Revisiting a melodic rock era that deserved more recognition
There are some interviews where you come away feeling not only informed, but genuinely uplifted. My conversation with Robin McAuley was one of those.
Robin is one of those singers whose voice instantly transports you back to a certain kind of record-making — albums built on strong songwriting, soaring choruses, emotional weight and real musicianship. From Grand Prix through to the McAuley Schenker Group years and into his current work with Black Swan, Robin has always brought a sense of melody, class and commitment to everything he touches.
I recently reviewed the new McAuley Schenker Group box set, and it gave me the chance to revisit — and in some cases properly discover for the first time — a run of albums that perhaps didn’t get the attention they deserved when they were released. Speaking with Robin only reinforced that feeling.
How Robin McAuley first came into Michael Schenker’s orbit
Robin recalled his first real encounter with Michael Schenker going all the way back to his Grand Prix days, when Schenker walked into one of their London warm-up shows alongside Cozy Powell, Andy Nye and Chris Glenn. The band were impressed, and Robin was soon invited to rehearse.
At that point, though, timing got in the way. Robin was committed elsewhere and was not about to jump ship. Still, it was a sign that Schenker had noticed him.
Years later, after Grand Prix had come to an end, Robin’s musical path took him through demos in Germany, work with Far Corporation, and the unexpected success of their version of “Stairway to Heaven.” That in turn put him firmly on the radar of Rudolf Schenker, who urged Michael to take a serious look at him as a frontman.
Robin was eventually invited to Hanover. After spending an intense weekend writing and listening with Michael and Rudolf, the call came: Michael wanted Robin as the new singer.
There was just one twist.
Michael did not want to continue as MSG alone. He wanted the band to be called McAuley Schenker.
Robin admitted he was hesitant. He loved the original MSG logo and the identity that came with it. He didn’t feel he needed his name in lights. But Michael’s reasoning was clear — he wanted to share the weight of the project and avoid carrying the entire business side on his own.
And so McAuley Schenker Group was born.
Writing songs with Michael Schenker
One of the most fascinating parts of the interview was hearing Robin describe just how disciplined their writing process became.
Rather than a loose, occasional collaboration, Robin and Michael worked like it was a full-time job. For around three years Robin remained based in Hanover, and the two would work six to eight hours a day, often trying to write a song a day.
Michael would arrive with riffs — lots of them. Robin then set himself the task of writing multiple melodies and lyric ideas to each one. They demoed everything on a four-track Tascam, gradually building a body of work that was designed to give Michael a stronger foothold in American radio.
That commercial ambition was coming not from Robin and Michael themselves, but from management and label expectations. The message was clear: if the band were going to break through in the US, the songs needed a more melodic FM-friendly edge.
Looking back now, it is clear they delivered exactly that.
Perfect Timing — a breakthrough with reservations
The first album, Perfect Timing, had all the ingredients to make a major impact. EMI were excited. MTV mattered enormously. Radio play mattered even more. Songs were chosen, a title was agreed, and the machinery was put into motion.
But Robin was candid about one thing: once the album was finished, he and Michael were not completely happy with the production.
They felt there was not enough of Michael’s guitar in the mix. For a guitarist with such an instantly recognisable voice on the instrument, that was a serious concern. The bite and edge they expected were not quite there.
Even so, the album laid the groundwork for what followed and showed that the partnership could produce material with real commercial appeal without losing its core identity.
Save Yourself — stronger, heavier, sharper
With Save Yourself, the intention was clear: make it more guitar-driven, heavier and more focused.
Robin described that second album as a conscious move toward a bigger, fresher sound. The band worked with Frank Filipetti, known for his work with Foreigner, because they wanted that polished but powerful production style, along with a huge drum sound.
And that matters, because one of the delights of revisiting these albums now is being reminded just how good that era could sound when it hit the mark. Massive drums. Towering choruses. Guitar hooks. Melodies you can still remember after one listen.
The standout track for many is, of course, “Anytime.” Robin spoke warmly about the song and also about the frustration surrounding it. It was poised for a major breakthrough, sitting strongly on the AOR charts and looking ready to cross over further — until events at Capitol shifted attention elsewhere.
That story sums up a lot about this era. It was not always about whether the music was good enough. Sometimes it was timing. Sometimes label politics. Sometimes pure bad luck.
The late ’80s problem — too much noise
One of the strongest themes in the interview was Robin’s view that by the late ’80s, it was not simply a case of competition — it was a case of saturation.
There were too many bands, too many videos, too many records fighting for the same space. Everyone seemed to look similar, dress similarly, and aim at the same market. It became harder and harder for even strong material to cut through.
That observation chimed with me because it reflects how many music fans experienced that period. If, like me, life was moving quickly and money was tighter, it was easy for some albums to pass you by at the time. When you come back to them now, free of all that noise, you can hear the quality much more clearly.
And that is exactly what happened for me with parts of this box set.
M.S.G. in 1991 — a stronger final chapter than many remember
By the time the band reached the M.S.G. album in 1991, the musical landscape was already shifting. Grunge and alternative rock were beginning to push everything else aside, and the old rules no longer applied.
Robin explained that the last record took shape partly through a practical change in personnel. With Robin now settled in Los Angeles, it made sense to use musicians who were local. That brought in Jeff Pilson and James Kottak, with Kevin Beamish producing.
Robin spoke very highly of that lineup and of the songs that emerged. He also shared the story of how “When I’m Gone”came together after the label felt the album lacked a clear single. Working with Jesse Harms, Robin found the power ballad the record needed, and it became a major radio song.
Yet almost as soon as that record arrived, the lights went out on the entire scene.
That is perhaps why the third album can be overlooked — but it deserves revisiting. It feels more serious, a little tougher around the edges, and in some ways now sounds like a band trying to evolve just as the world around it was changing.
The songs still stand up
That was one of the real pleasures of this conversation.
Robin clearly understands that these albums have endured. Promoters and fans now regularly tell him how much the McAuley Schenker songs mean to them, and how disappointed they are when those songs are not represented in Michael Schenker’s live sets today.
That says a lot.
These records have lasted because the songs were there. Beneath the period detail, the hair, the videos, the production trends and all the noise of the era, there were songs with hooks, emotional pull and real craftsmanship.
That is what survives.
Grand Prix, Firefest and the long arc of rock history
One of the most moving stories Robin shared was about revisiting Grand Prix songs for Firefest in Manchester.
He invited former bandmates Mick O’Donoghue and Phil Lanzon to join him on stage, not as a nostalgic gimmick, but because he did not feel entitled to represent that band alone. He wanted the picture to feel complete.
The result was deeply emotional for him, and you can understand why. These songs, these friendships, these musical connections — they do not disappear. They wait for the right moment to come back around.
Robin also revealed that some unreleased material written with Mick and Phil may yet see the light of day. For fans of Grand Prix, that is a tantalising thought.
Black Swan and the present day
The other joy in talking with Robin is hearing how energised he still is by making music.
His current band Black Swan, featuring Reb Beach, Jeff Pilson and Matt Starr, have just released their third album, Paralyzed, and Robin spoke about it with real excitement.
He was typically modest about the whole thing, saying he never really saw himself as a solo artist or a “supergroup” singer, but the chemistry in Black Swan is clearly something special. Robin described the band as a group of “’80s rocker dudes” still doing what they do best — filling songs with hooks, melodies and energy — but with modern production that gives it freshness.
And that balance is exactly why the project works.
Robin also spoke about the possibility of Black Swan playing live. Nothing is fixed yet, but the conversations are happening. As he rightly pointed out, the festival circuit would probably be the perfect setting — the kind of place where people can discover a band in real time and respond to songs that are built to connect.
The three albums that shaped Robin McAuley
To close the interview, I asked Robin about the records that influenced him growing up and that he still returns to now.
His answer told you everything you need to know about the breadth of his musical DNA.
Thin Lizzy were a huge early influence. Robin saw them when he was just twelve years old, long before they became impossible to get near. He spoke beautifully about Phil Lynott’s songwriting, those twin guitars, the Celtic feel and the storytelling.
Then came Paul Rodgers, whose soul and passion opened another door for him. Robin had grown up hearing Motown, so hearing that emotional power inside a rock setting clearly resonated.
And then there was Creedence Clearwater Revival, especially Cosmo’s Factory — a record he originally bought as a birthday present for his girlfriend, only to decide he could not possibly give it away after hearing it.
That story alone tells you all you need to know about music obsession.
A fabulous guest and a conversation I thoroughly enjoyed
What stayed with me after this interview was not just the detail, but Robin’s attitude.
He is enthusiastic, generous, positive and still completely engaged with music — not in a nostalgic way, but in a living, active, forward-looking sense. He knows what those albums meant. He knows what they still mean. And he is still hungry to create.
Revisiting the McAuley Schenker Group through this box set has been a genuine pleasure. These albums stand up far better than some may realise. They are full of melody, character and songs that deserve to be heard again — or perhaps heard properly for the first time.
And if you finish the interview wanting to go off and play Perfect Timing, Save Yourself, M.S.G., or the new Black Swan album at full volume, then that seems like the best possible result!
