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26 of 31 people found the following review helpful
5.0 out of 5 stars Michael Schenker Rocks My Temple
This album starts with an Intro featuring William Shatner. This fact by itself speaks volumes. Shatner, of course, exceeds even Gary Barden (whom we adore) for ham-levels. And yet, for that very reason, Shatner is loved world-wide. Nobody could parody Shatner, because he's already the perfect self-parody. It's a bit like Iron Maiden - so good at parodying heavy metal that...
Published on October 16, 2011 by Robert Knowles

versus
3.0 out of 5 stars Temple of Rock
This is a fair effort but does not live up to Schenker's best abilities.Does not do justice to the title.
Published 6 months ago by ASHWIN SINGH


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26 of 31 people found the following review helpful
5.0 out of 5 stars Michael Schenker Rocks My Temple, October 16, 2011
By 
This review is from: Temple Of Rock (Audio CD)
This album starts with an Intro featuring William Shatner. This fact by itself speaks volumes. Shatner, of course, exceeds even Gary Barden (whom we adore) for ham-levels. And yet, for that very reason, Shatner is loved world-wide. Nobody could parody Shatner, because he's already the perfect self-parody. It's a bit like Iron Maiden - so good at parodying heavy metal that they made Spinal Tap obsolete. To employ Shatner on a cheesy opener, then, is not bad taste, but supremely good taste. It's a way of proleptically predicting all possible criticism of what is about to follow - it's a way of saying: 'whatever criticisms you have concerning this genre - we've heard them all before. But we still love classic rock, so we're doing it anyway'.

In short, as anybody who has seen "Michael Schenker in the Studio for the recording of Unforgiven" already knows, Schenker likes to have a laugh. Against popular opinion, he is actually quite a happy soul. Schenker emerging from a pyramid on the cover of the album is not an egotistic statement about some kind of Nephilimic rock-god materialising from a star-gate. It's intended to be funny - a parody. For sure, Shatner's anti-war message commercially taps into a popular sentiment in the US. We're not blind. And yet, a major theme here is "fun". Schenker never did succumb to the "ominousness" stereotype of most heavy rock. His music is best summed up by his own phrase, "Back to Attack". It is upbeat, joyful, energizing, and infectious - and this album is no exception to that rule.

Anyway - what about the music? Well, after the Intro, we have "How Long". Typical for Schenker albums, this track is very up-tempo. Engine-room riffing beneath a very radio-friendly verse and chorus formula. Solid, original guitar-work for the solo. Unusual twists and turns and tonal changes within the solo. Shorter initial solo followed by an excellent outro. Completely unlike shred.

Next is "Fallen Angel", which is already one of my favorite rock tracks. Superb chorus-refrain between verses - oscillation between the melodic and the rhythmic and soloing experiments. It is as though Schenker is always trying new guitar ideas. Any yet, the "structured-flame" effect of Schenker's disciplined adherence to song-framework coupled with blistering outbursts continuously serves melody whilst at the same time ensuring unpredictability and excitement. This track, like the first, ends suddenly - no chance for boredom to set in.

Another lovely melodic start on the third track, "Hanging On". This good start then merges into a great driving chorus with continued good melody. Great percussion on this track. A great sing-along as Schenker gives the vocalist proper room. Very tasteful solo with an emphasis on melody. I wouldn't say that this material was "west-coast" though - quite different to the McAuley albums. Very accessible - again a sudden end.

"The End of an Era" is more thrashy - enter Schenker's trade-mark complex riffing. Less melodic, but still has a sing-along character. Great solo work - Schenker has taken to putting huge musical intervals into his soloing. Great trade-off licks between guitar and keyboards. Shred-velocities towards the end. Sudden termination - again, fast-moving with little chance to relax.

"Miss Claustrophobia" is next. Another radio-friendly anthemic number. Schenker tends to mix the formulaic with the unpredictable. So one ends up with solid structure, but also with some unexpected tangents. Thus, the solo is a complete tangent - quite shreddy and non-melodic. And yet, suddenly, a very melodic quiet moment comes in with some great tonal work in the background. Superb outro assertions on the lead guitar - yet another sudden ending.

On to the very unusual bluesy, ballady, smoochy number, "With You". Solidly melodic and a big improvement on the ballads on, say, Unforgiven. Lovely bluesy soloing. Schenker experiments with a staccato style - no filler. Every note is part of a composition. Trade-mark strong tune - great key-shift near to the end. Great mix, with the guitar well-forward. Really, this is soloing-vocals-soloing-vocals-soloing-vocals - with several soloing breaks (very beautifully phrased - Billy Gibbons after a few lessons) and several vocal interludes.

Back to the anthemic with "Before the Devil Knows You're Dead". Great mix and production again - well done to Michael Voss. Reminiscent of rock classics from Rainbow, Sabbath, and Dio. In fact, Dio is the artist who comes to mind when listening to this track. Extremely cheesy lyrics - just the way we like it (but embarrassing if heard by non-rocker mates - may they be redeemed). If I were to describe Schenker's soloing on this track, I would say it was gutsy, industrial - more deep-south in picking style than West-Coast.

On to "Storming In" - which is a superb track that shows what Schenker can do composition-wise. Great mix between loud and quiet initially. Slow start - then suddenly, the pace and the power get turned on. Engine room on ramming-speed "into-the-fray" stuff this. Impossible not to rock out to this one. Absolutely superb soloing - full of unpredictable twists and turns, impossibly well-phrased. Usual angelic vibrato. Then, ends suddenly leaving you wanting more. I could have enjoyed another 10 minutes of this track. 10 out of 10.

"Scene of Crime" - another superbly creative mix of pace and loud and quiet. More ominous - but that's rare for Schenker. Almost reminds me of "Roll the Bones" by Rush during its stripped back moments. Great drumming on this album. Engine-room tendonitis-inducing riffage of metronomic evenness. Snatches of oblique eclectic soling. Amazing track this - absolutely 10 out of 10. Takes the best of post-structural unpredictability and mixes it with the best of rhythmic progression, melodic architecture, and coherence.

Next up, it's "Saturday Night". Very radio-friendly sing-along job. Schenker's lyricists are mostly clean-talking chaps, and this track is utterly without malice aforethought. Very happy, bouncy track with very rich tone on the guitar licks. Superb melodically. Again, all the music is written my Schenker - and it shows. Solid pop-rock.

Next up, it's Robin McAuley - making a guest-appearance on "Lover's Sinfony" (either badly-spelled or some kind of pun - it's not clear). The big difference between this track and the "McAuley Years" is the style of mix - this track is much more European, with none of the "fear of the guitar" which seemed to dog the mid-to-late 1980s period. Schenker is well-forward in the mix - although there are plenty of layers going on here. Solid, anthemic track. Sing-along - and for once does an outro-fade on very melodic soloing.

The pace goes up a notch in the bass-driven track "Speed". Superb front-mix beefy bass from Chris Glen. Good background colors added on the guitar - trademark Schenker sirenesque touches. Ironically, given the track-title, the pace is often not that fast on this track. Slower verses punctuate the more beefed-up driving parts of the track. Truly fantastic guitar-tonal variations. Wonderful soloing.

Then, it's back to the guitar-battle version of "How Long". There are lots of great touches here and there. During the guitar-battle, the guitar trade-offs are tasteful rather than shred-like. Superb outro solo from Schenker, though - punches through to a wonderful cathartic zenith-point before - suddenly - the track ends. An absolutely superb solo - my only complaint: it should have turned into a two-minute job!

On to the bonus track, "Remember" - a short punchy number. Upbeat and party-like, with great front-mix soloing. Trademark Schenker riffing in the background. Pleasant stripped-back moments in the middle of the track. Short and Sweet.

Finally, it's the radio-edit of "Miss Claustrophobia" - on which see above. All in all, this is another solid effort from Michael. As with most of Michael's albums, there'll turn out to be four or five true classics mixed in with solid material that's almost as good. So much better than other contemporary rock-music in my view.

A week or so later: Still don't want to put anything else in the CD player. Magnificent stuff! Many rock bands today are very short on melody or on melodic architecture. Many seem to offer tuneless rhythms with plenty of guitar-trick ornamentation, but with none of the melodic developments, structural layers, or tuneful ebb and flows that Schenker achieves. Many rock bands today are an in-your-face wall of noise that leaves no spaces for imaginative listener-involvement (unless you're imagining mindless violence or something demonic). Schenker, though, offers not so much a "temple" of rock as a "Cathedral of Rock" - the listener is invited into an expanding space of celebration and jubilant infectious imaginative variety, not shoved into a corner by an angry mob of red-necks will bull-mastifs. Many rock bands today play just a few notes within a reduced-scope minor scale of just a few chromatic intervals - with barely any composition. Schenker, though, gives you huge musical intervals mid-solo. You get the pillars, the alter, the bells, the tapestries, the flying buttresses, the towers, the nave, the chapter house, the crypt, the gargoyles. With Schenker, you get the whole Temple. Maybe this sounds well over the top for a pop-rock album that has some quite simple stuff on it as well. But put the whole thing together into one session, and you do indeed get the whole temple. A joy to listen to.
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11 of 12 people found the following review helpful
5.0 out of 5 stars Schenker Clean and Sober: Better than ever!, October 22, 2011
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This review is from: Temple Of Rock (Vinyl)
Michael Schenker is a Rock N' Roll God! One of the cleanest, most fluid, and with a tone that is to die for, he is a musicians musician. That's the reason he has so many fans who are musicians themselves. He's been clean (for good I think, FINALLY) for about five years now and his playing has gotten better!!! Consider that for a moment. Rock Bottom, 1974. Mother Mary and This Kids, 1975. Reasons Love (INCREDIBLE GUITAR PLAYING), 1976. Lights Out and Love To Love, 1977. And Hot N' Ready (One of my ALL TIME FAVORITE LEADS) And, Only You Can Rock Me, 1978. Those are just the early UFO years. Now here he is at 56 years old and he's absolutely tearing it up. He opened a week of shows a couple of months ago for Black Country Communion and had to have made Mr. Bonamassa quite uncomfortable coming out every night after Michael had set the bar. I LOVE JOE. LOVE HIM! But this was his 1st real tour with BCC playing 70's style hard Rock N' Roll. Michael has been doing that ALL ALONG! This album (Yes, I bought both the vinyl and the CD) has radio friendly hit songs, hard rock anthems, and everything in between. He has a slew of phenomenal guests on EVERY SONG. I would recommend it to anyone!!
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5 of 5 people found the following review helpful
5.0 out of 5 stars Embarrassingly Good, December 2, 2011
This review is from: Temple Of Rock (Audio CD)
I say 'embarrassing' because of the extremely late-80s "hairspray era" flavour of this album. I must VERY clearly emphasize that this is NOT a "hairspray" hard rock album; it is just reminiscent of that on several fronts: most notably the vocalist and especially the lyrics. The vocalist, Michael Voss, is actually a quite good vocalist for MSG...he has a Euro-hardrock voice and THANKFULLY not one of the "smoky, bluesy" vocalists that Michael has used ever since the end of McCauley Schenker (with the exception of the Finnish fella from "Tales of Rock'n Roll" as well as the return of stalwart Gary Barden). I found said "bluesy" vocalists to be absolutely common, interchangeable, and forgettable. And, alas, the albums they were on, unmemorable. To put this into my perspective, I don't think Mikey has put out an excellent album of new material since "Built To Destroy". Until now! But let me finish with the 'embarrassing' aspects. The lyrics are endearingly laughable, very "upbeat" and "good-time rock 'n roll party", and the serious ones are heavy-handed and cliche'...just like every hard rock band's lyrics from the late 80s! In fact, when I first heard this, it was in a van with a bunch of extremely MeTal(mostly of the Black, Death, Symphonic variety) people, and we had a great laugh...while still acknowledging the memorable and cool riffs and song structures and variety and just plain catchiness. Since then (early October), I've listened to this every day. It continues to interest and reveal "hidden" treasures that I haven't noticed before. Quite unlike, IN MY OPINION, any "modern" MSG stuff since "Built To Destroy". There are some rather, AT FIRST, dopey-sounding songs ("Saturday Night","Fallen Angel",the repetetiveness of "Hanging On", the ham-handed romance of "With You")...since my initial few listens, these songs that I cringed at (while still enjoying them to a degree) have really sunk their hooks into me. And, at first, the guest vocalled "Before The Devil Knows You're Dead" got on my nerves, because Doogie White is exactly the kind of vocalist I didn't like with past MSG stuff...but even that song grew on me, and is really pretty good. The other guest vocalist is that kooky Robin McCauley guy...and it was actually kind've nice to hear him on a song where the guitars weren't hidden away like a shameful blemish (the title of that song kinda sums up the "hairspray era" feeling I've tried to convey: "Lover's Sinfony"ho ho ho, how droll!). Unexpected surprises are in store within a few of the songs, like the use of a "howler" (what the Hell is that?) in "Miss Claustrophobia", the peculiar structure of "Scene of Crime", and surprising-in-its-extremely-ancient-feel "Storming In", which features some of the cool kind of riffing from way back in "Lovedrive" era! Production is fantastic, everything sounds really, REALLY good and well-mixed(kudos to M's Voss and Schenker on their co-production duties), and it is really great to hear all the beloved guest stars playing (including Paul Raymond, Herman Ze German, PETE WAY!...and many more, including Brother Rudolf)...some of the songs have really strong and vintage-sounding keyboard presence (also thanks to Wayne Findlay!), which is a welcome addition compared to more recent material. Schenkerphiles will be pleased to hear quite a few MEMORABLE guitar solos (especially, though it isn't very complex, the extremely tasteful and majestic post-chorus solo in "Lover's Sinfony"). Let me also make clear that this isn't "just another buncha guest players albums" that usually have an uneven sound and inferior material...probably throwaway songs from artists involved...this album has a cohesion and total feel of its own. Now, don't get the idea that this is all a very lightweight album; there are a lot of heavier, "dark" sounding songs on here...enough to make an incredibly varied and well-rounded album. To all the nay-sayers and techno-weenies who say this is forgettable, or that the "phrasing and technique(and other technical terms that I don't savvy, and yes, I am a guitarist but self-taught who never bothered with learning the terminology of things I can already do)" aren't up to their standards...give it a few more listens; I really can't believe how much this album grew on me after about 5 listens, and it actually does keep getting better! I think perhaps the cover...or the inclusion of William Shatner intoning some "very serious" introductory words...sums up the album: a celebration of ROCK AND ROLL put together by a bunch of extremely talented veterans/friends. Loud, brash, fun, and rocking. I honestly haven't enjoyed a MSG album like this in...well, decades!
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4 of 4 people found the following review helpful
4.0 out of 5 stars Schenker Rocks, February 26, 2012
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This review is from: Temple Of Rock (Audio CD)
I have been a Schenker fan for years. Temple of Rock is a very good album. One of his best in recent years.
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4 of 4 people found the following review helpful
5.0 out of 5 stars One of my favorites from Michael, November 26, 2011
By 
J. Evans (Kaysville, UT United States) - See all my reviews
(REAL NAME)   
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This review is from: Temple Of Rock (Audio CD)
I have purchased everything from Schenker and this one was a very refreshing surprise. I love every song on this album and I like the two guest appearance singers, not that Voss lacks any talent at all. In fact I think his voice is great and it works very well on this album. I would definitely recommend this album to all Schenker fans and would also highly recommend it for those new to Schenker!
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3 of 3 people found the following review helpful
5.0 out of 5 stars Temple Of Rock, January 24, 2012
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One of the best outings my michael in years. All the sungs were great and can stand alone on their own merit.
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3 of 3 people found the following review helpful
4.0 out of 5 stars Schenker still ROCKS, January 9, 2012
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This review is from: Temple Of Rock (Audio CD)
I am THE UFO fan, but some of Michael's solo stuff has been disappointing. This is good and rips.
Nice touch on the intro, see if your friends can guess who it is.
Only four stars because I was really fired up for guest Leslie West but the last track is not recorded that well. Either he did not play enough, or it has been too long since I have heard him play. Echo technique did not wow me, just play man, just play.
Hanging On,Storming In,Scene of Crime,Miss Claustrophobia,How Long, be sure your sound system is bolted down.
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3 of 3 people found the following review helpful
5.0 out of 5 stars Michael Schenker Rocks My Temple, September 29, 2011
By 
This album starts with an Intro featuring William Shatner. This fact by itself speaks volumes. Shatner, of course, exceeds even Gary Barden (whom we adore) for ham-levels. And yet, for that very reason, Shatner is loved world-wide. Nobody could parody Shatner, because he's already the perfect self-parody. It's a bit like Iron Maiden - so good at parodying heavy metal that they made Spinal Tap obsolete. To employ Shatner on a cheesy opener, then, is not bad taste, but supremely good taste. It's a way of proleptically predicting all possible criticism of what is about to follow - it's a way of saying: 'whatever criticisms you have concerning this genre - we've heard them all before. But we still love classic rock, so we're doing it anyway'.

In short, as anybody who has seen "Michael Schenker in the Studio for the recording of Unforgiven" already knows, Schenker likes to have a laugh. Against popular opinion, he is actually quite a happy soul. Schenker emerging from a pyramid on the cover of the album is not an egotistic statement about some kind of Nephilimic rock-god materialising from a star-gate. It's intended to be funny - a parody. For sure, Shatner's anti-war message commercially taps into a popular sentiment in the US. We're not blind. And yet, a major theme here is "fun". Schenker never did succumb to the "ominousness" stereotype of most heavy rock. His music is best summed up by his own phrase, "Back to Attack". It is upbeat, joyful, energizing, and infectious - and this album is no exception to that rule.

Anyway - what about the music? Well, after the Intro, we have "How Long". Typical for Schenker albums, this track is very up-tempo. Engine-room riffing beneath a very radio-friendly verse and chorus formula. Solid, original guitar-work for the solo. Unusual twists and turns and tonal changes within the solo. Shorter initial solo followed by an excellent outro. Completely unlike shred.

Next is "Fallen Angel", which is already one of my favorite rock tracks. Superb chorus-refrain between verses - oscillation between the melodic and the rhythmic and soloing experiments. It is as though Schenker is always trying new guitar ideas. Any yet, the "structured-flame" effect of Schenker's disciplined adherence to song-framework coupled with blistering outbursts continuously serves melody whilst at the same time ensuring unpredictability and excitement. This track, like the first, ends suddenly - no chance for boredom to set in.

Another lovely melodic start on the third track, "Hanging On". This good start then merges into a great driving chorus with continued good melody. Great percussion on this track. A great sing-along as Schenker gives the vocalist proper room. Very tasteful solo with an emphasis on melody. I wouldn't say that this material was "west-coast" though - quite different to the McAuley albums. Very accessible - again a sudden end.

"The End of an Era" is more thrashy - enter Schenker's trade-mark complex riffing. Less melodic, but still has a sing-along character. Great solo work - Schenker has taken to putting huge musical intervals into his soloing. Great trade-off licks between guitar and keyboards. Shred-velocities towards the end. Sudden termination - again, fast-moving with little chance to relax.

"Miss Claustrophobia" is next. Another radio-friendly anthemic number. Schenker tends to mix the formulaic with the unpredictable. So one ends up with solid structure, but also with some unexpected tangents. Thus, the solo is a complete tangent - quite shreddy and non-melodic. And yet, suddenly, a very melodic quiet moment comes in with some great tonal work in the background. Superb outro assertions on the lead guitar - yet another sudden ending.

On to the very unusual bluesy, ballady, smoochy number, "With You". Solidly melodic and a big improvement on the ballads on, say, Unforgiven. Lovely bluesy soloing. Schenker experiments with a staccato style - no filler. Every note is part of a composition. Trade-mark strong tune - great key-shift near to the end. Great mix, with the guitar well-forward. Really, this is soloing-vocals-soloing-vocals-soloing-vocals - with several soloing breaks (very beautifully phrased - Billy Gibbons after a few lessons) and several vocal interludes.

Back to the anthemic with "Before the Devil Knows You're Dead". Great mix and production again - well done to Michael Voss. Reminiscent of rock classics from Rainbow, Sabbath, and Dio. In fact, Dio is the artist who comes to mind when listening to this track. Extremely cheesy lyrics - just the way we like it (but embarrassing if heard by non-rocker mates - may they be redeemed). If I were to describe Schenker's soloing on this track, I would say it was gutsy, industrial - more deep-south in picking style than West-Coast.

On to "Storming In" - which is a superb track that shows what Schenker can do composition-wise. Great mix between loud and quiet initially. Slow start - then suddenly, the pace and the power get turned on. Engine room on ramming-speed "into-the-fray" stuff this. Impossible not to rock out to this one. Absolutely superb soloing - full of unpredictable twists and turns, impossibly well-phrased. Usual angelic vibrato. Then, ends suddenly leaving you wanting more. I could have enjoyed another 10 minutes of this track. 10 out of 10.

"Scene of Crime" - another superbly creative mix of pace and loud and quiet. More ominous - but that's rare for Schenker. Almost reminds me of "Roll the Bones" by Rush during its stripped back moments. Great drumming on this album. Engine-room tendonitis-inducing riffage of metronomic evenness. Snatches of oblique eclectic soling. Amazing track this - absolutely 10 out of 10. Takes the best of post-structural unpredictability and mixes it with the best of rhythmic progression, melodic architecture, and coherence.

Next up, it's "Saturday Night". Very radio-friendly sing-along job. Schenker's lyricists are mostly clean-talking chaps, and this track is utterly without malice aforethought. Very happy, bouncy track with very rich tone on the guitar licks. Superb melodically. Again, all the music is written my Schenker - and it shows. Solid pop-rock.

Next up, it's Robin McAuley - making a guest-appearance on "Lover's Sinfony" (either badly-spelled or some kind of pun - it's not clear). The big difference between this track and the "McAuley Years" is the style of mix - this track is much more European, with none of the "fear of the guitar" which seemed to dog the mid-to-late 1980s period. Schenker is well-forward in the mix - although there are plenty of layers going on here. Solid, anthemic track. Sing-along - and for once does an outro-fade on very melodic soloing.

The pace goes up a notch in the bass-driven track "Speed". Superb front-mix beefy bass from Chris Glen. Good background colors added on the guitar - trademark Schenker sirenesque touches. Ironically, given the track-title, the pace is often not that fast on this track. Slower verses punctuate the more beefed-up driving parts of the track. Truly fantastic guitar-tonal variations. Wonderful soloing.

Then, it's back to the guitar-battle version of "How Long". There are lots of great touches here and there. During the guitar-battle, the guitar trade-offs are tasteful rather than shred-like. Superb outro solo from Schenker, though - punches through to a wonderful cathartic zenith-point before - suddenly - the track ends. An absolutely superb solo - my only complaint: it should have turned into a two-minute job!

On to the bonus track, "Remember" - a short punchy number. Upbeat and party-like, with great front-mix soloing. Trademark Schenker riffing in the background. Pleasant stripped-back moments in the middle of the track. Short and Sweet.

Finally, it's the radio-edit of "Miss Claustrophobia" - on which see above. All in all, this is another solid effort from Michael. As with most of Michael's albums, there'll turn out to be four or five true classics mixed in with solid material that's almost as good. So much better than other contemporary rock-music in my view.

A week or so later: Still don't want to put anything else in the CD player. Magnificent stuff! Many rock bands today are very short on melody or on melodic architecture. Many seem to offer tuneless rhythms with plenty of guitar-trick ornamentation, but with none of the melodic developments, structural layers, or tuneful ebb and flows that Schenker achieves. Many rock bands today are an in-your-face wall of noise that leaves no spaces for imaginative listener-involvement (unless you're imagining mindless violence or something demonic). Schenker, though, offers not so much a "temple" of rock as a "Cathedral of Rock" - the listener is invited into an expanding space of celebration and jubilant infectious imaginative variety, not shoved into a corner by an angry mob of red-necks will bull-mastifs. Many rock bands today play just a few notes within a reduced-scope minor scale of just a few chromatic intervals - with barely any composition. Schenker, though, gives you huge musical intervals mid-solo. You get the pillars, the alter, the bells, the tapestries, the flying buttresses, the towers, the nave, the chapter house, the crypt, the gargoyles. With Schenker, you get the whole Temple. Maybe this sounds well over the top for a pop-rock album that has some quite simple stuff on it as well. But put the whole thing together into one session, and you do indeed get the whole temple. A joy to listen to.
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4 of 5 people found the following review helpful
4.0 out of 5 stars welcome back, October 14, 2011
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This review is from: Temple Of Rock (Audio CD)
IT BEEN A LONG TIME WAITING FOR AN ALBUM BY MICHAEL THAT HAS DIVERSITY IN HIS SONGS. HIS SONG WRITING AND LEAD WORK ARE BETTER THAN THEY HAVE BEEN IN YEARS. MICHAEL VOSS RANKS UP THERE WITH THE REST OF SCHENKER'S SINGERS BUT WITH A BETTER GRASP OF LYRICS AND MELODY. THE KEYBOARDS ARE A WELCOME BACK UP FRONT CRWEATIVE SOUND THROUGH OUT.
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3 of 4 people found the following review helpful
4.0 out of 5 stars Great music, October 18, 2011
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This review is from: Temple Of Rock (Audio CD)
Only four stars because IMO five stars are for some of MS's older stuff, and this one isn't quite up to that. It's very good, but not quite in the same league with...say... "Rock Bottom".

Very diverse sounding; slow stuff, thrashy stuff, kind of Velvet Revolver stuff ('Hanging On'), all of it more modern sounding than the typical MS music. That's mainly due to the high gain guitar tone that he uses. I must say I'm not a fan of the tone and I prefer the early four-hole Marshall sound (and even the 2205), but, hey, I wasn't consulted. LOL

Having said that, it's Michael Schenker playing, so it's time for any guitar playing MS fan to take notes and then pick up the guitar and practice. The non guitar playing MS fans are excused from that, they can relax and enjoy it. LOL.
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Temple Of Rock
Temple Of Rock by Michael Schenker (Audio CD - 2011)
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