851. The Michael Schenker Group / The Michael Schenker Group. 1980. 4/5

Michael Schenker had had a busy and somewhat tumultuous two years leading up to the release of this album, and even for someone who had been known for his volatility throughout his career, the events over that particular two-year period were even extreme for someone of his characteristics. After six years as a part of the band UFO, which had included five studio albums which were not only very successful but that he had contributed to writing the majority of, it came to pass on October 29, 1978, that he quit the band. Many people have come forward over the years to suggest what the reasons for this were, and all seem to differ in one way or another. Schenker had gotten into the habit of walking off stage during live gigs if he was unhappy about something, or anything, and this was obviously causing the band great distress. Lead singer Phil Mogg was quoted as saying that the final straw for Schenker was that he was unhappy with the version of “Rock Bottom” that was chosen to be put on the band’s live album “Strangers in the Night” - though Schenker commented later “don’t believe everything you read”. From here, Schenker actually reappeared with his original band, Scorpions. They had just parted ways with Schenker’s own replacement in the band, Uli Jon Roth and brought in Matthias Jabs as his replacement. However, Schenker kept appearing at the studio as they were writing and recording their new album “Lovedrive”, and he was asked if he would like to contribute. He was a co-composer and also played lead guitar on three tracks - "Another Piece of Meat", "Coast to Coast" and "Lovedrive – although in more recent times Schenker has claimed that he contributed to the entire album. On the back of the album release, Schenker actually rejoined Scorpions as their lead guitarist as Jabs’s expense and toured with the band... lasting just a few weeks before he quit once again, on this occasion blaming the fact that he didn’t enjoy playing someone else’s songs. The band crawled back to Jabs to rejoin the band, and they have not been separated in the 45 years since. After this, Schenker auditioned for Aerosmith to replace Joe Perry who had left the band, but eventually he decided that he was going to form his own band instead, which would allow him to have to answer to no one but himself.
He moved to London, and within a few weeks of his arrival he met Gary Barden, who was then lead singer of another local band. They hit it off and decided they would start their own band, one that would take on Schenker’s name. The two of them began writing together, and soon had enough songs to form a demo. Bringing in bass guitarist Billy Sheehan and drummer Denny Carmassi, they recorded the demo towards the end of 1979. This led to a deal with Chrysalis Records, and allowed the band to go in and record their full formed first album. Sheehan and Carmassi were replaced by session musicians for the album recording, who were again replaced once it came time to tour the album. That album, the debut for the band produced by Roger Glover, was released in August of 1980 and titled eponymously as The Michael Schenker Group.

Many people would have initially come into this album looking for more of the same that Schenker had produced in his UFO days, or perhaps even on that Scorpions album. There is always an inherent danger in looking for comparisons to artists previous work when they create or join a new band. In this case, you can argue that it seems to come off pretty well.
There is a lot to like about this first album from the new band. The ready-made classic "Armed and Ready" opens up the album, setting off on the right foot. With the right mix of sing-along lyrics, guitar, drums and keyboard, this has the perfect beat to draw you into the album, while still allowing Schenker to show off his skills through the middle of the songs. This is still as terrific today as it was on its release. "Cry for the Nations" utilises the same visions, allowing Schenker's guitar to explore its way through the song while Barden warbles on over the top. The tinkling keyboard synth to open the track actually throws you off as to what is to come, with Schenker’s hard riffing guitar bursting out and kicking the song into gear. Barden’s smooth vocal croons over the top while the guitar riff injects the drive into the song. "Victim of Illusion" starts off with Schenker’s guitar pushing the energy from the beginning once again There is a bit of this era Judas Priest about this song in the rhythm guitar riff, it has a similarity about it that is comforting without stealing into the screaming vocals or dual guitar solos that band feasts on. This is a very good song that does at time feel as though it has left some fuel in the tank. Perhaps that is just the Priest vibes about it.
There are two instrumental tracks on the album, and both are born of different creatures. The first is "Bijou Pleasurette", played as a more classical guitar suite, combining a middle ages keyboard and guitar sound much like a harpsichord and a sitar, in a refined and quiet atmosphere. There are touches here of what Yngwie Malmsteen would use on his albums in the future, and no doubt Schenker was someone who he modelled himself on. The first side of the album is wrapped up with "Feels Like a Good Thing", that comes in with more purpose. Barden is more forceful vocally here from the outset, showcasing the best side of his abilities, the excellent mid range vocal and the scream that doesn’t betray his range, then followed by Schenker’s excellent guitar solo through the middle of the track, backed underneath by the falling rhythm guitar and bass line that holds the track together so well. This powers its way all the way to the end and closes out the first half of the album excellently
The second instrumental track of the album opens up the second side." Into the Arena" is much more hard rock track, with Schenker taking control from the outset and letting his guitar do the talking. The bassline underneath is suitably rumbling and is the perfect accompaniment to what Schenker is performing over the top, while allowing the keyboards to duel along the way, and then the drums to have their own place to shine into the second half of the song. This is one of those brilliant instrumental tracks, one that is one of Schenker’s best known and most requested songs.
"Looking Out from Nowhere" is the quintessential rock track from the late 70’s to early 80’s. It isn’t a cookie cutter type of song from that era but it does contain all of the traits of those songs that look for a commercial bent in their tunes. This one is done particularly well, retaining the harder rock version of itself. Barden’s vocals sit in that range that tempt you in, along with the backing ‘aaaaahs’ that fill out the chorus, while Schenker’s solo to close out the track is suitably superb as always. By the end of the song it has transformed from the almost soft rock tendencies of the opening minute to a much more satisfying hard rock conclusion. “Tales of Mystery" returns to the other side of the tracks, the style that Malmsteen must have grown up on, with the almost classical guitar and quieter tones of both guitar and vocals throughout. The mix of electric and acoustic guitar shows a different side of the band and Schenker and Barden themselves. The album then concludes with the seven minute plus of "Lost Horizons", which for the most part channels the 1970's method of songs that lengthen themselves beyond the norm with a freeform guitar extravaganza while the rest of the band plays on until it comes to a natural conclusion. In a similar way as he had done on UFO’s classic track “Love to Love”, here it allows Schenker again to do what he does best, which is play the guitar and make fascinating and brilliant tunes from it. It may well be a pointer to the past, a recognition of what he had done in UFO, but it also promises to continue in a stronger direction in the future. Barden’s vocal is also powerful and almost anthemic as we wind through mystical and slightly eastern style of guitar. It is an epic conclusion to what has been a wonderful first outing of a new project.

For those that have been keeping track, my first introduction to Michael Schenker had been through my heavy metal music dealer. On the occasion that I had offered him a cassette to tape a different album for me, if there was ever any room on the end of the cassette he would record three or four songs from another album onto the end, either something that he had just discovered or was just enjoying listening to. On this particular occasion, the end of the cassette had several songs from a live album called “Rock Will Never Die” by the Michael Schenker Group, the most memorable for me being “Into the Arena” and “Desert Song”. Later (when I found a spare cassette to cannibalise within my parents collection) I got him to record that whole album for me. A year later, while at university, and on a trip to my favourite second hand record store at the time Illawarra Books and Records, I found a double LP called The Michael Schenker Anthology that covered his career with UFO, Scorpions and his own band – to that point in time. And I played that to death. I was hooked, on Schenker, and UFO, and Scorpions.
Over time I collected those first six albums – four studio and two live – and played them again, to death. What I’ve always liked about this album in particular is that it is not a band so much at this point in time – though perhaps that remains true for Schenker’s whole career, that it is him and a revolving cast of artists. But on this first album, it is basically himself and vocalist Gary Barden. The sessions musicians played on the album, and they do their job really well here. The drums and bass are a big part of making these songs what they are, so the performances of Simon Phillips and Mo Foster are important, along with Don Airey on keyboards. But this is Schenker and Barden, guitar and voice, and they work well together, and write well together, which is more than half the battle.
I have had this album out again this week, at home in the Metal Cavern it has been the original vinyl pressing of the album that sounds so marvellous every time I put it on. And it is still all fantastic to listen to. The songs themselves are great, but it is Schenker’s guitar that I adore listening to. The things he can do on that instrument, the things that aren’t always obvious WHY it sounds so good unless you really listen, are what makes his music so special. And his days in UFO are still some of my favourite songs and albums, but what he does here and then over the next 5-10 years on his own project is also just brilliant.
This album is a great starting point for a band that Schenker has moved around in different shapes and forms over the past 45 years. An argument could be made that these songs would sound even better with a stronger vocalist, and indeed in a live setting that has probably proven to be the case. There is also a case that can be made that this has dated somewhat since its release. Again you can only take that on face value. In the main this is a fantastic album, one that takes a step away from Schenker's work in UFO and allows him to begin to put his own stamp on the hard rock and heavy metal scene in his own capacity.