Michael Schenker is a man reborn. Having earned a reputation as a guitar player of note with the Scorpions, UFO and the Michael Schenker Group, the shadow of alcohol hung heavy over the guitarist throughout the 2000s only for the clouds to lift towards the end of the decade and for Michael to embark on his Temple of Rock project. Released in 2011 and followed by an excellent live album/DVD, Temple of Rock is a life-affirming body of work that also includes 2013’s ‘bridge the gap’ and now ‘spirit on a mission’. It is a project born of passion and what comes through on ‘spirit on a mission’ more than anything else is that Michael is fulfilling the role he has always dreamed of. Surrounded by unique talent, Michael’s guitar work is second-to-none and, over twelve pulse-quickening rock tracks, he demonstrates exactly why he is held in such high-esteem.
Perhaps the pivotal reason for the success of ‘spirit on a mission’ is the fact that Michael is teamed up here with Herman Rarebell (drums) and Frank Buchholz (bass), the original rhythm section from the Scorpions’ evergreen ‘Lovedrive’ album, and that trio, alongside Wayne Findlay (keyboards and guitars) and Doogie White (vocals), have managed to craft a powerful, melodic rock beast of a record. Doogie White is a long-time collaborator of Michael’s and I hold him in the highest esteem as a vocalist. In recent years he has proved time and time again that he is a powerful presence, not just with Michael Schenker but also with Tank. His performance here most certainly does not disappoint and as the riffs of ‘live and let live’ pile up, his powerful, instantly recognisable voice cuts through the heart of the song with power and precision. It’s a blinder of an opening song too, a hard-edged riff-fest ably backed up by the crushing rhythm work of Herman and Francis. With Doogie’s cry of ‘live and let live’ on the chorus, it’s an anthem in the making and it will undoubtedly set any live performance alight. Slower paced, ‘communion’ is the sort of chugging, bluesy, hard-rock monster that Doogie excels at, and despite the fact that it operates within well-worn territory, the performance is so heartfelt that you can’t help but be dragged in, and the solo is, as you would expect, typically sublime. ‘Vigilante man’ sets the blood pumping faster with a quicksilver riff and then, with its strident battle cry of “we’re gonna rock this city!”, ‘rock city’ comes charging out of the gate like a prime cross between the absurdity of Kiss and the hard rock attitude of Motley Crue. The idea may, of course, be cliché, but what strikes home most forcibly is that the song precisely encapsulates what Michael Schenker and co. do and it’s impossible not to be moved by its simple, honest power. Better still is the brutal ‘saviour machine’, a huge, shuddering juggernaut comprised of towering riffs and atmospheric keyboard slabs. This is Michael Shenker at his best, unleashing monolithic riffs with gleeful abandon, and Doogie White’s excellent vocals are more than up to the challenge.
Sadly not written about Michael Howard, ‘something of the night’ is a blistering rock workout with some immense soloing at its heart. The sort of furious hard rock that harks back to Deep Purple’s ‘in rock’, Rainbow and Dio-led Sabbath, ‘something of the night’ is the song to play the unconvinced because it simply oozes quality whether it be the stunning musicianship, the frenetic pace or the gutsy vocals. Even heavier is ‘all our yesterdays’, a crushing piece of work with some amazing vocal harmonies and a dream theatre edge to it. A firm highlight on an album where every single track is solid gold, ‘all our yesterdays’ is the sort of adrenalin-charged hard rock that instantly takes me back to my teenage years – it’s exciting, invigorating and endlessly replayable and it rocks like a hurricane. The pace does not slacken with the furious surge of ‘Bulletproof’, a gut-punch of a track that once again showcases exactly why Michael Schenker is the perfect person to build the temple of rock. What stands out more than anything else is that the solo always serves the song, and Michael is more than happy to simply unleash powerful riffs – there’s not a single ego-massaging moment here – and the result is a record that is powerful and memorable in equal measure. With a brief, quiet intro, ‘let the devil scream’ is a full on metal stomp with one of Doogie’s strongest, darkest performances and a strong, chugging riff at its heart. Whilst still heavy, ‘good times’ does exactly what it says on the tin, offering up some pure good time rock in the vein of Whitesnake with Doogie nostalgically recalling the titular good times. The album races towards its conclusion with the furious ‘restless heart’, a full-tilt rocker that once again harks back to Deep Purple’s finest moments for inspiration. The album closes with ‘wicked’ and it’s only then you realise that the record has consistently rocked with no hint of let up. A pulverising finale, ‘wicked’ places a neat full stop against one of the finest records Michael Schenker has yet put his name to.
In short, if you like full-on hard rock with attitude and a timeless quality, then Michael Schenker’s excellent ‘spirit on a mission’ is the perfect addition to your collection. Chocked full of classic anthems in the making and never less than exhilarating, Michael Schenker, alongside his Temple of Rock cohorts Doogie White, Francis Buccholz and Herman Rarebell, has outdone himself. This is surely one of the rock albums of the year and a genuine pleasure from start to finish.
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