Michael est de retour.
Degonflé le soufflé Strangers in the Night (bye bye Slash et service minimum pour le frangin Rudolph assurant sur deux petits morceaux des rythmiques acérées) et nouvelle variation avec ce Temple of Rock (à la pochette abominable) estampillé Schenker, on efface tout et on recommence...
Line-up de tueurs avec Herman Rarebell, Pete Way (UFO) et Michael Voss (Mad Max) au chant, production clinquante pour un hard rock traditionnel, on se rassure une fois passé l'intro narrée par le capitaine Kirk en decouvrant "How Long", ode à la Flying V, qui comme les 13 autres morceaux feront honneur à la legende.
C'est du bon, du tout bon.
D'ailleurs, le versatile guitariste qui depuis "Tales of Rock n Roll" (2006) semblait retrouver un regain de vigueur et disons le tout net d'inspiration prouve avec ce petit dernier qu'un artiste possedant en son âme le feu sacré, meme si bancal, meme si cramé peut toujours renaitre, tel un phoenix renaissant de ses cendres.
Michael est un phantasme. Michael est aussi fantasque. Je l'ai toujours aimé, et ce depuis 1981. Le voyage aura été certes eprouvant, mais quand on aime, on tient envers et contre tout. Malgré tout.
D'où ce plaisir à l'écoute de « The end of an era », avec le virevoltant Hammond de Don Airey (Deep Purple) et la frappe distinctive de Carmine Appice (Vanilla Fudge, Cactus), l' excitant « Before the devil knows you're dead » (sublimé par un Doogie White toujours excellent) , le "Lover's Sinfony" puissant et transcendé par l'organe chaleureux du collègue McAuley ou la relecture du morceau "How Long" en fin d'album avec les participations remarquées de Leslie West (Mountain) et Michael Amott (Arch Enemy), tout est parfait, tout est jubilation tout est frisson.
Le plaisir est intact, les souvenirs brillent de mille feux. L'insaisissable rebelle grave à nouveau son nom legendaire dans le pyramidal temple du hard rock, autel fleuri de nos devotions respectueuses.
Michael Schenker est un phoenix.
le feu qu'il a en lui ne mourra jamais.
Rock will never die-
link : English Version
« Quis ut deus »
BI-polar or not, offering the worst as the best (albums, concerts, or interviews), rest that he remains forever the Electric Blond Archangel, the initiator of a sound, a style, almost of a musical genre. Michael is back.
Deflated soufflé Strangers in the Night (bye bye Slash and minimum service for the brother Rudolph providing on two small pieces of sharp rhythmic) and new variation with this “Temple of Rock”(with the abominable package) stamped Schenker, it erases everything and again…
Line-up of killers with Herman Rarebell, Pete Way (UFO) and Michael Voss (Mad Max) on vocals, flashy for a traditional hard rock production, it reassures once past the intro narrated by Captain Kirk in doud “How Long”, ôde to the Flying V, which as the other 13 pieces will honour to the legend.
Deflated soufflé Strangers in the Night (bye bye Slash and minimum service for the brother Rudolph providing on two small pieces of sharp rhythmic) and new variation with this “Temple of Rock”(with the abominable package) stamped Schenker, it erases everything and again…
Line-up of killers with Herman Rarebell, Pete Way (UFO) and Michael Voss (Mad Max) on vocals, flashy for a traditional hard rock production, it reassures once past the intro narrated by Captain Kirk in doud “How Long”, ôde to the Flying V, which as the other 13 pieces will honour to the legend.
It is good, all good.
Indeed, the versatile guitarist who since “Tales of Rock n Roll” (2006) seemed to find a renewed force and say any net inspiration proves with this last that an artist having in his sacred fire, even if flawed, even if burned, soul can always give the gift, as a resurgent phoenix from the ashes.
Michael is a fantasy. Michael is also erratic. I always loved, and this since 1981. The trip will certainly was hard, but when you love, it is against all. Despite everything.
Hence this pleasure in listening of “The end of an era”, with the moving Hammond of Don Airey (Deep Purple) and the striking distinctive of Carmine Appice (Vanilla Fudge, Cactus), the exciting “Before the devil knows you re dead” (sublimated by a still excellent Doogie White), the “Lover’s Sinfony” powerful and transcended by the warm of the McAuley colleague organ or replaying the song “How Long” end of the album with entries noticed Leslie West (Mountain) and Michael Amott (Arch Enemy), everything is perfect, everything is jubilation everything is shivering.
Indeed, the versatile guitarist who since “Tales of Rock n Roll” (2006) seemed to find a renewed force and say any net inspiration proves with this last that an artist having in his sacred fire, even if flawed, even if burned, soul can always give the gift, as a resurgent phoenix from the ashes.
Michael is a fantasy. Michael is also erratic. I always loved, and this since 1981. The trip will certainly was hard, but when you love, it is against all. Despite everything.
Hence this pleasure in listening of “The end of an era”, with the moving Hammond of Don Airey (Deep Purple) and the striking distinctive of Carmine Appice (Vanilla Fudge, Cactus), the exciting “Before the devil knows you re dead” (sublimated by a still excellent Doogie White), the “Lover’s Sinfony” powerful and transcended by the warm of the McAuley colleague organ or replaying the song “How Long” end of the album with entries noticed Leslie West (Mountain) and Michael Amott (Arch Enemy), everything is perfect, everything is jubilation everything is shivering.
The pleasure is intact, memories shine of thousand fires. The elusive rebel to new its legendary name in the pyramid temple of the hard rock altar flowers of our environmentally friendly legislation.
Michael Schenker is a phoenix.
Fire in him will never die.
Rock will never die-
Michael Schenker is a phoenix.
Fire in him will never die.
Rock will never die-