROCK!

It is now 30 years since German guitar-hero Michael Schenker released the eponymous debut of the Michael Schenker Group. This made him a third time creator of hard-rock history, after co-founding Scorpions and elevating Brits UFO to superstardom. Now Schenker is about to enter the stage to celebrate the 30^th anniversary of “Armed and Ready”, “Cry for the Nations” and the rest of the classics on MSG’s debut. By his side we find two more band-members from that era: drummer Simon Phillips (Judas Priest, Mike Oldfield, Ian Gillan, Toto) and not least vocalist Gary Barden. Schenker’s trusted associate Wayne Findlay delivers rhythm guitar and keyboards, while the bass comes courtesy of legend Neil Murray (Whitesnake, Gary Moore, Black Sabbath, Brian May). A formidable dream team for any fan of traditional melodic hard rock. Read more

MSG Live & Loud

by John Kindred
Staff Writer

Live & Loud offers digitally re-mastered songs recorded by the legendary guitarist Michael Schenker with his band MSG. The breakdown of the nine-track release includes six live tracks taken from previous live performances, the studio track “Written in the Sand” and his audio-biography in English and German.

Offering nothing “new” for longtime fans, this release falls in line with many previous “best of” or “greatest hits” packages that have been offered up over the years. And with such a minimal track listing, it really doesn’t do justice to Schenker’s long, tumultuous career. Starting his musical endeavors by forming the Scorpions with his brother in the early ‘70s, Schenker moved on to the British band UFO until his departure to form his own band MSG in the ‘80s.

Schenker displays his virtuosity throughout this brief foray into his musical journeys. Included are live songs from 1999’s The Unforgiven World Tour Live!, “Doctor Doctor,” “Lights Out” and the instrumental song “Captain Nemo.” Three more live songs are from 1997’s The Michael Story Live; “Assault Attack,” “Attack of the Mad Axeman” and “Natural Thing” also appear on the CD. And the lone studio song is the title track “Written in the Sand” from the ’99 release.

Chances are that, as a Michael Schenker fan, you have all the original releases in your collection. You probably own an ipod or MP3 player or still use CDRs to make your own MSG mix playlists or CDs. So you really don’t need another “best of” or “greatest hits” package. Unless you are a hardcore collector or Schenker newbie, this just won’t be a release you have to have.

Label: IMV/BLUELINE PRODUCTION

Tracks:
1. Doctor, Doctor (from The Unforgiven World Tour Live!)
2. Assault Attack (from The Michael Story Live)
3. Written in the Sand (from Written in the Sand)
4. Attack of the Mad Axeman (from The Michael Story Live)
5. Natural Thing (from The Michael Story Live)
6. Lights Out (from The Unforgiven World Tour Live!)
7. Captain Nemo (from The Unforgiven World Tour Live!)
8. History I (English Audio-biography)
9. History II (German Audio-biography)

Hardrock Haven rating: n/a