Michael Schenker's late 80s-to-dawn of the 90s hook up with the unmistakable light raspy pipes of ex-Grand Prix vocalist,
Robin McAuley has often been brushed off as a sad commercial move to claim a piece of the metal popularity pie. In some ways, the skeptics are right, when compared to the strange and beautiful musings crafted under the first MSG monicker, cira 1980-85, the McAuley/Schenker pairing is a sugary treat so chock full of sweetness that its like diving in a swimming pool filled with the colorful marshmellows of Lucky Charms cereal.
However, the collaboration was meant to be a re-invention and really, if you consider it, how many bands from the hair explosion would dare to put a potentially controversial song like
"Eve" on their album? Or a deep diving ballad that explores the tragic after consequences of young groupie lust, and not just the glamourized over-sexed view that others focused their musicianship on? Throw in the almost indescribable
"Crazy" that takes a peek at a life that's truly so screwed up there's no wonder the tune's focus individual has flipped his lid along with his trailer trash family, and you can see that this does make its mark as being an unconventional "hair metal" disc indeed.
If going in you expect this to sound like a slightly more pop approach to "The
Michael Schenker Group", you will be disappointed and shocked immediately. The MSG that ruled the roost in the 80s dawning was a unique beast that stretched its individuality and complex, elegant and often wild beauty across four discs and two singers. Very focused on the hypnotic bubbling of Schenker's melodic Flying V antics, there really was nothing else quite like it on the market at the time. This MSG on the other hand, embraces
AOR trappings with arms wide open. There's more of a conscious eye on big hooks than instrumental tangents, and keeping the songs sleek and trim for a potential wider audience.
Schenker's guitar presence is still prevalent, sliding into view for some truly memorable moments of misery that define the melancholy or crushing sadness. The "V" also zooms along at lightspeed for some dazzling string bending during power rock anthems as well.
All of these various switchups to the formula are respectable, even if a little unsettling at times, its when the two team together to perform straight up about the pitfalls of love that they shine as the supergroup they claimed to be. The three stars of the show for this third CD that Schenker has dubbed "MSG" (and it won't be the last...), come one after another in an infectious and unstoppable trilogy.
The first taste is an overpowering ballad of mammoth proportions that is tinged with an undercurrent of wistful regret and a sting of looming sorrow. It dares to propose the question
"Who will there to be, to love you like me, When I'm Gone
?" The makings of love are still vibrant but they give you a few peeks behind the curtain that is hiding a relationship turning sour. She's driving him to the edge with careless indifference to his feelings and therefore he ponders her reaction when he simply cannot take it anymore and the situation arises where he will
"Walk out that door, it's forever, there's no turning back" McAuley hits all the right inflections at the right times.
His voice is like feathery down at the opening, floating gently in the morning haze, which illustrates a personal and private moment, yet when reality is revealed, his voice gathers in strength and forcefulness, driving the upcoming conclusion of this once happy couple like a hammer of conviction. This is a celebration of a wrecked relationship punctured by some heartbroken guitar from Michael that squeals in wrenching pain during the revelations and chorus, and licks its open wounds in soft solitude for the verses, lamenting the impending destruction of this close knit union.
Speaking of heartbroken,
"This Broken Heart" could very well be the tale of that fellow from the previous track. An upbeat and bouncy look at tackling life after the love has gone.
"You cannot break, something already broken, in little pieces as the words are freshly spoken." There's also a hint here that links it to the next piece,
"How many times have you heard, 'I really love you', and you believe it, cos you Believe in Love" It is like a manual of survival that doesn't make light of the residual pain but rather, embraces it as part of the circle of life and the struggle to overcome and heal it. This is all set to some of the most crafty and catchy tuneage to come out of its release year. Replay and sing-a-long factor is high, especially with every second of music jampacked with instruments and a blazing chorus that sets off the energetic verses brilliantly.
"We Believe in Love" seems to believe that
"our love is indeed the greatest love", and Robin belts it with such heartfelt intensity that you will become a believer yourself. Lots of guitar punctuates the song,ripping a string of notes here and there and always lurking in the backdrop, bouncing along to the uptempo mood. Yet, it's still McAuley that gives the song its personality, using careful emphasis to make certain words pop out, and the racing through verses technique that gives a completely different impression.
What seemed like such a perfect romance at the beginning, which made you wonder what went awry, shows its true colours by the tale's end, as the facade begins to crack. The pacing changes abruptly from a happy bounce to being impulsive, rushed, almost manic. The lyrics show an almost frightening stalker-ish side as it becomes obvious he is going to hunt down this girl and follow her til the end of time
"cos no one ain't ever gonna replace me, just you want and see...cos we believe in love." Quite the unexpected twist and no wonder that she was
"scared that easy". His honey got the hell away from his lunacy.
"Eve" is the opener and rips the Adam and Eve bit right out of the book of Genesis and turns it on its head for a scandalous, twisted romp. Stadium pumping harmonies, a sultry bridge with words stretched out like a slithering serpent curling, awaiting to strike, and that it does when the chorus rip roars in with a rollicking bite and a devilishly giddy hook and swing. This all seems to pale to McAuley's enthusiastic cheer of
"Go! Go! Little devil! Go!" Truly a sinful pleasure of a song and a raunchy variation on an age-old theme.
"Never Ending Nightmare" also deserves a nod, as the album's closer and final act, they take the acoustic route. All ballad, but it has this unusual mystique surrounding it that is quite alluring. The simple acoustic melody is all that seems necessary for atmosphere, being a guiding, yet haunting web of music. The intensity is controlled by Robin and his throaty performance that is lovely in it's raw, uncluttered form. This song is like a waking dream, a platform of clarity in the world of dreams that bridges between two nightmares, like a breather inbetween but one which simply seems to quietly and methodically taunt the victim despite the reprieve. It's living without your love in your life, and the kind of nightmare that seems to never end when you know that deep inside, you will be without them ever more, never to share in their presence again. I suppose the stalker aspirations from
"We Believe In Love" didn't work out afterall.
By this third attempt at the McAuley/Schenker project, it is easy to see that they had made lightyear leaps of advancement beyond simple, repetitive, but still enjoyable ditties like "I Am Your Radio" which was cheese curl catchy but also left you feeling guilty with the cheese powder still flaking off your fingers after overindulging on its cheddary excess. "MSG" is much more meaty and complex but still delivers those attractive pop radio friendly hooks in spades.
Unfortunately though, the fame and fortune these two envisioned upon their intitial teaming still remained unrealized as MSG was still struggling and ultimately failed to capture the masses. They were caught up in the throes of the final "hair hurrah". Established bands were at the end of their media darling days of being able to milk out those last fifteens minutes of airplay but anyone who had not broken into the mainstream yet were left to obscurity and diehards at this point. Labels were more interested in sticking the fork in the carcass remains of the hair metal boom and of course, signing every angsty looking, plaid and flannel wearing musician from the Seattle area by the droves. The death toll had arrived.
So since their dream did not come to fruition, they called it quits. McAuley went on to do a solo album, appear as lead vocalist for Elements of Friction and pop up guesting on tribute albums. Atleast he kept his talent flowing and dignity intact with choice projects.
Michael Schenker on the other hand, can safely say that "MSG" is his final completely worthwhile effort, thus far, (although UFO's "Walk On Water" yielded some good tunes), that doesn't solely involve acoustic strumming (the rapidly multiplying like a herd of bunnies, "Thank You" releases, he's up to number Four now if you are keeping count). His behavior over the years has been erratic at best, and the quality of his musical output has dropped like a rock in the ocean along with it.
Well written and performed, this is the most cohesive of the MSG discs and also the most forgotten. It can often be found for "on the cheap" and if you cross it at your favorite record store or second hand shop, left collecting dust on the back shelf or under a stack of Linkin Park discs, then it is definitely a gem just waiting for your discovery.
Written by
Alanna Monday, July 4, 2005
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