UFO - Lights Out

[Woody]

My current fave UFO tape.

http://ripplemusic.blogspot.com/2013/06/ufo-lights-out.html

[GodShifter]

Here's a review I did for it a couple of weeks back for another site:

UFO Lights Out (1977)

1. Too Hot To Handle (Way/Mogg)
2. Just Another Suicide (Mogg)
3. Try Me (Schenker/Mogg)
4. Lights Out (Schenker/Mogg/Way/Parker)

5. Gettin' Ready (Schenker/Mogg)
6. Alone Again Or (Bryan MacLean)
7. Electric Phase (Way/Mogg/Schenker)
8. Love to Love (Schenker/Mogg)

Line-up:

Phil Mogg: vocals
Michael Schenker: lead guitar
Paul Raymond: rhythm guitar, keyboards
Pete Way: bass
Andy Parker: drums

Produced by Ron Nevison
Orchestral and horn arrangements: Alan McMillan


Continuing the band's routine of the yearly record/tour regiment that was the way of hard rock bands in the decade of the 7o's (unless you were Led Zeppelin), UFO returned to the studio for their 1977 outing, Lights Out. This time, however, they would be without Chrysalis in-studio producer Leo Lyons, who had been a fixture at the board for the band since their 1974 Phenomenon album. Lyons departure was due to UFO feeling that, after the relatively disappointing reception of No Heavy Petting, a change was needed in terms of a producer. So, looking at the past track record of Ron Nevison, who had engineered hit albums for The Rolling Stones, Led Zeppelin, as well as the first three albums for Bad Company plus producing Thin Lizzy's Night Life, the band felt that Nevison had the necessary skills to help them create an album that would be dynamic in terms of its sound spectrum as well as be more radio friendly. After all, UFO had released three remarkable slabs of commercial oriented hard rock with Lyons, yet the albums had not done well in terms of sales. Due to time constraints and cost, the band had always felt rushed in the studio with Lyons (Phenomenon had been recorded and mixed in ten days, Force It in fifteen, and No Heavy Petting in twenty) so this time the band would take a bit more time in studio. Working closely under the tutelage of Nevison, the band strived to hone and perfect their song craft for maximum radio success, and further, to create an album that was sonically pleasing to the listener's ear.

The decision was made within the band to try write more accessible/hook laden rock tunes and, in effect, soften their sound a bit (much to Pete Way's disapproval). Another move the band had made was the hiring of keyboardist/guitarist Paul Raymond (ex-Chicken Shack and Savoy Brown) to their line-up as a replacement for the now departed Danny Peyronel. Raymond, who was a good friend of Pete Way, seemed to be the perfect addition for UFO due to his ability play both keyboards and guitar on stage (often within the same song) which helped to significantly beef up their live sound.

In terms of songwriting, Paul Raymond would not contribute any songs to Lights Out. Instead, of the eight songs that appear on the album, the compositions would come from the four other band members in various combinations. The Schenker/Mogg team, as a duo, would only contribute three songs of the eight. Four other songs would include Pete Way in some equation, (he is sole co-writer on "Too Hot to Handle" with Mogg) and, as a first, Phil Mogg would have sole composition credit in the ballad/rocker "Just Another Suicide". Rounding out the album was the cover of "Alone Again Or" from the LA based psychedelic band, Love, written by Bryan MacLean, which appears on the 1967 album Forever Changes.

The Way/Mogg penned tune "Too Hot to Handle" opens Lights Out with an infectious riff and a rousing chorus that was stadium themed (and endorsed). Indeed, "Too Hot to Handle" got its fair share of play on FM radio which was a first for the band, at least in terms of the US. I guess, in a way, this is UFO's answer to BTO's "You Ain't Seen Nothing Yet": a simplistic, riff driven song complete with the stuttering type deal with the "sha-la-la-la, roll you over" in the chorus, but it works in same way as the BTO cut did, in that it's catchy and memorable. "Too Hot to Handle" is a radio driven cut with a relatively short, melodic, processed solo from Schenker that ends quickly and returns back to the chorus. It's a good rocker, though, and I've always thought of it as the brother to "Only You Can Rock Me". Indeed, they're very similar, rabble rousing, chorus infectious songs and both are prime time radio ready songs.

The title track, "Lights Out", is a raucous, anger fueled rocker. I love the brisk, driving staccato rhythm during the chorus; it really accentuates the urgency of the song. "Lights Out" is really one of the heaviest rockers that UFO has ever cranked out, past or present. Also fueling the drive of the song is the poignant, depressive lyrics concerning the English economy. It's one of UFO's first forays, lyrically, into the political/socially based spectrum and, obviously, a response to the burgeoning punk scene that was developing at the same time that this album was recorded. God Save The Queen, indeed! "Lights Out" features a great solo from Schenker which works with the driving chorus rhythm. Schenker is particularly effective with his accents on the "lights out!" parts in the chorus. Pete Way's bass and Andy Parker's double kick drums rumble and tumble together perfectly on this in terms of the rhythm section. Additionally, Paul Raymond's use of the organ as a layered instrument, adds to the oppressive nature of the song.

The other out and out rocker on Lights Out is "Electric Phase" that begins with a bass riff similar to "Cherry" (from Obsession); a throbbing and percussive line. Michael Schenker puts down slide guitar lines similar to that of Manny Charlton of Nazareth (i.e. No Mean City) while his double tracked dry distorted riffs work underneath the slide guitar for added effect. In terms of effect, Raymond's organ on "Electric Phase" is distracting and doesn't add to the song in a meaningful way. Schenker's solo is, once again, remarkable with the guitarist displaying his terrific sense of high soaring melody.

As a producer, one of things that Ron Nevison did for UFO was to incorporate a lot of orchestration for Lights Out to give it a lot of mood and contrast. In some senses, it worked well (see "Love to Love"), but in other cases it did not. For instance "Just Another Suicide", which was written solely by Phil Mogg, hints at something that might have been on Meat Loaf's Bat Out of Hell. It's a cut that Jim Steinman could (and would) be proud of with heavy piano working with acoustic guitar to create a sense of drama. Michael Schenker tries to pick his spots here, lead riffing during the verses, but it doesn't work. The solo is great, though, and highlights the clean, bright production that Nevison had developed for Schenker's guitar sound (really just furthering the sound Lyons helped to coin, to be completely honest). It's Schenker's trademark and I've remarked on it before (thanks to Slipkid and River Rose Bear, I now know it's due to the use of a wah pedal half compressed to keep things sounding clean and precise). Ultimately, however, "Suicide" fails due to over (false) orchestration from the keyboards causing the song to sound more like musical theater than a rock song; maybe like something from "Phantom of the Paradise" or "The Rocky Horror Picture Show". It doesn't work. Speaking of things that don't work, "Try Me" is a heavily orchestrated ballad that falls flat as well. Even Michael Schenker's obligatory guitar solo in the middle section can't save the song from the melodramatic and the mundane. Evidently, "Try Me" is an attempt at the lighter approach that Pete Way didn't approve of. Rightly so, as it falls flat. What it does do, however, is highlight Mogg's somewhat gritty and expressive vocals. I've said it before, but Mogg has an extremely unique voice. I've only heard (maybe) one other singer sound like him in all of hard rock, but I can't remember the band at the moment. A singularity! (almost).

The cover of Love's "Alone Again Or" is somewhat interesting and, yet, it's not. Though I own Forever Changes, I'm not overly familiar with this song. To me this sounds like more acoustic/rock theater stuff akin to "Just Another Suicide". The good part: there's a slight Rush vibe in some of the chording on this but it's, sadly, slight and only in small spots. This song fails due to, again, over orchestration like "Suicide". Michael Schenker's multi-tracked guitar is great here, though. That being said, UFO's cover of "Alone Again Or" sounds like it could just as easily be an up-tempo Moody Blues song. It doesn't really work, and makes me wonder if they included a cover like this to satisfy the bigwigs at Chrysalis. "We need a hit!"

Closing out Lights Out is the band's magnum opus "Love to Love" which begins by featuring more of Schenker's multi-tracking with some dissonant lines in the melody to make it sound conflicted (light and shade). The use of electric piano on this cut is brilliant. Normally, I'm not overly fond of the instrument, but here it's terrific due to, seemingly, a bit of reverb on it. "Love to Love" might have one of the most effective build ups of almost any rock tune I can think of -- on par with Rush's "Xanadu", in fact. It's that good. The ELO like nuances (multi-tracked acoustic guitar? synthesizer? both?) that work during the phrases in conjunction with the piano are very effective in creating tension. When the intro segues into Mogg's weary, longing vocal the song stretches out like a long, dark road ahead with the destination unknown. Driver be prepared! "Love to Love" is a moody, introspective, smoky ballad/rocker that highlights UFO's ability incorporate darker and lighter nuances within the same song. After Mogg sings his last "misty green and blue!" Michael Schenker kicks into the ultimate guitar solo/meltdown climaxing with a dramatic, bombastic conclusion. It's such a well crafted song. No wonder Steve Harris of Iron Maiden has stated that it's his favorite song of all-time! It's up there for me, too.

Side bar for me: "Love to Love" is a great live staple for the band and, arguably, the pinnacle of the band's set. On Strangers in the Night, the beginning section of the version is spine chilling, especially when some guy in the audience screams loudly "WOOOOOHOOO" as the electric piano pounds out the melody and the band kicks in behind it. It's one of my favorite moments in recorded hard rock music! "Love to Love" was the first UFO song I ever heard, and I've relayed the circumstances of me hearing it before on this forum, so I'll spare the reader that reminiscence again for this review. I will say, though, it is the song responsible for me getting into the band and learning about their music, so it will always have a special place in my headspace for that alone, never mind it's an absolutely brilliant piece of music.

Summing up the album, for me, Lights Out falls somewhere between Force It and Obsession in terms of being a favorite. (In truth, Obsession is the weaker cousin of Lights Out. It's set up the same in terms of strengths and, basically, track listing, but has less strong material overall, but because I heard Obsession first, it peaks above Lights Out in terms of a personal favorite). Force It, in sum total, is a stronger album than Lights Out in every respect as far as I'm concerned. It has the most concert staples, as I pointed out in its review and it flows much smoother to my ears.

In truth, Lights Out isn't that great of a record with all its parts considered. I think it's seen as a stronger outing because of Ron Nevison's clean, polished sheen and because of having two absolutely stunning tracks in the title cut and "Love to Love" which, by itself, is transcendently brilliant. Other than that, Lights Out suffers due to over orchestration and material that is decidedly more mainstream than previous efforts. In sum: Lights Out seems to be a product of a band over thinking, to an extent. As I pointed out at the beginning of the review, Pete Way was not happy with the direction the band had decided for Lights Out and, being that he was a founding member of the band, and a contributor in terms of songwriting, it tells me that the decision to head in the direction that Lights Out did was probably Phil Mogg's. Indeed, this album allows for, and highlights, Mogg's vocals more than any UFO release before it and, simultaneously, eschews Schenker in the process. The long, extended Schenker solo outings were, for all intents and purposes, gone on Lights Out and, replacing them, were more thoughtful arranged melodic pieces that spanned the spectrum of radio ready rock music for the time. Indeed, in some respects, Lights Out is the first UFO album that might be considered truly AOR in terms of the material. It was definitely the most ambitious and daring album the band had put forth so far, but it is not their best, at least not in my opinion.

A couple of notes:

The band has stated that Nevison was no easy task master and was often harsh and demanding in terms of trying to get the best performances from the musicians. Indeed, Paul Raymond admitted that he stormed out of the studio due to one of Nevison's comments, but was finally coaxed back by assistant engineer Mike Clink while still in the parking lot. Tensions were often high within the band as well as Michael Schenker was becomingly increasingly estranged from the rest of the group. In fact, after the UK tour for Lights Out, Schenker disappeared just before the US tour was to begin prompting Mogg to seek out, once again, Lonestar guitarist Paul Chapman to replace him. Schenker would later return at the behest of Pete Way and record and tour for 1978's Obsession, but it was clear Schenker's status was tenuous, at best, and Raymond has remarked that he had to be treated with kid gloves as to not upset the cart, so to speak.

Cover by Hipgnosis again.

[The Bandit]

I like all of the UFO albums up through Mechanix, but they are also all slightly uneven to me.  Not really a fan of their ballads or pop songs.  I don't really get the "Love to Love" um, love.  It's too sappy for my tastes.  Favorite track for me is "Gettin Ready", which you didn't comment on.

[Woody]

I forgot "Gettin' Ready" because I'm a dum-dum, love that song.

"Love To Love" was one I used to skip over all the time but when I saw them do it live, I was totally won over.

[Woody]

Michael Schenker puts down slide guitar lines similar to that of Manny Charlton of Nazareth (i.e. No Mean City)

YEEEEEEEEEEEAAAAAAAAAAHHHHHH!!!!!!

UFO AND FUCKIN NAZARETH KICK ASS!!!!!!!!!

[GodShifter]

I think he was talking about my omission of "Gettin' Ready", but maybe not. It is a great song and I cannot fathom why I didn't at least mention it in my shitty review.

[Woody]

But mentioning Manny from NAZARETH earns you major bonus points!!!!

[The Bandit]

Yeah, both of youse guys forgetting my jam.

[GodShifter]

But mentioning Manny from NAZARETH earns you major bonus points!!!!

[The Bandit]

Just listened to "Please Don't Judas Me".  Guess my iPod feels the same way.

[CanookieWookie]

Every song on Lights Out is winner.  UFO's albums in the 70's were good shit.  I am shocked that I never hear one song by them on the radio here.  Not once.

[EddieMullet]

I'd always wondered what they did when they'd perform "Lights Out" in the actual city of London.  You know the part where they throw the name of the city in for example the Lights Out in Chicago as heard on "Strangers in the Night" and of course the numerous bootlegs I'd heard from different cities.

Well I finally got one from London and they said Lights Out in Hammersmith (the venue they were playing), mystery solved.