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)

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