Michael Schenker (MSG, UFO, Scorpions) Interview

Have you ever found yourself in a situation where you can’t help but ask, “How did I get here?”, or some variation of such? In my case, the question would be worded, “How did I go from reviewing albums to an audience of my closest friends to interviewing Michael Schenker?” This would be a dream come true for any lifelong defender of the faith. For a lifelong Chicagoan who was raised on UFO, this phone call was the equivalent of a trip to Mecca. I just couldn’t let that excitement show. Hard as that was, once I got past the initial shock of speaking to the man himself, Schenker proved to be full of wit and wisdom; a trailblazer who doesn’t rest easy on his laurels. There’s no greater proof of this than his latest studio album, Universal, which we talked all about and more in this brand new interview.

Greetings Michael and welcome to Defenders of the Faith! How are you doing today?

Michael Schenker: I’m OK thank you! How are you?

I’m great! I’d like to start by congratulating you on your new album, Universal, as well as your ongoing 50th anniversary celebration.

MS: Thank you very much.

I understand the band just finished a run of shows in Europe. How did that go?

MS: Fantastic! We were very lucky that Robin McAuley jumped in to replace Ronnie Romero who had a personal problem. I had to accept him not being able to participate, but Ronnie will carry on after, doing the festivals and America and Japan and so on. Robin did a fantastic job. Nobody could’ve jumped in like that and done so great. He saved the day, really. The promoters in general felt, from March on, that half the amount of people would show up than usual because of the pandemic, but we did very good. We did very good in most places. 

It’s a risky thing to do, to be the starter, but at the same time, I don’t really care too much if I’m playing in front of a lot of people or not. The main thing is, I just realized the last concert in Rome was half full, but it was full of happy fans. I said to my bass player, “I’d rather play to a half full place of happy fans than a full house of curious people who don’t know what they’re watching.” The last show was so much fun. It was unbelievable! 

Your fans are always enthusiastic. Whether you’re doing Michael Schenker Group shows, or in the case of your last couple American tours, Michael Schenker Fest, everyone’s pumped and singing along to every song. When it comes to a career as lengthy and prolific as yours, how do you settle on a setlist?

MS: The setlist is always interesting. I just have to play it by ear, keeping my past setlists, comparing them, being sure that songs that couldn’t be played on the last two or three tours make it onto a setlist. You can’t play everything. I’ve got such a big repertoire. People are always going to ask, “Why don’t you play this? Why don’t you play that?” Take it step by step. I remember those requests. I put them on paper and then, eventually, they show up in the setlist. 

I make sure it’s always a balanced setlist, not overdone, and always add a few requests, as many as I can, without losing the obvious important songs. You just squeeze everything in, wherever you can. I play pretty long, up to 2 hours. Not many do that anymore. I still play that long, but you can only squeeze so many songs in. I make sure that there’s always something fresh showing up, not meaning necessarily brand new songs, but old classics that haven’t been played for a while. 

Speaking of new music, Universal comes hot off the heels of your last album, Immortal. How soon after the release of Immortal did work get underway on Universal?

MS: I’m not sure the journalists get the reality of how we make albums: When we start writing, when we start making the record, when we start actually recording and it’s finished, the deadline for the album. Like for this album, we had to turn over the master in November. That’s already 6 months. It takes 6 months before an album is released, and we finished it 6 months ago. That happened with the last album too. It’s not really what the world perceives, but what actually happens is a different timing. It’s very hard for me to think back. I can only take this album as a reference, but it’s no problem. I’m used to doing, with UFO, right from the beginning of my career, a record a year. I don’t get writer’s block either. With UFO, we did an album, tour, next year, album, tour, next year, album, tour, next year, album, tour. We did that for 8 or 9 years. Then I helped Scorpions out. Then I did MSG. 

I know, based on people’s conversations, that all of a sudden there was a trend where people took 2, 3, or 4 years. I think that is down to running out of ideas and not really knowing what to do anymore, because they copy each other, all these commercial bands from the 80s. They’re really copying each other and at some point there’s nothing to copy anymore that sounds fresh or good. So people run out of ideas and that’s what takes them longer to make a record. For me, it didn’t stop. I just kept making records. I actually almost made a record a year, sometimes 2 records a year, because I have so much inside of myself. That’s why I didn’t join Ozzy Osbourne, Aerosmith, carry on with UFO or Scorpions, or whatever. I needed to do so many different things, acoustic instrumentals, electric instrumentals, stuff that never would’ve suited any of those people, but it was important for me to get it out of my system. Plus, I don’t like copying things. That was the reason why I could never say yes to any of those guys. 

So it seems you just continuously write and work, never necessarily within the confines of one singular release.

MS: I play and discover. Every time I discover something, it’s a piece of gold that I put away. When it’s time for me to write for the next album, I’m ready.

And that’s an interesting point you made about UFO. From Phenomenon through Obsession, that was five years straight of nonstop recording and touring. 

MS: And no problem whatsoever.

But do you think perhaps that ultimately led to, or played a role, in the demise of that lineup of the band? Or was it just a matter of musical ideas of yours that wouldn’t have fit within the confine of that band.

MS: No, I’m just a writer. I love writing. I’m a kaleidoscope, shake me and you get a new combination. The key is I don’t follow a trend. For me, I’m devoted to self expression, and self expression is something unique within yourself. Anybody can do it, but people don’t choose to do it because they don’t believe in themselves. They don’t think it’s worth it. Plus, they want to become famous and rich as quickly as possible, so they stick to a trend, simple as that. 

Much of this album, especially cuts like “Emergency” and “Under Attack”, boasts the old school sound and atmosphere of albums like MSG and Assault Attack. How do you go about balancing that classic sound while still remaining creatively fresh?

MS: It’s a combination of my co-producer and myself. I practice my self expression. My co-producer is a Michael Schenker fan, Gary Barden fan, UFO fan, 80s fan, etc. He knows what I like. He knows immediately what to do when I ask for something. We have a really good combination as a co-producing team. That’s how we get the results. He is an experienced producer, engineer, and musician. He can play all sorts of instruments. Together, we are doing really good. 

One of the songs on here, “A King is Gone”, is a musical tribute to the late Ronnie James Dio, who passed away 12 years ago. When did you first cross paths with Ronnie and what are your favorite memories of him?

MS: I think the first time was when Cozy Powell joined MSG and we played the Country Club in Los Angeles. Ronnie came in and he got a standing ovation. The venue was packed and everybody was standing up and clapping when he came out. That shows how big he was. He was my favorite rock singer, period. I knew about him from Elf, Rainbow, and all these different bands, even though I don’t listen to music, but people talk a lot. But I heard “Long Live Rock ‘n’ Roll” and that was it for me *laughs*. It was just mind blowing, and with Cozy Powell on drums.

I met Ronnie maybe three times, once at a writing session. We talked and so on, but because I refused so many offers that I had from big name bands, people ask, “What about Ronnie? Did he ever ask you?” No, he didn’t, because he knew that I wouldn’t do it *laughs*. I refused everybody, from The Rolling Stones on. I never sold out. I stayed true to myself. I kept practicing pure self expression, as pure as it can get. I’ve done it for over 50 years. It takes a lot, some people might think, but if you’re convinced and really believe in something, the time is gone in the blink of an eye. 

Another song I want to talk about is “London Calling”, which pays tribute to the English scene and era that helped launch MSG to superstardom. When did you sense there was something special happening musically in the UK and how did it impact you?

MS: Well the lyrics were written by Michael Voss, so he knows why he wrote what he wrote. I didn’t even know it was about that until somebody did an interview with me and he explained to me what the lyrics were about. I said, “Ah, I see! They must be about me then!” *laughs* Michael Voss is a fan, so he looks at me like a dictionary for rock n’ roll that he digs in. Gary Barden, the same thing. The people write lyrics about me. “Attack of the Mad Axeman” and stuff like that, it’s all about me. I never knew that because I never really showed much interest for lyrics. I always think it’s about sex. Phil Mogg wrote about sex consistently. 

In the past, there were quite a few lyrics written about me, but because I don’t pay any attention to the lyrics, I never knew. This guy explained to me, and I remember those days when I arrived in the summer of ‘72 in London. It was incredible. It was cosmopolitan. Every country you could imagine was present there. If you had blindfolded me, I wouldn’t have known where I was. It was beautiful. When I arrived, seeing the Thames and the whole structure and how it’s constructed from the sky, it was really, really beautiful. And the people, you name it, everyone is there. 

I remember arriving there, getting to Kensington Market on High Street, where Queen and everybody used to get their stage outfits. Then there was the Marquee Club and the Roundhouse and all the different venues. I spent so many nights at the Marquee Club. I saw Brand X there, AC/DC there, so many bands that were nobody in those days. England was definitely the place I wanted to be. I told Scorpions, “Germany does not know what I’m doing. They don’t understand. I need to get to England!” When UFO asked, I said, “Yes! Here I am!” 

This is your second album with Ronnie Romero on vocals. Can you tell us about your relationship with him? What are the similarities and differences between him and past MSG vocalists?

MS: Ronnie is perfect for me. I had so many different vocalists in the past over my career. It’s the same thing with Ritchie Blackmore for the same reason, with Ronnie James Dio, Graham Bonnet, Joe Lynn Turner, etc. He needed to be able to find a singer who could sing like all of them, and he did! So he laid the groundwork for me. Thank you Ritchie *laughs*! When Michael Voss introduced Ronnie Romero to me, and I had a look into what he was, I realized he was able to sing like anybody. That is his plus. He can be a great frontman for people who have a big catalog with many different singers, which is important for Ritchie and myself. 

Luckily, Robin McAuley does just as well. Ronnie has some problems here and there, so even though he commits, sometimes he still needs to drop out. That’s why I need a replacement. Robin is so kind. He did such a great job in Europe just now. Nobody could’ve done a job like him on such short notice and singing as great as he did. He is getting better the older he gets. It’s unbelievable.

I agree! Robin continues to knock it out of the ballpark, both live and in the studio.

MS: He sings higher now than he did when he was young. And everybody who used to sing high can’t sing high anymore. Robin sings even higher than he used to! It’s unbelievable *laughs*! 

It really is! On that note, what qualities do you look for, whether it be musical or otherwise, in a lead singer?

MS: These days it could be different things. I’m not stuck anywhere. I give myself space and freedom. If somebody shows up who sounds great, I go for it, even if he can’t sing like other singers from before. I’m always in the now, and in the now, I want to get the best record together. I don’t want to capitulate or manipulate too much on how good it fits in with the future and the past. I’m more like, “Go on. Let’s do it and see what happens.” It could be an outrageous singer with a completely new style. Or it could be somebody who sings like a bird *laughs*. I don’t know. If it’s something that feels right, then we’ll do it. I’ll deal with it later.

Your guitar of choice has long been the Flying V. When did you realize this was the guitar for you and what advantages does it have over a Stratocaster or Les Paul?

MS: Nothing dramatic. It just happened. I’m a guy who doesn’t really look for anything. I just use my ears all the time. If it works, don’t fix it. The Flying V was the last thing that came my way that worked, so I didn’t fix it. I moved on. I did a lot of great vibrato because of its position. It’s a lightweight guitar, the one I used to play in the beginning. It had a great combination with my amplifier. I just went for it. I didn’t focus on it. I don’t really focus on those things because I use my ears. 

If something is not right, I find out and figure out what’s not right, but there is usually nothing wrong. When I twiddle around with the treble, bass, and middle knobs on the amplifier to my liking, that’s it. Then I have the sound that I’m looking for, and that’s it. I don’t need to ask anybody. I don’t need to look for anything. I don’t need to do anything other than trust my ears. Ultimately, it shows up.

This year marks the anniversary of two classic albums you were involved in, the first being UFO’s Lights Out, which turns 45. I’ve always felt this album marked a creative shift for the band, particularly with ballads like “Love to Love” and “Try Me”. Was this intentional or just a natural part of the band’s artistic evolution?

MS: The first three albums were great, Phenomenon, Force It, and No Heavy Petting. They were produced by Leo Lyons. The group had a really good chemistry and a very good album run. It was very interesting those first three UFO albums, with Andy Parker, Pete Way, and Phil Mogg. There was very, very outstanding, unusual charisma. I joined them and we had some kind of chemistry, but it wasn’t complete. With the addition of Paul Raymond on guitars and keyboards, and Ron Nevison producing, it became complete. That was it. You cannot replace that. 

Absolutely. It’s still my favorite UFO record. The other album I wanted to touch on was Assault Attack, which turns 40 this year. How did the inclusion of Graham Bonnet impact MSG?

MS: It could’ve been anybody on that level because I had the choice between David Coverdale and Graham Bonnet. Peter Mensch (former MSG manager), he wanted David Coverdale. I actually jammed with Coverdale at Peter Mensch’s house on the song “Dancer”. I had that song already written musically and I jammed it with him. He was singing his version to it, of course. David Coverdale wanted myself, Chris Glen, and Cozy Powell in Whitesnake. I said to Peter Mensch, “Why don’t we ask Coverdale to join MSG?” Of course, neither one happened, but Coverdale sneakily got Cozy Powell out of the band and had him join Whitesnake. We got Ted McKenna, who was a great drummer.

Basically, Peter Mensch really, really wanted David Coverdale, no matter what, but it was impossible. I told Mensch in this case, I wanted to go with Graham Bonnet. I loved the two songs I heard of Graham, “Night Games” and “Since You Been Gone”. Fantastic songs. I said, “How could you go wrong with this?” But of course because I let the singers be themselves, they change to their real selves. Graham Bonnet had the opportunity for the first time to be his real self, not being molded by a producer to sing differently than what he is, which he did on “Since You Been Gone” and “Night Games”. He was being molded as more of a pop singer. 

Anybody who joins MSG has the permission to be themselves 100%. That’s the beauty of my band. Of my different lineups, everybody can be themselves 100%. That’s why we hear Graham Bonnet on Assault Attack for the first time being himself. That’s why he loves this album so much because he was being himself. It makes him very happy. 

In closing, what is your biggest piece of advice to aspiring guitarists, songwriters, and bands?

MS: Just be happy with what you choose to do. If you want to be quickly rich and famous, take a crash course, do some tapping or whatever is the trend to get a piece of the pie. Or, you can be an artist and enjoy self expression. You have to make up your mind, and based on that, you’ll know what needs to be done. 

The new Michael Schenker Group album, Universal, comes out Friday, May 27 on Atomic Fire Records. For more information on Michael Schenker, visit www.michaelschenkerhimself.com.