UFO E-Book

Richard James

• Herausgeber: Sonicbond Publishing
• Kategorie: Geisteswissenschaft
• Serie: On Track
• Sprache: Englisch

Seitenzahl: 300

Veröffentlichungsjahr: 2025

Beschreibung

UFO, the legendary band which have been gracing the world’s stages for the last 50 years, have given us more than their fair share of superb quality hard rock songs including ‘Doctor, Doctor’, ‘Rock Bottom’, ‘Shoot Shoot’, ‘Too Hot To Handle’, and ‘Only You Can Rock Me’. And that was just during the Seventies!
Albums such as Force It, Obsession, The Wild, The Willing, And The Innocent, Walk On Water and You Are Here are acknowledged as classics of the melodic hard rock genre, and their live masterpiece Strangers In The Night regularly features at or near the top of rock music polls. UFO’s history can be delineated by the guitarists who have passed through their ranks. Phases in the band’s career include: the early ‘Space Rock’ stumblings; their astonishing development with the brilliant, mercurial Michael Schenker; the consolidation and first downfall during Paul Chapman’s tenure; subsequent re-launches and crash-landings; a troubled reformation of the Schenker line-up and the final, mostly settled, version with Vinnie Moore.
This book explores each of the band’s 23 studio albums, and, of course, Strangers. Every song is analysed in detail and opinions are numerous in this passionate critique of one of Britain’s best loved and most influential rock institutions.

Richard immersed himself in music as soon as he got his first real six string at the age of 10. Previously chained to a desk for a living, he broke free, armed with a music degree from the Open University and a Licentiate Diploma in Classical Guitar from the Royal School of Music, and proceeded to roam the East Midlands as a freelance guitarist and music teacher. He lives with his wife in Leicestershire, UK, and when not involved with music he enjoys foreign travel and playing chess badly.

Leseprobe

UFO

Richard James

Contents

Introduction

1. U F O 1

2. U F O Two: Flying: One Hour Space Rock

3. Phenomenon

4. Force It

5. No Heavy Petting

6. Lights Out

7. Obsession

8. Strangers In The Night

9. No Place To Run

10. The Wild The Willing And The Innocent

11. Mechanix

12. Making Contact

13. Misdemeanor

14. Ain’t Misbehavin’

15. High Stakes And Dangerous Men

16. Walk On Water

17. Covenant

18. Sharks

19. You Are Here

20. The Monkey Puzzle

21. The Visitor

22. Seven Deadly

23. A Conspiracy Of Stars

24. The Salentino Cuts

25. Thank You And Goodnight

Thanks to ...

My thanks go to my wife, Alison, for – well – everything, and marking my homework! Multiple ‘thanks-a-lot, ta’s’ to my best man and fellow frequent flyer, Mike Rawsthorne, who has been instrumental in commenting upon all the songs in this book. Also I am grateful to Stephen Lambe at Sonicbond Publishing whose help, advice, and encourage- ment has transformed ‘I think I could do that’ into ‘Oooh, look, I’ve written a book’.

Introduction

It’s a Saturday afternoon in the spring of 1978, and I am sitting at my bedroom desk. On the floor lies an open copy of this week’s Sounds, a weekly rock music newspaper, and in front of me, where my homework should be, is the monthly musicians’ magazine Beat Instrumental. Sitting on the nearby windowsill is a small transistor radio with the volume set to ‘uncomfortable’. Every Saturday afternoon was like this; my sixteen-year-old self had one all- encompassing passion, rock music, and I was about to get my weekly fix via the Alan Freeman Rock Show on Radio One.

This programme was like a cathedral to me. From its exciting introduction, (8.42 minutes into ELP’s ‘Karn Evil 9’: ‘Welcome back my friends to the show that never ends, we’re so glad you could attend, come inside come inside’), to Freeman’s dramatic voice, every song, every pronouncement sounded important. This was stuff I needed to hear, to really listen to, and Alan’s wisdom would help me with my next investment. Because that’s what records were, not just financially, but more importantly in finding your musical soul- mate in a seemingly ever-expanding universe of bands, styles, and sounds. A feature of the show was the final few seconds of Be Bop DeLuxe’s ‘Maid in Heaven’, played as a potent introduction to what was to come. And then he played ‘some UFO for you, alright?’.

The first time I heard a UFO song, I was stunned. I had read about them, the band with the German guitarist, but they hadn’t come into full view yet. My initial immersion in rock’s deep pool was via Status Quo, Black Sabbath, Rush, and Budgie. But I wasn’t content with these bands; fabulous as they were I wanted something else, something that really connected…

It wasn’t one of UFO’s now-classic songs, or one of their very rare chart entries that first got my attention. My initial exposure was to ‘Reasons Love’ a track from their 1976 album No Heavy Petting, according to Alan. From my radio’s small speaker emerged a bludgeoning electric guitar riff with pounding drums, heavy bass, and words that you could actually hear and understand, sung rather than shouted or screamed. And then there was the guitar solo, fierce, fast, and oh-so-melodic. Not rooted in the jazz/blues pentatonics of Sabbath’s Iommi, or the country-tinged, spiky phrasing of Francis Rossi of Status Quo, this was superb playing with power, precision, passion, and unbelievable speed. I wanted more. A lot more.

Suddenly UFO was rising to the surface in time for me to purchase the taster EP teasing the release of Obsession. It contained three absolute belters, ‘Only You Can Rock Me’, ‘Cherry’ (both from the forthcoming album), and a longer track, ‘Rock Bottom’, from Phenomenon. It was this trio which exerted a gravitational pull on me. For an extra pound, plus postage and packing, I could own a promotional red plastic frisbee adorned with the UFO logo in the middle. When this finally arrived it turned out to be a complete waste of my Sunday farm job money. The disc contained no music and managed to ruin the stylus on the stereo system.

But from that point on my musical future with UFO was sealed. Every vinyl album was bought, then purchased in CD format, and then again in the ‘re- mastered/bonus tracks’ era. My second ever gig was seeing the band at De Montfort Hall in Leicester on the No Place To Run tour. I’ve been to at least one show of every subsequent tour, and been a sucker for the merchandise stall. Live they never disappointed me, on record they sometimes did, but much less frequently than any other band.

As UFO’s 50th anniversary/farewell tour draws to a close, and Phil Mogg, vocalist, chief lyricist, and only permanent member of the band has decided to retire, this is an appropriate time for an analysis of all of their studio albums. A separate chapter is included for the landmark live masterpiece Strangers In The Night, whilst other official live albums are treated as points of historical reference with minor comments.

UFO can be delineated by the many excellent guitarists who have passed through the ranks and Mick Bolton. Apologies to fans of Mr B but his playing just makes my teeth itch. Each period of the band has its devotees, with the possible exception of Misdemeanor, (although there may even be some ‘Hair Metal’ enthusiasts out there who rate that album above all others, as unlikely as it sounds), and throughout the book, I aim to be as fair as possible. Every album has its highs and lows, and these are reflected in both UFO’s great and not so good contributions to rock’s rich tapestry.

When I’m drawn to a song it’s because it sounds original, has integrity, shows creativity, and carries emotional weight. Equally, spades will be called spades. These are the principles I have adhered to when writing this book, and my aim is to be as subjectively objective, or maybe the opposite, as possible. The opinions given are entirely my own, as are any mistakes that may filter through.

All the albums reviewed here are based upon listening to the latest CD versions available. Until 1990 I collected vinyl and, up to that date, the reviews reflect the side one and two divisions in sequencing where appropriate. After 1990 I became a CD listener (Strangers was my first purchase of the new medium) and the distinction between sides no longer mattered.

Writing this has been (mostly) a labour of love for a band that has provided a soundtrack to my life to date, and whose music will stay with me for as long as my ears and memory continue to function adequately. Strap yourself in… we’re off on a rockin’ ride…

Chapter1

U F O 1

Personnel:

Phil Mogg: vocals

Michael Bolton: guitars

Pete Way: bass

Andy Parker: drums

Recorded at Jackson Studios, Rickmansworth, Hertfordshire

Produced by Guy Fletcher and Doug Flett

Released on the Beacon label: October 1970

Highest chart places: Did not chart

In the autumn of 1970, the beginnings of a legendary band emerged onto the nascent heavy rock scene. As was the fashion of the time some introductory notes for potential purchasers were included on the album sleeve…

…they were young, probably not long out of school, and still experimenting with sound. Although they were quite accomplished musicians, the boys, Mick Bolton, 20, lead guitar; Pete Way, 19, bass guitar; Andy Parker, 18, drums; and Phil Mogg, 19, singer, were still having some difficulty co-coordinating … Now we consider them to be together enough for us to release a first album. Many of the tracks are written between them and are a musical expression of their innocence and thoughts of the world we live in. We all hope you enjoy it as much as the boys did making it.

The album cover was a cheap and cheerless affair. Four disembodied egg-like globes with open ‘mouths’ float against a starry black sky backdrop. The band’s logo and album title in white and grey are typical of the time. On the rear, a larger version of the same logo and title is shown above the list of songs. On the inside of the CD insert is a double-page photo of the group’s heads against a black background, from left to right its Way, Bolton, Parker and Mogg.

Listening to this album for the first time in many years it’s still hard to believe that three-quarters of the line-up on this first record would go on to become the core of a classic rock band. The essential elements, (Mogg’s distinctive vocals, Way’s energetic if rudimentary bass playing, and Parker’s propulsive drumming), are all present and correct, but the trio is let down on two important fronts.

Bolton is fundamentally just another blues-rock guitarist and whilst his rhythm work is adequate, his solos rarely move beyond clichés. Virtually everything he plays has been executed better by other players, and he offers little beyond the uninspired regurgitation of bland blues phrasings. There is a lack of variation in his recorded guitar tone and he operates almost on a ‘one sound suits all’ setting.

More importantly, UFO1 lacks quality songs. There is just about enough semi- decent material here to form an interesting EP but stretching what they’ve got over two sides of twelve-inch vinyl was a big ask. The album is of historical interest only, but if it hadn’t existed quite probably what followed would never have happened. The most positive spin to put on this debut is that it’s a first stepping-stone to future greatness. It’s difficult to believe at times, but history bears me out. Just.

‘Unidentified Flying Object’ (Way, Mogg, Parker, Bolton)

This unassuming short instrumental opens with some gently picked guitar arpeggios over a wash of cymbals and a tasteful bass line, joined by a steady drum rhythm. Gradually the music increases in tempo and gains some urgency with a slow, distorted guitar melody featuring plenty of bluesy bends, along with some appropriately ‘Sci-Fi’ sound effects. The track gradually gets heavier before building to a power chord conclusion with more synthesiser noises to a fade.

It’s pleasant enough without being anything other than mildly diverting, music to shave by if you like, but it’s a curious choice for an opening track. A more appropriate title would be ‘Un-involving Filler Object’.

‘Boogie’ (Way, Mogg, Parker, Bolton)

An angry guitar introduction leads to more bluesy noodlings over a steady 4/4 time hi-hat rhythm, which then drops into a rollicking 12/8 shuffle. The guitar riffs are strong here and anticipate both ‘Give Her the Gun’, and ‘Doctor Doctor’. Unfortunately, Mogg’s first vocal, although laconic in delivery, contains neither poetic nor subtle lyrics. Another problem with this underachieving song is that it constantly sits in the tonic key of A minor; there are no chord changes or separate sections to maintain interest over its four and a half minute duration.

A lengthy and staggeringly derivative guitar solo is followed by Mogg’s reappearance, which is some form of relief even if his words appear to have been written whilst Bolton was playing. The song ends as it began with more blues phrasing, finally fading over the reprised shuffle rhythm.

‘Boogie’ would become an early stage favourite and is one of the stronger offerings in this poor first bunch. It was released as a single, and reached No. 30 in the German charts, setting the scene for the band’s early popularity overseas.

‘C’mon Everybody’ (Cochran/Capeheart)

Third track in and UFO’s first cover version starts with a combined assault of drums, bass, and heavily distorted guitar. Elsewhere in this book, I am critical of the band’s decisions to record other artists’ material when they possessed ample song-writing skills themselves. Here, however, this energetic remake of Eddie Cochran’s rock’ n ’roll classic is the best song on the album despite the dated production values, an example being the excessive use of echo on the title words, which spoils the inherent aggression of the track. Both guitar solos are short, sweet(ish), and appropriate, and the album has come to life with two strong numbers.

‘C’mon Everybody’ would remain part of the band’s setlist during the early gigging days with Schenker and would make occasional reappearances later in the band’s touring life.

‘Shake It About’ (Way, Mogg, Parker, Bolton)

Over an opening swing style walking bass line and drum rhythm, there is more bluesy noodling from Bolton, whose guitar probably thought Oh no, not again each time he plugged it in. Mogg’s fine vocal style just about manages to cope with some awful lyrics, ‘Little girl, you look so fine, with that body you gotta be mine’. The rhythm and tempo then pick up for the long and entirely predictable guitar solo. Mogg is back for another dubious verse, trading melodic phrases with Bolton who solos again before a new chord sequence underpins a long and impressive ‘Shake’ from Mogg as the song grinds to an end.

‘(Come Away) Melinda’ (Hellerman/Minkoff)

The sound of children playing foreshadows some softly wah-wah’d guitar chords with Mogg in a reflective mood. Here are the first true indications of his fine soulful style with real tone and emotion to his singing. The verse describes, in the first person, a young girl asking her father to look at something she has discovered. The chorus shifts to the father’s perspective as he tries to protect her from the knowledge of a ‘picture book’ containing photos of her mother ‘before the war’.

UFO would develop a long and proud tradition of high-quality ballads and, whilst this is a cover version, it is also an extremely persuasive interpretation of the original, first recorded by Harry Belafonte in 1963. Credit is due here to Parker’s subdued, tasteful drumming, whilst Way is too prominent and busy in the mix. Some backwards recorded guitar is added as the song builds to a strong conclusion with Mogg’s ghostly cries, and a ‘reversed’ piano sound, although no one is credited with playing this instrument. There are some gunshots as an unnecessary and obvious coda to this powerful track.

‘Timothy’ (Way, Mogg, Parker, Bolton)

This song begins with a lengthy and energetic up-tempo introduction which is similar in feel to ‘C’mon Everybody’. This is then followed by ‘call and response’ verses between vocals and instrumentalists. After this reasonably promising start, Bolton goes for another aimless wander around the fretboard during which time it’s better to listen to Way’s frenetic bass playing supported by Parker’s rapid drumming.

The ‘breakdown’ section (2.18) is of mild interest although lyrically it leaves a lot to be desired, ‘Does he come from the sky? Does he come from the land? Does he come from the earth? Does he come from the sea? Timothy’. It’s a throwback to the poorer side of psychedelia which is where it should have stayed. Then, in the same way that space abhors a vacuum, there is another guitar solo which, again, is unhampered by inspiration as Bolton replays blues phrasings already used on the album, followed by a brief power chord ending to the song.

‘Follow You Home’ (Way)

‘Follow You Home’ is based on a brisk ‘re-imagining’ of The Kinks’ ‘You Really Got Me’ riff played with a cleaner guitar sound. The refrain ‘C’mon and see you in the morning’ is catchy, but otherwise, the song remains mundane, with another pentatonic guitar assault on the listeners’ boredom threshold. The track is a light, quick, pop-style number with a tight ending but little else to commend it, its saving grace being its brevity.

‘Treacle People’ (Bolton)

It’s back to the land of cod-psychedelia, with this slow pseudo-Beatles ballad. Bolton’s sole solo composition does not fare well. Abysmal lyrics make their way effortlessly through the band’s seemingly non-existent quality control system, ‘I walked through the space, that wasn’t really there, and when I reached the other side, I didn’t really care’. Nor do we.

A guitar solo rooted in the major key feel of the song is of partial interest and is the first time that Bolton appears to have something original to contribute musically. After the solo, the line ‘Everyone except for me’ is another example of the potential of Mogg’s voice, soulful with an edge, a rasp showing genuine emotion. The instrumental section is reprised with added studio modulation effects. ‘Treacle People’ is interesting only because new ideas are introduced and explored, but it is let down by truly terrible words.

‘Who Do You Love’ (McDaniel)

Opening with another gentle guitar introduction with various ‘coo-ings’ from Mogg, subtle cymbal washes, and sparse drum fills, the band then come crashing in with a rhythm reminiscent of The Who. Lyrically it is best avoided amid the repeated ‘Who do you love’s. Then, of course, there’s a predictable pentatonic blues solo, drenched in excessive reverb. It all sounds like an amateurish jam, a recorded rehearsal, with more dreadfully clichéd lyrics. Mogg’s final refrain is, however, particularly impressive and it’s moments like this that reveal the depth of talent waiting for the necessary German touch paper to ignite it.

The long instrumental sections show yet again how quickly Bolton could run out of ideas. A strong contender for the worst song on the album amidst some tough competition, it also lasts over seven long minutes. This cover version has no redeeming features aside from its mildly diverting introduction, and it reeks of filler to make up the album’s running time.

‘Evil’ (Way)

The guitar introduction brings ‘Lola’ by The Kinks briefly to mind, and then the song descends into another mid-tempo blues-based number with more painful words, ‘Heaven knows, but you’re an evil child, drive me crazy you drive me wild’. Way’s bass playing is so much better than his songwriting. Parker does his level best to keep the energy level up, but Bolton’s one-sound-one-style solo comes in exactly when you would anticipate, and the soul is sapped again. The first verse is reprised, a go-to example of a lack of ideas, followed by yet another guitar solo as the song fades into well-deserved obscurity.

Non-Album Track

‘Galactic Love’ (Way, Mogg, Parker, Bolton)

Beginning with some suitably spacey ‘Sci-Fi’ effects, Parker’s drumming propels the band into another sub-Who style chord progression which leads into yet another meandering number. Mogg’s vocals have yet again had too much reverb applied to them. Bolton’s solo is mercifully short and the opening verse and chorus are reprised before the song drags to a slow ending.

‘Galactic Love’ was released as a single in 1972, backed with ‘Loving Cup’, another impressive cover, this time of Paul Butterfield’s blues song, taken from the band’s third album.

Chapter2

U F O Two: Flying: One Hour Space Rock

Personnel:

Phil Mogg: vocals

Mick Bolton: guitar

Pete Way: bass

Andy Parker: drums

Recorded at Nova Studios, London

Produced by Milton Samuel

Released on the Beacon label: October 1971

Highest chart places: Did not chart

All five tracks on this opus are credited to all four band members. It’s good of them to take collective responsibility for this protracted belch of a (very) long- player as UFO Two: Flying: One Hour Space Rock is almost entirely a turgid extension of all the problems that beset UFO1. And then some. There is more, a lot more, uninspiring, blues-based guitar playing, dull arrangements and three overly long songs, excessively so in the case of the title track. There is a minor improvement in the production; the level of reverberation added to the recording is noticeably reduced which leaves all the music sounding ‘dryer’ but this adds no polish to these particular musical droppings.

The cover was a painting of a naked alien figure flying towards the viewer accompanied, or pursued, by two blue UFOs. It looked like a failed sixth form art project. On the gatefold sleeve the lyrics were reprinted (which was not a wise decision), and only served to show how much the arrival of Michael Schenker would become a focal point and inspiration for the band’s future success.

Bolton left the band in January 1972, his tenure being rounded off with a final album, Live, which confusingly has also been released with the titles UFO Landed Japan, UFO Lands In Tokyo, and Live In Japan, recorded and released exclusively in Japan in 1971. The rest of the world had to be patient until November 1972. It wasn’t worth the wait. The first side was all cover versions (‘C’mon Everybody’, ‘Who Do You Love’, ‘Loving Cup’), the second side all original material (‘Prince Kajuku’, ‘The Coming Of Prince Kajuku’, ‘Boogie’, ‘Follow You Home’), with only ‘C’mon Everybody’ and ‘Prince Kajuku’ coming over well. The other strong studio song, ‘Boogie’ is, at ten minutes plus, far too long.

Flying is hard work; just ask an overweight buzzard. But this album, in particular, is a tough listen. Maybe it slides by better with recreational drugs or copious amounts of strong alcohol, but without such accessories, it’s a serious contender for one of the worst listening experiences of my life. And I’ve heard amateur musical theatre companies in rehearsal.

‘Silver Bird’ (Way, Mogg, Parker, Bolton)

This starts with an upbeat bass and drum backing with a folky-style clean electric guitar melody over which Mogg’s restrained vocals can just about be heard, both the guitar and bass being too far forward in the mix. The ‘story’, such as it is, describes the discovery of a landed UFO with a subsequent invitation from its inhabitant to take the narrator away from Earth, a suggestion that is accepted.

The rock feel is turned up and the song crashes into a loose, interminable blues instrumental which shows absolutely no development from UFO1, followed by a return to the verse structure. Then it’s instrumental time again with Bolton demonstrating just how boring a guitar can be when in the wrong hands. At 4.10 a lengthy calmer section arrives featuring a wah-wah pedal solo which bounces in-between the stereo channels and builds with plenty of syncopated power chords over an increasingly energetic rhythm section before it all crashes to a typical early 1970s drawn out, power-chord ending.

‘Star Storm’ (Way, Mogg, Parker, Bolton)

‘Star Storm’ opens with a long introduction featuring a mixture of atmospheric guitar, percussion effects and a pulsing bass line until a mildly interesting light-funk guitar riff takes over at 2.10, and Mogg’s distinctive vocals do their best with the car-crash lyrics which mix the interstellar with the interpersonal. A form of relief is on hand as Bolton solos briefly into the second verse and on it goes; verse and solo moving into an extensive instrumental section with Bolton’s new toy, a delay pedal, being used extensively alongside the wah- wah. But his playing is all blues, blues, boring blues set against a monotonous backing. By this point, Mogg is probably in the pub writing the next verse. What interest there was is quickly lost.

At some point halfway through the track (it’s difficult to be precise as I may have dozed off), Parker stops playing leaving Bolton and Way dithering away, echoes, wah-wah and reverb all over the place. This may be a symbolic voyage through space and time, but for those of us left behind it’s the musical equivalent of a wet weekend in a broken-down Camper Van on an industrial estate just outside Stoke.

At 11.15, out of nowhere, a bizarre folk melody with a clean guitar tone emerges over a simple bass motif and Parker picks up his sticks again. Bolton quickly shakes off any notion of recent invention, retreating back to the safety of the ‘B’ word. At 13.20 the sound suddenly becomes heavier again with a basic guitar riff grinding away, and the tempo and the blues clichés gather pace as the music grinds into a new section of distorted power chords at 14.35 sounding like an outtake from the first Queen album.

Whereas Brian May would have fashioned this idea into something worthwhile and interesting, Bolton isn’t going to let originality get in the way of his playing. So it’s back on with his blues-trousers, whilst Parker starts to hit all of his kit hard and fast. Eventually, the original riff returns signalling both the fact that Mogg has returned from the pub, and that the song’s coda can’t be too far away. At least one of these statements is true and the track ends crisply, but it’s still over eighteen minutes of your life you won’t see again.

‘Prince Kajuku’ (Way, Mogg, Parker, Bolton)

A muted, wah-wah flavoured, arpeggiated guitar leads into a really good if simplistic overdriven riff and the first evidence of a recognisable UFO groove as Way and Parker pick up the rhythm and move together seamlessly. Mogg’s vocals are again let down by some desperately poor pseudo-psychedelic lyrics, which actually describe the band’s van driver, whose appearance apparently resembled that of a Zulu warrior. This is the first time the youthful energy of UFO1 has been recaptured and it’s a shame that it’s taken nearly half an hour to get to this point. Bolton’s solo is predictably mediocre but given what’s gone before this noisy surprise of a song lifts the album with its vitality and concise delivery.

‘Prince Kajuku’, backed with ‘The Coming of Prince Kajuku’, was released as a single and made it to 26 in the German charts. Reflecting UFO’s lack of popularity in their home country it failed to trouble the British charts.

‘The Coming of Prince Kajuku’ (Way, Mogg, Parker, Bolton)

This is another oddity, reminiscent of the attention-dodging instrumental which opened UFO1. After some restrained but not completely in tune chord work, another two-note bass motif allows Bolton to doodle away whilst the Gods of Inspiration gather over other guitarists. Parker’s crisp drumming brings a Beatles ‘Get Back’ rhythmic feel to the music, but this track isn’t going anywhere. Bolton starts to fiddle around with a dull chord progression, and then Way goes off for another lengthy wander around the fretboard. Gradually more layers of musical aggression are brought in as the bass drops an octave and provides some much-needed power as the music crashes to a tight ending. But what purpose has it served? ‘The Coming of Prince Kajuku’ is either a song waiting to be developed further or something thrown together to push the album’s running time closer to its required titular level.

‘Flying’ (Way, Mogg, Parker, Bolton)

‘Flying’ is the longest track UFO would ever record and, sadly, the album’s (partial) title track just drones on and on, seemingly without an end in sight. Various moods are elicited, then disposed of, and somewhere in this aural equivalent of Chinese water torture, there are some half-decent ideas which may have become interesting short songs given work. But it was not to be.

And so it begins. After some echo-heavy guitar effects, a derivative chord progression is established with Bolton possibly imagining he is being both tasteful and inventive. He isn’t, and isn’t. Mogg’s subdued vocals grow, and lyrically it’s as embarrassing as anything else on this album, but he does at least show control, phrasing and dynamic strength over the first five verses. Then inevitably it’s time for a Bolton solo section (you know what you’re going to hear even before it happens), which is followed by a return to Mogg and his next rambling five verses. There then follows a lengthy, and boy do I mean lengthy, instrumental section over which some very rudimentary ideas, far too reliant upon wah-wah and reverb effects, are strung out.

This is the first time I have listened to this album since the late 1970s when it was purchased, had to be purchased, because it was early UFO. I can still remember the deep disappointment upon discovering that this version of the band had virtually none of the features of the UFO that had captured me. ‘Dull’ doesn’t begin to cover this music, and whilst writing this I am searching for moments, fragments, anything of worth to mention but there is very little here that you should allow your ears near. You could cast yourself Germany- wards and hear what the younger Schenker was up to with his brother’s band, Scorpions, on their 1972 debut album Lonesome Crow. It’s not much better, but at least it’s not this.

At 12.25 the tempo suddenly cranks up with a different riff leading into a new vocal from Mogg, but interest is again short-lived as Bolton is back to plagiarising himself. This section could have had some merits as a song in its own right, but it’s hidden away in this morass of improvisation and paucity of invention. Mogg sounds as if he’s making the words up on the spot. Perhaps he is. Without warning or reason the music then moves into waltz time (3/4) and at 16.52 slows in tempo moving back into the default 4/4 setting.

This new sound world isn’t going to hold Bolton back from committing more musical atrocities and, lo, it came to pass that the wah-wah and delay pedals were again deployed in a futile attempt to generate drama. And drama there was none. And the listener said unto himself ‘Why is this happening to my ears? Make it stop.’ And yet on it grinds, the tempo flat-lining to nothing as Way and Parker just…disappear.

Hang on I’ve just heard a chicken! I’m sure I have just heard a chicken. I am not making this up. At 19.48 it’s either a chicken or I have genuinely lost it listening to this stodgy quagmire. I’ve reset the disc. Yes, that is, without doubt, a chicken. ‘Mein Gott’, a teenage guitarist in Hanover may be thinking. To the best of my knowledge, this is the first and last time a chicken has featured in rock music. The chicken also gets bored because Bolton is on his own now, with wah-wah, distortion, delay, and agonised string bends all over the place. Way and Parker return to the studio, maybe having enjoyed a very recent drumstick-style snack, and another five verses take hold. By this point, even the stereo is begging to be turned off…

Eventually of course ‘Flying’ does finish, and relief isn’t a big enough word. The ‘song’ concludes with some unusual sound effects, some backwards recorded spoken words taken from Kipling’s’ ‘Gunga Din’, and a slowed down phrase ‘Yes we know, it’s all been done before, before, before’. No, I don’t know why either.

Chapter3

Phenomenon

Personnel:

Phil Mogg: vocals

Michael Schenker: guitars

Pete Way: bass

Andy Parker: drums

Recorded at Morgan Studios, London

Produced by Leo Lyons

Released on the Chrysalis label: May 1974

Highest chart places: USA: 202, UK: Did not chart

In 1974, armed with a new record deal, management and guitarist, UFO finally took flight. The departure of Mick Bolton had been followed by brief periods with Larry Wallis (February to October 1972), and Bernie Marsden (November 1972 to June 1973), with the band recruiting wunderkind Michael Schenker from Scorpions whilst on tour in Germany. To doctor (doctor) a phrase; what a difference a guitarist makes.

From the very first track, it’s hard to believe that three-quarters of this ‘new’ band were responsible for the exploratory, psychedelic, bluesy music of their first three records. Phenomenon’s songs are just so much better, well structured, and highly melodic. The production is clear, rocky, and direct, and the guitar playing appears to have emanated from a distant galaxy, or Hanover to be more precise.

Even the album cover, the first of many for the band by design group Hipgnosis, marked a superior change of focus and direction. The front image of a suburban couple attempting to fake a photograph of a UFO sighting outside their home is a welcome and intriguing departure. The back cover featured a large black and white image of the band, naked from the waist up, and a small inset of the real ‘fake’ photo, along with the song titles and credits.

This is the first ‘true’ UFO album. It features strong vocal performances, impassioned, poetic lyrics and, for the first time, some excellent original songs. Schenker’s arrival and creative chemistry with Mogg, along with his soloing prowess, immediately makes a substantial and lasting break with the band’s past. There would be no turning back from this point.

Phenomenon has an emphasis on dynamics and texture, with memorable riffs and two outright rock anthems rubbing shoulders with more reflective acoustic moments. It’s fair to say the album has many softer sounding songs and, yes, four ballads may be overdoing it. But that is to miss the point. The essential elements of a classic band are in the chemistry between the players and the quality of the songs they produce. In this regard the new UFO delivered.

Phenomenon is not without its faults, but it still stands up as both a fine album in its own right and as a marker for the direction in which the band were headed. Their future would be in expertly crafted songs, full of melody and skilful arrangements. Song lyrics would be delivered with a soulful voice, and a rock-hard rhythm section quite capable of turning it all the way up or dialling in subtlety. Add to this a guitarist who combined killer riffs with breathtaking solos and it’s a potent combination. Better was to come, more cohesion was on the horizon, and the album’s sequencing is questionable, but all in all, this ‘debut’ is a strong statement of intent.

In 2019 Chrysalis released a 3CD deluxe package of the album. CD1 contained the original album, whilst the second disc included some interesting obscurities:

‘Sixteen’ (demo), ‘Oh My’ (demo), ‘Give Her The Gun’ (non-album single A-side), ‘Sweet Little Thing’ (non-album single B-side), ‘Sixteen’, ‘Doctor Doctor’ (single edit), ‘Rock Bottom’ (single edit), ‘Doctor Doctor’ (mono single edit), ‘Oh My’ (instrumental run-through), ‘Sixteen’ (instrumental), ‘Doctor Doctor’ (take two instrumental), ‘Rock Bottom’ (double-tracked vocal), ‘Time On My Hands’ (work-in-progress version, alternate lyrics, no guitar solo), ‘Built For Comfort’ (master with full vocal), ‘Lipstick Application’ (‘Lipstick Traces’ backing track), and ‘D minor, G minor’ (‘Queen Of The Deep’ master, full vocal, full ending).

It is the third disc which is the real find in this well-presented package. It captures UFO live at the Electric Ballroom, Atlanta, Georgia on 5 November 1974. The band delivers blinding versions of:

‘Oh My’, ‘Doctor Doctor’, ‘Built For Comfort’, ‘Give Her The Gun’, a cover of John Lennon’s 1969 song ‘Cold Turkey’, ‘Space Child’, ‘Rock Bottom’, ‘Prince Kajuku’

Nowadays running orders can be manipulated with ease compared to the dark ages of the record player and cassette recorder. To create a more Phenomenonal experience, try the following:

‘Give Her The Gun’, ‘Crystal Light’, ‘Oh My’, ‘Space Child’, ‘Queen Of The Deep’, ‘Doctor Doctor’, ‘Time On My Hands’, ‘Sixteen’, ‘Lipstick Traces’, ‘Rock Bottom’

‘Too Young To No’ (Way/Mogg)

A slinky guitar introduction slides into a mid-tempo groover with a jaunty lead melody overlaid on top. The first song of the new era is not as ear- catching as the more powerful numbers on the album, and whilst the chorus is memorable ‘Too Young To No’ is hardly essential listening. It’s pleasant enough in a light rock/hard pop fashion, and Schenker gets plenty of opportunity to show off his fretboard skills, but Mogg’s lyrics (concerning a man’s desire for a teenage girl) are nothing special.

Schenker’s contribution, whilst establishing his trademark melodic style, sounds like the guitarist is treading water rather than thrusting forwards. The repeated choruses lead to the coda section, which has extra drive to it as the song comes to a sudden stop. Welcome to the future…

‘Crystal Light’ (Schenker/Mogg)