MICHAEL SCHENKER
Legendary German axeman Michael Schenker, he of erstwhile UFO/Scorpions fame, has forged an equally successful solo career for himself over the years with a whole array of albums issued under his Michael Schenker Group guise, together with a number of self-monikered releases. And here we have his latest full-length solo effort, recorded alongside his 'Temple of Rock' touring lineup - sticksman Herman Rarebell and bassist Francis Bucholz, both ex-Scorpions; guitarist/keyboardist Wayne Findlay; and ex-Rainbow/ex-Malmsteen vocalist Doogie White (with whom he co-wrote the album). With such esteemed performers on one record, expectations are high. Highly regarded personnel, however, do not always translate into quality music. Anyone remember Seven the Hardway's self-titled debut three years ago featuring the likes of Tony MacAlpine, Virgil Donati and Mark Boals? Total crap. An incredible disappointment and a prime example that every assemlage of virtuosic players doesn't automatically mean their combined talents work that well. Fortunately, Michael Schenker and co., with 'Bridge the Gap', have created a rock/metal album par excellence - well produced/mixed/mastered, well performed and, most importantly, featuring some very good songwriting.
The album's title, apparently, is indicative of Schenker's intention to mix up the old with the new, albeit retro flavours are far more prominent throughout so don't expect anything too groundbreakingly contemporary. However, old/new juxtapositions aside, the album's strength does actually reside in its other contrasts - predominantly, with its epic sounding melodies that run the gamut of emotions from darkly menacing to the more optimistically uplifting. All involved perform at their very best on these recordings although the genuine emotive profundity derives from White's, as ever, affectively expressive voice and Schenker's melt-in-your-mouth guitar tone. Combine those two with the ex-Scorpions rhythm section, and inventive keyboard sounds plus additional guitars from Findlay, and the results are quite exhilarating. Although I must reassert - exhilarating within a primarily retro-rock/metal context; don't be misled by claims of the old/new duality. All in all though, another fine addition to Schenker's ever-growing canon of work.
The album's title, apparently, is indicative of Schenker's intention to mix up the old with the new, albeit retro flavours are far more prominent throughout so don't expect anything too groundbreakingly contemporary. However, old/new juxtapositions aside, the album's strength does actually reside in its other contrasts - predominantly, with its epic sounding melodies that run the gamut of emotions from darkly menacing to the more optimistically uplifting. All involved perform at their very best on these recordings although the genuine emotive profundity derives from White's, as ever, affectively expressive voice and Schenker's melt-in-your-mouth guitar tone. Combine those two with the ex-Scorpions rhythm section, and inventive keyboard sounds plus additional guitars from Findlay, and the results are quite exhilarating. Although I must reassert - exhilarating within a primarily retro-rock/metal context; don't be misled by claims of the old/new duality. All in all though, another fine addition to Schenker's ever-growing canon of work.
LABEL:
FORMAT:
inakustik
Album
BRIDGE THE GAP
Review by Mark Holmes
RUNNING TIME:
54:50
RELEASE DATE:
2nd Dec 2013
TRACK LISTING
1) Neptune Rising
2) Where the Wild Winds Blow
3) Horizons; 4) Lord of the Lost and Lonely
5) Rock 'n' Roll Symphony
6) To Live for the King; 7) Land of Thunder
8) Temple of the Holy
9) Shine On
10) Bridges We Have Burned
11) Because You Lied
12) Black Moon Rising
13) Dance for the Piper
2) Where the Wild Winds Blow
3) Horizons; 4) Lord of the Lost and Lonely
5) Rock 'n' Roll Symphony
6) To Live for the King; 7) Land of Thunder
8) Temple of the Holy
9) Shine On
10) Bridges We Have Burned
11) Because You Lied
12) Black Moon Rising
13) Dance for the Piper
COUNTRY OF ORIGIN:
Germany
"...another fine addition to Schenker's ever-growing canon of work."
