The genius of Michael Schenker is such that each and every note seems pregnant with meaning, fecund in its relationship to an intensely inventive and original riff and/or run, with substantial harmonic underpinning, where applicable, of vocal leads and choruses. Most other guitarists pale to musical insignificance in comparison with this master, who is positively electrifying.
There are only a few guitarists who can be mentioned in the same breath as Schenker – namely Jeff Beck, Steve Morse, Harvey Mandel (does anyone remember him and his revolutionary instrumental albums back in the late ’60s?), Snowy White, and possibly one or two younger pretenders to the throne like Bernhard Beibl and Michael Amott, whose brilliant guitar riffs kind of square the Michael circle in a way strongly reminiscent, at times, of the original master of hard rock/heavy metal guitar.
One of my analogical kinks, if you will, has been to draw musical parallels between Michael Schenker and Beethoven, as though, given his almost muscular tonal substantiality, he were the Beethoven of the electric guitar, though at times, I confess, I have also considered Jeff Beck in this role, even if my analogical kink tends more towards Brahms in connection with him, possibly because I was heavily into Brahms’ First Symphony at around the time when I bought Jeff Beck’s first album, Truth, in 1968 or 1969.