Playing at the Temple
Muirsical Conversation with Michael Schenker
Muirsical Conversation with Michael Schenker
When Michael Schenker started laying the musical foundations for the Temple of Rock that first took shape in 2011, he was also making steps to return to the hard and melodic rock he built his storied six-string reputation on.
From his time with the Scorpions, the run of classic UFO albums in the mid to late 70s and through the original and early variants of the Michael Schenker Group (MSG), the noted German guitarist made his famous Flying V mark on more classic rock albums and songs in around a decade of music than many other guitarists do in a career.
Not that Michael Schenker has been posted Missing in Musical Action in the ensuing years – the McAuley Schenker Group, various later reincarnations of MSG, a clutch of interesting acoustic and instrumental solo albums and a number of collaborative projects kept the guitarist busy through the 90s and first decade of the new Millennium.
But Michael Schenker’s Temple of Rock firmly roots itself in that earlier, classic 70s hard rock era, infused with Schenker’s reinvigorated brand of heavy, melodic rock for the 21st century.
Spirit on a Mission is the latest and best release thus far from Michael Schenker’s Temple of Rock and the guitarist spoke to FabricationsHQ to discuss both the album and the band as well as taking a quick look back at those days of Scorpions, UFOs and an interesting collaborative project that was Under Construction in the early Millennium…
Ross Muir: Hi Michael – how’s life treating Mr Schenker these days?
Michael Schenker: Fantastic, Ross; thank you! I’m good, the sun is shining and I’m ready to go in interview mode!
RM: [laughs] On that very subject – having grown accustomed to various accents from the countless interviews you have done across the globe over the decades, I presume the Scottish accent is no problem. After all, you’ve had Doogie White in the band for a few years now…
MS: [laughs] Well Doogie is speaking these days with a half-Scottish half-English accent but it’s not always easy for me; there are some accents – like the Birmingham accent – that I sometimes find hard to understand.
But I will try my best!
RM: Well tell you what, and I don’t do this for just anybody, I’ll ask the first question in half-Scottish half-English to make you feel more at home [laughter]…
You started to create Temple of Rock music around four years ago but I think we can trace the recharging of your rock batteries back to 2008 and the Michael Schenker Group album In the Midst of Beauty...
MS: Yeah, that’s basically it. In the early and mid-70s I made my first creative contributions with the Scorpions and then UFO; at the end of the 70s I helped the Scorpions with Lovedrive and in the 80s and early 90s I did my own thing with first The Michael Schenker Group and then the McAuley Schenker Group.
But I later left that band scene to develop more on a personal level and experiment with music, my guitar playing and all sorts of things I couldn’t have done with the bands.
And then in 2007, 2008, something was telling me I had to get back to the rock and roll – and all of a sudden I was having so much fun on stage!
Because I never used to enjoy myself – I used to suffer from stage fright and I needed to drink in order to be on stage – but, you know, all of that is gone now and it’s just fantastic that I can be out there enjoying myself. I probably enjoyed those earlier experiences in an unconscious way but now, having developed through my middle-years and got out of all that stuff, I can consciously enjoy what came out of that development.
RM: The first album to carry the Temple of Rock name was 2011, an album that seemed to be sowing the seeds of something that would become far more cohesive – I’m thinking here of when Doogie White and Francis Buchholz joined you, Wayne Findlay and Herman Rarebell to form the live line-up.
MS: Yes, and Herman and Francis are family from the Lovedrive days.
I’ve played songs with some of the greatest rock drummers in the world – like Cozy Powell – but with what I do I am really in need of a simple but solid rhythm section.
That’s what Herman and Francis bring – but it is also incredible that out of all the musicians in the world I ended up working with those two guys again!
And it’s not about having a bunch of crazy musicians around me, it’s about having a solid rhythm section I can create over. That’s all that’s needed.
I have many ideas on how songs are going to be played – what parts are going to be heavy, what parts are going to be melodic – and I make sure that’s what comes across, that heavy and melodic sound with a solid rhythm section behind me.
That’s like it was in the old days; things started off really, really heavy and then got melodic but over the years that got watered down and it became more poppy.
So I’m bringing it back to the way it was in the beginning with Michael Schenker being heavy and melodic!
RM: But then in musical terms "heavy" and "melodic" are the two words most associated with you.
I take your point about Herman and Francois but with them you also have one of the power rhythm sections in rock. It just seems to work so well – what you’re doing – with them behind you.
MS: You know what, it really is great to be back with them – and because it’s family it's extra exciting.
But in general terms I don’t need anything more than a solid, reliable rhythm section behind me in order to express my ideas and achieve what I think is going to have an impact.
RM: And that impact can be heard on the albums Bridge the Gap and Spirit on a Mission.
I have to say though I feel Spirit is a far better album with much stronger songs. It’s also an album that’s full of heavy melodies and intense rock and roll, but with interesting light and shade.
MS: Yeah, it’s the next step up from Bridge the Gap; on that album we were kind of finding ourselves but we had Doogie, who is a fantastic singer with a great range.
But on Spirit I had the idea of adding a bit more of Wayne’s guitar – Wayne came up with some great, heavy riffs which I added my own stuff to and then Doogie added his vocal on top – so we have developed this additional sound by having Wayne more involved.
RM: I’d like to talk a little about those other two gents you just mentioned.
Doogie, as you can imagine, needs no introduction north of the border; he’s held in very high rock-voice esteem up here; I believe Doogie to be one of the best rock vocalists currently performing
MS: Doogie is a great – and very funny – guy. He has everything he needs to be a great singer and a great front man; he really knows how to work with an audience. Doogie really is fantastic.
RM: While the album is built on a classic, heavy rock sound it also carries a modern edge and a thicker sonic element, which comes from Wayne playing a lot more 7-string rhythm guitar...
MS: Yes, it adds to the typical, or classic, Michael Schenker sound or style.
We are adding our own little mixture but it does remind you of the 70s sound, although when you add Doogie’s vocals to it you don’t really know what you are listening to!
It could be the 70s or it could be now; it definitely creates some originality.
RM: Live And Let Live is a great case in point – that song thunders out the trap like a cross between the Scorpions Another Piece of Meat and Rainbow’s Kill the King but with a modern sounding, thicker edge.
MS: Yep! It’s a healthy mix and great combination…
From his time with the Scorpions, the run of classic UFO albums in the mid to late 70s and through the original and early variants of the Michael Schenker Group (MSG), the noted German guitarist made his famous Flying V mark on more classic rock albums and songs in around a decade of music than many other guitarists do in a career.
Not that Michael Schenker has been posted Missing in Musical Action in the ensuing years – the McAuley Schenker Group, various later reincarnations of MSG, a clutch of interesting acoustic and instrumental solo albums and a number of collaborative projects kept the guitarist busy through the 90s and first decade of the new Millennium.
But Michael Schenker’s Temple of Rock firmly roots itself in that earlier, classic 70s hard rock era, infused with Schenker’s reinvigorated brand of heavy, melodic rock for the 21st century.
Spirit on a Mission is the latest and best release thus far from Michael Schenker’s Temple of Rock and the guitarist spoke to FabricationsHQ to discuss both the album and the band as well as taking a quick look back at those days of Scorpions, UFOs and an interesting collaborative project that was Under Construction in the early Millennium…
Ross Muir: Hi Michael – how’s life treating Mr Schenker these days?
Michael Schenker: Fantastic, Ross; thank you! I’m good, the sun is shining and I’m ready to go in interview mode!
RM: [laughs] On that very subject – having grown accustomed to various accents from the countless interviews you have done across the globe over the decades, I presume the Scottish accent is no problem. After all, you’ve had Doogie White in the band for a few years now…
MS: [laughs] Well Doogie is speaking these days with a half-Scottish half-English accent but it’s not always easy for me; there are some accents – like the Birmingham accent – that I sometimes find hard to understand.
But I will try my best!
RM: Well tell you what, and I don’t do this for just anybody, I’ll ask the first question in half-Scottish half-English to make you feel more at home [laughter]…
You started to create Temple of Rock music around four years ago but I think we can trace the recharging of your rock batteries back to 2008 and the Michael Schenker Group album In the Midst of Beauty...
MS: Yeah, that’s basically it. In the early and mid-70s I made my first creative contributions with the Scorpions and then UFO; at the end of the 70s I helped the Scorpions with Lovedrive and in the 80s and early 90s I did my own thing with first The Michael Schenker Group and then the McAuley Schenker Group.
But I later left that band scene to develop more on a personal level and experiment with music, my guitar playing and all sorts of things I couldn’t have done with the bands.
And then in 2007, 2008, something was telling me I had to get back to the rock and roll – and all of a sudden I was having so much fun on stage!
Because I never used to enjoy myself – I used to suffer from stage fright and I needed to drink in order to be on stage – but, you know, all of that is gone now and it’s just fantastic that I can be out there enjoying myself. I probably enjoyed those earlier experiences in an unconscious way but now, having developed through my middle-years and got out of all that stuff, I can consciously enjoy what came out of that development.
RM: The first album to carry the Temple of Rock name was 2011, an album that seemed to be sowing the seeds of something that would become far more cohesive – I’m thinking here of when Doogie White and Francis Buchholz joined you, Wayne Findlay and Herman Rarebell to form the live line-up.
MS: Yes, and Herman and Francis are family from the Lovedrive days.
I’ve played songs with some of the greatest rock drummers in the world – like Cozy Powell – but with what I do I am really in need of a simple but solid rhythm section.
That’s what Herman and Francis bring – but it is also incredible that out of all the musicians in the world I ended up working with those two guys again!
And it’s not about having a bunch of crazy musicians around me, it’s about having a solid rhythm section I can create over. That’s all that’s needed.
I have many ideas on how songs are going to be played – what parts are going to be heavy, what parts are going to be melodic – and I make sure that’s what comes across, that heavy and melodic sound with a solid rhythm section behind me.
That’s like it was in the old days; things started off really, really heavy and then got melodic but over the years that got watered down and it became more poppy.
So I’m bringing it back to the way it was in the beginning with Michael Schenker being heavy and melodic!
RM: But then in musical terms "heavy" and "melodic" are the two words most associated with you.
I take your point about Herman and Francois but with them you also have one of the power rhythm sections in rock. It just seems to work so well – what you’re doing – with them behind you.
MS: You know what, it really is great to be back with them – and because it’s family it's extra exciting.
But in general terms I don’t need anything more than a solid, reliable rhythm section behind me in order to express my ideas and achieve what I think is going to have an impact.
RM: And that impact can be heard on the albums Bridge the Gap and Spirit on a Mission.
I have to say though I feel Spirit is a far better album with much stronger songs. It’s also an album that’s full of heavy melodies and intense rock and roll, but with interesting light and shade.
MS: Yeah, it’s the next step up from Bridge the Gap; on that album we were kind of finding ourselves but we had Doogie, who is a fantastic singer with a great range.
But on Spirit I had the idea of adding a bit more of Wayne’s guitar – Wayne came up with some great, heavy riffs which I added my own stuff to and then Doogie added his vocal on top – so we have developed this additional sound by having Wayne more involved.
RM: I’d like to talk a little about those other two gents you just mentioned.
Doogie, as you can imagine, needs no introduction north of the border; he’s held in very high rock-voice esteem up here; I believe Doogie to be one of the best rock vocalists currently performing
MS: Doogie is a great – and very funny – guy. He has everything he needs to be a great singer and a great front man; he really knows how to work with an audience. Doogie really is fantastic.
RM: While the album is built on a classic, heavy rock sound it also carries a modern edge and a thicker sonic element, which comes from Wayne playing a lot more 7-string rhythm guitar...
MS: Yes, it adds to the typical, or classic, Michael Schenker sound or style.
We are adding our own little mixture but it does remind you of the 70s sound, although when you add Doogie’s vocals to it you don’t really know what you are listening to!
It could be the 70s or it could be now; it definitely creates some originality.
RM: Live And Let Live is a great case in point – that song thunders out the trap like a cross between the Scorpions Another Piece of Meat and Rainbow’s Kill the King but with a modern sounding, thicker edge.
MS: Yep! It’s a healthy mix and great combination…
RM: Complementing and contrasting with the faster-paced numbers on Spirit are some great mid-tempo songs including the heavy crunch 'n' funk of Communion, the darker, almost metal-edged Saviour Machine, there’s the melodically charged Good Times… you really have covered all the hard rock bases with this one.
MS: Yeah, as you said earlier the first Temple of rock album was starting to sow the seeds of something and that’s what you are hearing on Spirit on a Mission.
But when we make the fourth album, which will be the third one with this line-up, we will be ready, I think, to have some Temple of Rock "classics."
In fact we are already planning the recording of the next Temple of Rock album – I'm going in to the studio in March of next year to start writing for it and will be releasing the album in 2017.
RM: Well you’re on the right path to creating some classic material with Temple of Rock, which is fast becoming a band in its own right...
MS: Well Michael Schenker is still the platform for Temple of Rock but the idea is to have Temple of Rock stand on its own feet.
We are making our way there but right now, live, Michael Schenker’s Temple of Rock involves my past and the current -- although by the time we do the next album we should have enough good material that we can hopefully be doing our own songs, supported by a few of the classics from the past.
That’s when Temple of Rock will really be able to stand on its own.
MS: Yeah, as you said earlier the first Temple of rock album was starting to sow the seeds of something and that’s what you are hearing on Spirit on a Mission.
But when we make the fourth album, which will be the third one with this line-up, we will be ready, I think, to have some Temple of Rock "classics."
In fact we are already planning the recording of the next Temple of Rock album – I'm going in to the studio in March of next year to start writing for it and will be releasing the album in 2017.
RM: Well you’re on the right path to creating some classic material with Temple of Rock, which is fast becoming a band in its own right...
MS: Well Michael Schenker is still the platform for Temple of Rock but the idea is to have Temple of Rock stand on its own feet.
We are making our way there but right now, live, Michael Schenker’s Temple of Rock involves my past and the current -- although by the time we do the next album we should have enough good material that we can hopefully be doing our own songs, supported by a few of the classics from the past.
That’s when Temple of Rock will really be able to stand on its own.
Michael Schenker, still a spirit on a musical mission accompanied by his faithful partner,
which has been a Dean V signature model since 2004 ("a great guitar... I was amazed by it")
RM: We’ve spoken about the other Temple members but as regards your own contributions you continue to be able to deliver very fluid or frenzied – but always melodic – solos or guitar lines, dependent on what the songs need. Does that come naturally to you or do you still find yourself working hard at your craft?
MS: Well, you know, I’m still a spirit on a mission, spreading the joy of music from a place of pure self-expression; that’s what it’s about. And it’s all coming from within.
I continue to play and I continue to discover, so by the time we get to that next album I always have new sprinkles I can put over the music – and that’s what I do!
RM: And we’ll be able to see that spirit on a mission in January of 2016 when Temple of Rock tour the UK, including two dates in Scotland – Edinburgh and Inverness. Should be fun…
MS: Absolutely! Scotland and the entire UK has always been a lot of fun.
In fact we are also playing Glasgow – at the Barrowland – when we support Judas Priest on their six dates in the UK later in November.
The UK has always been great for me; that’s where it really started for me, back in 1973 with UFO.
The reason I left the Scorpions was because I wanted to be in the UK where people understood what I was doing – and they did! – and they are still there for me.
The fans have enjoyed me and I have enjoyed them, so it’s always great to be playing anywhere in the UK.
RM: Talking of Glasgow venues… to this day I cite the UFO Obsession Tour show at the famous but long-gone Glasgow Apollo in 1978 as one of my favourite-ever gigs…
MS: Yes! That was a great venue – but we were very high up there! [laughs]
RM: Indeed [laughs], but the height of the stage along with its length and narrowness helped give the theatre its physical identity.
UFO were, for me, the British rock band in the latter half of the seventies – but UFO would seem to have been a strange choice for you initially, given the band’s earlier sound and your harder rock preferences…
MS: Well, it’s like I said earlier, I was so keen to develop as a guitarist that I wanted to get to the UK but I would have left the Scorpions for any English band that asked me to join, because no-one was really listening to the kind of music I was doing at home; they were mostly listening to traditional music.
So I wanted to go to the place where the music that I fell in love with came from; I wanted to be in the UK where I knew there were enough people who would understand what I was doing.
So really it wasn’t because of UFO, it was because of the UK – I really would have left for any English rock band! [laughs].
Yeah, UFO were more of a psychedelic rock band so I thought they would have very little to do with me; but they liked what they heard from a tape I had done in Germany while I was with the Scorpions.
So they asked me to join, I accepted, and we got down to business straight away – I had a lot of ideas, I worked with (singer) Phil Mogg and off we went!
RM: For all the Doctor Doctors and Rock Bottoms of that classic UFO back catalogue, I always point to rock ballad Try Me, from Lights Out. That song carries a great dynamic and has an almost cinematic closing section…
MS: It does, yes. That reminds me of an afternoon sleep I had once, a long time ago now, but when I woke up it was to the instrumental part of Try Me – it was being used as part of some documentary or other that was on the television.
It sounded fantastic and I remember thinking "wow, maybe I should do some film music!"
RM: You left UFO in 1978 but a decade and a half later there was a reunion of the classic line-up that led to the album Walk On Water. What do you think of that album some twenty years on?
MS: Well I haven’t listened to it in who knows how long but I thought it was a really great album; for me it picked up from where we had left off with that line-up and Obsession.
RM: You recorded another couple of albums with UFO before, as you mentioned earlier, you experimented with your music and guitar playing through a large number of other projects.
One of those projects was the Under Construction album with American singer and guitarist Amy Schugar…
MS: Yeah; I was over in America and I bumped in to this girl at a show, and that was Amy!
We started talking and decided to try working together and somehow we came up with this really good mixture of rock and melody, with her voice and my guitar.
Amy came on and played some songs live with us too but it never went further than that one album.
RM: And you even put some backing and harmony backing vocals down on a few songs.
MS: Yes, and I loved doing that! I really had some fun with it and I remember one of the songs in particular, where I had to sing [sings back] "back through the window" or whatever it was – I don’t remember all the words now but I thought it was a good, extra colour to add to the whole thing…
which has been a Dean V signature model since 2004 ("a great guitar... I was amazed by it")
RM: We’ve spoken about the other Temple members but as regards your own contributions you continue to be able to deliver very fluid or frenzied – but always melodic – solos or guitar lines, dependent on what the songs need. Does that come naturally to you or do you still find yourself working hard at your craft?
MS: Well, you know, I’m still a spirit on a mission, spreading the joy of music from a place of pure self-expression; that’s what it’s about. And it’s all coming from within.
I continue to play and I continue to discover, so by the time we get to that next album I always have new sprinkles I can put over the music – and that’s what I do!
RM: And we’ll be able to see that spirit on a mission in January of 2016 when Temple of Rock tour the UK, including two dates in Scotland – Edinburgh and Inverness. Should be fun…
MS: Absolutely! Scotland and the entire UK has always been a lot of fun.
In fact we are also playing Glasgow – at the Barrowland – when we support Judas Priest on their six dates in the UK later in November.
The UK has always been great for me; that’s where it really started for me, back in 1973 with UFO.
The reason I left the Scorpions was because I wanted to be in the UK where people understood what I was doing – and they did! – and they are still there for me.
The fans have enjoyed me and I have enjoyed them, so it’s always great to be playing anywhere in the UK.
RM: Talking of Glasgow venues… to this day I cite the UFO Obsession Tour show at the famous but long-gone Glasgow Apollo in 1978 as one of my favourite-ever gigs…
MS: Yes! That was a great venue – but we were very high up there! [laughs]
RM: Indeed [laughs], but the height of the stage along with its length and narrowness helped give the theatre its physical identity.
UFO were, for me, the British rock band in the latter half of the seventies – but UFO would seem to have been a strange choice for you initially, given the band’s earlier sound and your harder rock preferences…
MS: Well, it’s like I said earlier, I was so keen to develop as a guitarist that I wanted to get to the UK but I would have left the Scorpions for any English band that asked me to join, because no-one was really listening to the kind of music I was doing at home; they were mostly listening to traditional music.
So I wanted to go to the place where the music that I fell in love with came from; I wanted to be in the UK where I knew there were enough people who would understand what I was doing.
So really it wasn’t because of UFO, it was because of the UK – I really would have left for any English rock band! [laughs].
Yeah, UFO were more of a psychedelic rock band so I thought they would have very little to do with me; but they liked what they heard from a tape I had done in Germany while I was with the Scorpions.
So they asked me to join, I accepted, and we got down to business straight away – I had a lot of ideas, I worked with (singer) Phil Mogg and off we went!
RM: For all the Doctor Doctors and Rock Bottoms of that classic UFO back catalogue, I always point to rock ballad Try Me, from Lights Out. That song carries a great dynamic and has an almost cinematic closing section…
MS: It does, yes. That reminds me of an afternoon sleep I had once, a long time ago now, but when I woke up it was to the instrumental part of Try Me – it was being used as part of some documentary or other that was on the television.
It sounded fantastic and I remember thinking "wow, maybe I should do some film music!"
RM: You left UFO in 1978 but a decade and a half later there was a reunion of the classic line-up that led to the album Walk On Water. What do you think of that album some twenty years on?
MS: Well I haven’t listened to it in who knows how long but I thought it was a really great album; for me it picked up from where we had left off with that line-up and Obsession.
RM: You recorded another couple of albums with UFO before, as you mentioned earlier, you experimented with your music and guitar playing through a large number of other projects.
One of those projects was the Under Construction album with American singer and guitarist Amy Schugar…
MS: Yeah; I was over in America and I bumped in to this girl at a show, and that was Amy!
We started talking and decided to try working together and somehow we came up with this really good mixture of rock and melody, with her voice and my guitar.
Amy came on and played some songs live with us too but it never went further than that one album.
RM: And you even put some backing and harmony backing vocals down on a few songs.
MS: Yes, and I loved doing that! I really had some fun with it and I remember one of the songs in particular, where I had to sing [sings back] "back through the window" or whatever it was – I don’t remember all the words now but I thought it was a good, extra colour to add to the whole thing…
RM: As important as the catalogue of genuinely classic rock material you have been part of are the Flying V guitars that helped shape the distinct "Schenker sound"…
MS: Yes and I ended up with a Flying V guitar almost by accident [laughs], but once I started to play a Gibson Flying V through my fifty watt Marshall I found a great sound and I really liked what was coming out; the combination just worked very well.
I played a white Flying V but when I re-joined the Scorpions for the Lovedrive tour I painted that guitar black and white; I continued to play it until 2004 when a guitar company called Dean contacted me.
Dean had come up with a Flying V guitar and approached me to ask what I thought of it.
And it was a great guitar – I mean really great, I was amazed by it.
They are all great people at Dean, too. They invited me to their warehouse where they were making the guitars and they were really solidly made, had a great sound and a great sustain; they just played so well.
So Dean made me a great guitar – and a great offer – and that was it; I’ve been playing their guitars for over ten years now.
RM: It seems to be the perfect marriage – could you even conceive of playing any other guitar now?
MS: Well I treat it more at a professional level – I made a commitment to Dean and that’s what I play.
And you know what? If it works, don’t fix it!
RM: Can’t think of a better phrase to sign off with while we leave to take Communion at the Temple of Rock.
Michael, thanks for talking to FabricationsHQ – see you out on the road!
MS: Thank you very much Ross!
MS: Yes and I ended up with a Flying V guitar almost by accident [laughs], but once I started to play a Gibson Flying V through my fifty watt Marshall I found a great sound and I really liked what was coming out; the combination just worked very well.
I played a white Flying V but when I re-joined the Scorpions for the Lovedrive tour I painted that guitar black and white; I continued to play it until 2004 when a guitar company called Dean contacted me.
Dean had come up with a Flying V guitar and approached me to ask what I thought of it.
And it was a great guitar – I mean really great, I was amazed by it.
They are all great people at Dean, too. They invited me to their warehouse where they were making the guitars and they were really solidly made, had a great sound and a great sustain; they just played so well.
So Dean made me a great guitar – and a great offer – and that was it; I’ve been playing their guitars for over ten years now.
RM: It seems to be the perfect marriage – could you even conceive of playing any other guitar now?
MS: Well I treat it more at a professional level – I made a commitment to Dean and that’s what I play.
And you know what? If it works, don’t fix it!
RM: Can’t think of a better phrase to sign off with while we leave to take Communion at the Temple of Rock.
Michael, thanks for talking to FabricationsHQ – see you out on the road!
MS: Thank you very much Ross!
Ross Muir
Muirsical Conversation with Michael Schenker
November 2015
Michael Schenker website: http://www.michaelschenkerhimself.com/
Click here for the 2012 Muirsical Conversation with Amy Schugar, where the American singer and guitarist
speaks about Under Construction and working with Michael Schenker
Photo Credits: Tallee Savage (top image); Steve Brinkman (lower image)
Audio tracks presented to accompany the above article and promote the work of the artist/s.
No infringement of copyright is intended.
Muirsical Conversation with Michael Schenker
November 2015
Michael Schenker website: http://www.michaelschenkerhimself.com/
Click here for the 2012 Muirsical Conversation with Amy Schugar, where the American singer and guitarist
speaks about Under Construction and working with Michael Schenker
Photo Credits: Tallee Savage (top image); Steve Brinkman (lower image)
Audio tracks presented to accompany the above article and promote the work of the artist/s.
No infringement of copyright is intended.