Michael Schenker Group - Assault Attack | 80s Metal Revisited

There’s a time in every rock fan’s life when the budget cassette bin turns into a goldmine.

You flip through the plastic shells, not really expecting much—just killing time. Then, boom. A flaming volcano. A silhouetted figure wielding a Flying V like it’s Excalibur. The Michael Schenker Group’s Assault Attack.

Wait... Who?

That was the reaction then—and for a lot of us, it's still the reaction now. Because Assault Attack, released in 1982, is one of those records that slipped through the cracks. No major U.S. breakthrough. No huge tour. A lineup that imploded before the album even had a chance to live.

Back From Budokan, Into the Fire

Let’s set the scene. Early ‘80s. The NWOBHM (New Wave of British Heavy Metal) is roaring through Europe. But in America? The new wave and synth-pop explosion is hogging the spotlight. MTV is fresh on the air, and bands like The Human League, Duran Duran, and A Flock of Seagulls are dominating the charts. Meanwhile, glam is still warming up backstage. And in Europe? There's a power struggle happening—literally and musically.

Michael Schenker, fresh off a stint with UFO and a brief brush with the Scorpions, decides to carve out his own legacy. He forms MSG (Michael Schenker Group), lands a deal, tours Japan, and releases One Night at Budokan.

Right after that—everything starts to unravel.

Drummer Cozy Powell and manager Peter Mensch wanted David Coverdale on vocals. Schenker said no. He wanted Graham Bonnet, the former Rainbow powerhouse with a voice like a jet engine.

Bonnet joins. Powell and Raymond bail. Enter Ted McKenna on drums (ex-Rory Gallagher, Alex Harvey Band) and Chris Glen on bass (also from the Sensational Alex Harvey Band)—a seasoned rhythm section with serious chops. And they all head to France to record an album with producer Martin Birch—yes, the Number of the Beast and Heaven and Hell Martin Birch.

Sounds promising, right??

It was. Until Bonnet got himself fired for reportedly flashing the audience before the band ever toured. The album dropped. MSG re-hired their old singer. No tour. No MTV rotation. Just... silence.

The Voice You Can’t Forget (Even If You Try)

The first thing you notice is Bonnet’s voice. It’s not smooth. It’s not pretty. It’s a battering ram with pipes. One second he’s soaring, the next he’s barking through lyrics like he’s trying to break the mic.

It’s a revelation. Bonnet's voice isn’t just powerful—it’s unpredictable and compelling. He’s not just a hired gun; he’s a force. This is the same vocalist who worked with Blackmore, Schenker, Yngwie and Steve Vai. That resume isn’t accidental.

Still, not everyone’s a fan. His delivery on songs like “Dancer” is, let’s say... committed. The lyrics? A little goofy. (“She’s a dancer not ideally built for ballet.” Seriously?)

But here’s the twist.

Even when the words are awkward, Bonnet makes them stick. He’s theatrical, unhinged, and kind of mesmerizing. You might crack a smile. You’ll definitely rewind.

Schenker Shreds, But the Band Grooves

The guitars deliver exactly what you'd expect from a Schenker record. The riff on “Desert Song” hits like headlights guiding you through a storm. Dark, brooding, and strangely melodic. The rhythm section underneath? Sneaky good. Especially the bass work on “Broken Promises,” which plays like a secret solo happening just beneath the mix.

Wait, MSG had good bass?

That’s what makes this record so wild. It’s not just a guitar showcase. It sounds like a band. The drums thump. The bass hums with tension. And Schenker’s riffs? They twist and pivot more like Thin Lizzy than the straight-ahead chug of contemporaries.

“Assault Attack” delivers Maiden-meets-Van-Halen groove shifts—metal with just enough swing to keep your head nodding and your booty moving.

Clean Production, Dirty Energy

But it's an early 80s metal record—shouldn't it sound kind of thin?

You’d think. But that’s where Martin Birch works his magic.

The production is punchy and layered. You can hear everything—without it feeling overcooked. It’s heavy when it needs to be, but it breathes. Crank it up, and the sound holds firm. Turn it down, and the details still shine through. A rare balance, especially for 1982.

That’s not easy to pull off. Especially in 1982.

What Almost Was

Assault Attack never blew up the way it should have. Timing. Turmoil. A music industry chasing trends instead of talent. And maybe, just maybe, a voice that was too intense for radio but too good to ignore.

What if Coverdale had joined? What if Schenker hadn’t fired Bonnet? What if “Dancer” had a better lyricist? What if...

But maybe that’s what makes Assault Attack so compelling now.

It’s the great “almost.” The record that should’ve hit harder. The one that sat in your closet on an unplayed cassette, just waiting for the right moment to resurface.

How This Album Got the Spotlight

This wasn’t random nostalgia.

It was nominated by Patrick Testa, a member of the DMO Union Patreon community. He pitched it as “amped-up rock with variety—pop hooks, warrior movie vibes, and Graham Bonnet screaming into the stratosphere.”

The vote was tight. Albums from Sammy Hagar and D.A.D. were hot on its heels. But Assault Attack took the win by one vote.

That’s right. One. Vote.

Your Turn: Dig In, Turn It Up

If you’ve ever bought an album for the cover alone...

If you’ve ever wondered why Michael Schenker gets name-dropped by Dimebag Darrell and Eddie Trunk alike...

If you want to know what it sounds like when a band almost sets the world on fire—but still leaves scorch marks...

Then this is the moment.

🎤 Listen to the full Dig Me Out episode on Assault Attack to hear what worked, what flopped, and what made the hosts say, “Why the hell haven’t we been listening to this for years?”

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Songs in this Episode

• Intro - Ulcer

• 19:22 - Desert Song

• 21:04 - Broken Promises

• 27:00 - Rock You to the Ground

• 29:40 - Dancer

• 35:58 - Samurai

• 42:46 - Assault Attack

• 46:08 - Rock You to the Ground

• Outro - Searching For a Reason

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