M.S.G.
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.
Review by: Alanna
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