The UFO Discography And Listening Party Thread

[wolfking]

In the beginning he calls Ronnie Romero ..Ronnie James..

That's why I guess:
https://www.youtube.com/watch?v=bmWYrhIYhEw
I loved this one!

Hmmm....not sure about this one.  Found it a tad mediocre.

[wolfking]

I saw this one though that I'd never seen.

Michael talking about writing Rock Bottom..

https://www.youtube.com/watch?v=Mqnn2EboT9s

This was a good one.  He's very humble and gracious in this.

[TAC]

In the beginning he calls Ronnie Romero ..Ronnie James..

That's why I guess:
https://www.youtube.com/watch?v=bmWYrhIYhEw
I loved this one!

I like it! Great solo and great outro. Romero sounds pretty decent. I don't like when he over sings, but when he lets the song come to him, he's pretty good.

[wolfking]

In the beginning he calls Ronnie Romero ..Ronnie James..

That's why I guess:
https://www.youtube.com/watch?v=bmWYrhIYhEw
I loved this one!

I like it! Great solo and great outro. Romero sounds pretty decent. I don't like when he over sings, but when he lets the song come to him, he's pretty good.

As Paul I think said, the over exposure is more my issue too.  I'll try this song again though. 

[Podaar]

24. Darker Days (Walk on Water)

This one was a real grower.  The riff is nice and crunchy.  I wasn't thrilled with the verses at the start, and with the Jesus line it does have that christian rock feel IMO. The hero of this song is the wonderful chorus.  I grew to appreciate the verses and the contrast to the chorus is really quite good.  The lyrics in the chorus are wonderful;

Darker days surround me now I'm older
Longer nights freeze me it seems colder
Darker days they will take me under now
So help me please

Wow, excellent.  Schenker's soloing on this one tops it off, some nice improv as usual from him.  Tim mentioned that this song could have come straight from Obsession and you know what, that's fucking spot on!

But, but, the religious imagery is meant to be ironic, right? At the very least desperation. That's the way I always took it when balanced against the rest of the lyrics. Of course, as Stadler likes to point out, Phil can be a tiny bit obscure. 

[TAC]

So Amazon has the Strangers Box Set listed at $60, with free international shipping (a savings of $13). I bought it!


Also preordered the new Schenker, along with the new Accept and Tribulation.

[Stadler]

<Be RIGHT back....>

[ProfessorPeart]

<Be RIGHT back....>

I was actually going to ask TAC why he didn't pick one up for you.

This is probably what they did with mine. I wondered if they would just fulfill it from UK stock. Now they are just flat out selling it from there to the US.

[TAC]

I've been checking. It's been unavailable for the last couple of weeks. I just happened to punch it up and it was there. Say's it'll be here on the 28th. I could've had it here next week for $10 but I skipped that.

[Stadler]

So did I; I waited this long...

I also decided to celebrate, uh, Saturday, by adding Bridge The Gap and Spirit On A Mission to the order.   Pretty psyched. 

[TAC]

Yay Saturday!!


Those are great albums. His best since his classic era.

[Stadler]

Yay Saturday!!


Those are great albums. His best since his classic era.

You can take your cut on those two as well....

[TAC]

[wolfking]

So Amazon has the Strangers Box Set listed at $60, with free international shipping (a savings of $13). I bought it!


Also preordered the new Schenker, along with the new Accept and Tribulation.

Fuckin' A!

[wolfking]

So did I; I waited this long...

I also decided to celebrate, uh, Saturday, by adding Bridge The Gap and Spirit On A Mission to the order.   Pretty psyched.

Fuckin' A!

[wolfking]

23. Can't Buy A Thrill (The Vistor)

Even though I was always pretty hot and cold on the Vinnie era, and even though I had most the albums I didn't know them all too well.  This song though always stuck out and was one of my favs, and stays that way even when I've become familiar with the rest of their catalog.  This is a great song, great dark tone and Vinnie shreds all over this.  His intro is excellent and throughout I get a lot of that Schenker/Mogg call and answer type of thing which reminds me of old school UFO.  Phil sounds great, he has a nice tone here and carries the mood really nicely.

I love Vinnie's fill at 2:12 just quietly.  Simple but very nice.  I like the lyrics too, fits the mood well.  The chord progression in Vinnie's solo also is something I haven't tried to figure out but has a great sound and a bit of a twist in the tune.  Just overall a really great song.


22. Meanstreets (Misdemeanor)

For me, this is easily the highlight of this album.  The riff straight away grabs your attention and has a rolling like effect for me.  The overall groove is really great and Jim Simpsons drum line is tasty.  The verses are great, very melodic and a nice tasty pre chorus too which helps the resolve into the excellent chorus.  Paul Raymond is the star here with those moody keys in the chorus, perfect touch there.  Tommy's leads shrieks in but I don't mind his style.  His freestyle shred fits really well.  For some reason I get a Janick Gers feel with the solo.  Not much more to say, just an awesome 80's hard rock tune.


21. This Kids/Between the Walls (Force It)

This one grew on me just lately and not sure why.  Should have grabbed me right away really.  Something just grabbed me with that riff all of a sudden though, it's addictive and even though I'm not a Zeppelin fan, it reminds me of them I think.  The first section of the song is nice and melodic.  The chorus is excellent and I like the production here, Phil's vocals are nice, strong and clear, very good.

That breakdown though, oh yeah, now we're talking, vintage Schenker.  It starts off pure blues and Schenker even starts off nice and restrained.  He soon takes this to another level and rips shit up.  Pure expression, pure feel and pure groove.  You can really feel in his leads that he's connecting with the tune here and knocks it out of the park.  It could go for longer too truthfully but I love the reprise of the riff after that short break.

I'm not sure what Between the Walls is supposed to be or why it's here and apologies if Tim covered it, but this is a wonderful dreamy piece.  I love it on the end of This Kids and it closer the album wonderfully.

[TAC]

23. Can't Buy A Thrill (The Vistor)

Even though I was always pretty hot and cold on the Vinnie era, and even though I had most the albums I didn't know them all too well.  This song though always stuck out and was one of my favs, and stays that way even when I've become familiar with the rest of their catalog.  This is a great song, great dark tone and Vinnie shreds all over this.  His intro is excellent and throughout I get a lot of that Schenker/Mogg call and answer type of thing which reminds me of old school UFO.  Phil sounds great, he has a nice tone here and carries the mood really nicely.

I love Vinnie's fill at 2:12 just quietly.  Simple but very nice.  I like the lyrics too, fits the mood well.  The chord progression in Vinnie's solo also is something I haven't tried to figure out but has a great sound and a bit of a twist in the tune.  Just overall a really great song.

Yes I love this song. It's one of my favorites of the Vinnie Era. Phil is fantastic on this, and the mood is great on this song. A lot of the tunes in the Vinnie Era did a great job creating mood. Very unheralded quality on these albums.

That fill at 2:12 is great but I love the little thing he does at 3:24 behind Phil singing "I hear mama's footsteps.."

22. Meanstreets (Misdemeanor)

For me, this is easily the highlight of this album.  The riff straight away grabs your attention and has a rolling like effect for me.  The overall groove is really great and Jim Simpsons drum line is tasty.  The verses are great, very melodic and a nice tasty pre chorus too which helps the resolve into the excellent chorus.  Paul Raymond is the star here with those moody keys in the chorus, perfect touch there.  Tommy's leads shrieks in but I don't mind his style.  His freestyle shred fits really well.  For some reason I get a Janick Gers feel with the solo.  Not much more to say, just an awesome 80's hard rock tune.

Really happy to see this one here. I think half of Misdemeanor is A+. I don't even know where to rank it, honestly. So many great tunes. Meanstreets, obviously is the heaviest one.

That solo fucking rips. I can see the Janick comparison.

Also, isn't Paul Raymond great? He knows just what to play, and it always fits perfectly.

21. This Kids/Between the Walls (Force It)

This one grew on me just lately and not sure why.  Should have grabbed me right away really.  Something just grabbed me with that riff all of a sudden though, it's addictive and even though I'm not a Zeppelin fan, it reminds me of them I think.  The first section of the song is nice and melodic.  The chorus is excellent and I like the production here, Phil's vocals are nice, strong and clear, very good.

That breakdown though, oh yeah, now we're talking, vintage Schenker.  It starts off pure blues and Schenker even starts off nice and restrained.  He soon takes this to another level and rips shit up.  Pure expression, pure feel and pure groove.  You can really feel in his leads that he's connecting with the tune here and knocks it out of the park.  It could go for longer too truthfully but I love the reprise of the riff after that short break.

I'm not sure what Between the Walls is supposed to be or why it's here and apologies if Tim covered it, but this is a wonderful dreamy piece.  I love it on the end of This Kids and it closer the album wonderfully.

This Kids is similar to Let It Roll where it's totally Schenker's solos that make these songs. This Kids wouldn't make my list, but I don't not like it.
Remember, Schenker is only 19 here. Simply amazing.

[wolfking]

23. Can't Buy A Thrill (The Vistor)

Even though I was always pretty hot and cold on the Vinnie era, and even though I had most the albums I didn't know them all too well.  This song though always stuck out and was one of my favs, and stays that way even when I've become familiar with the rest of their catalog.  This is a great song, great dark tone and Vinnie shreds all over this.  His intro is excellent and throughout I get a lot of that Schenker/Mogg call and answer type of thing which reminds me of old school UFO.  Phil sounds great, he has a nice tone here and carries the mood really nicely.

I love Vinnie's fill at 2:12 just quietly.  Simple but very nice.  I like the lyrics too, fits the mood well.  The chord progression in Vinnie's solo also is something I haven't tried to figure out but has a great sound and a bit of a twist in the tune.  Just overall a really great song.

Yes I love this song. It's one of my favorites of the Vinnie Era. Phil is fantastic on this, and the mood is great on this song. A lot of the tunes in the Vinnie Era did a great job creating mood. Very unheralded quality on these albums.

That fill at 2:12 is great but I love the little thing he does at 3:24 behind Phil singing "I hear mama's footsteps.."

22. Meanstreets (Misdemeanor)

For me, this is easily the highlight of this album.  The riff straight away grabs your attention and has a rolling like effect for me.  The overall groove is really great and Jim Simpsons drum line is tasty.  The verses are great, very melodic and a nice tasty pre chorus too which helps the resolve into the excellent chorus.  Paul Raymond is the star here with those moody keys in the chorus, perfect touch there.  Tommy's leads shrieks in but I don't mind his style.  His freestyle shred fits really well.  For some reason I get a Janick Gers feel with the solo.  Not much more to say, just an awesome 80's hard rock tune.

Really happy to see this one here. I think half of Misdemeanor is A+. I don't even know where to rank it, honestly. So many great tunes. Meanstreets, obviously is the heaviest one.

That solo fucking rips. I can see the Janick comparison.

Also, isn't Paul Raymond great? He knows just what to play, and it always fits perfectly.

21. This Kids/Between the Walls (Force It)

This one grew on me just lately and not sure why.  Should have grabbed me right away really.  Something just grabbed me with that riff all of a sudden though, it's addictive and even though I'm not a Zeppelin fan, it reminds me of them I think.  The first section of the song is nice and melodic.  The chorus is excellent and I like the production here, Phil's vocals are nice, strong and clear, very good.

That breakdown though, oh yeah, now we're talking, vintage Schenker.  It starts off pure blues and Schenker even starts off nice and restrained.  He soon takes this to another level and rips shit up.  Pure expression, pure feel and pure groove.  You can really feel in his leads that he's connecting with the tune here and knocks it out of the park.  It could go for longer too truthfully but I love the reprise of the riff after that short break.

I'm not sure what Between the Walls is supposed to be or why it's here and apologies if Tim covered it, but this is a wonderful dreamy piece.  I love it on the end of This Kids and it closer the album wonderfully.

This Kids is similar to Let It Roll where it's totally Schenker's solos that make these songs. This Kids wouldn't make my list, but I don't not like it.
Remember, Schenker is only 19 here. Simply amazing.

Yeah a nice bit of slide to finish the section off, very classy.

Yeah mate, Paul Raymond really knows how to finish a song and make everything fill out yet breathe at the same time.

[TAC]

IT shipped!!!!!!!!!!!



Arriving Jan 28th.

[jjrock88]

This Strangers box set is becoming the most legendary box set for delays and postponements I’ve ever seen lol.

[TAC]

Happy Birthday Michael Schenker!! 66 today.


And Aynsley Dunbar turns 75 today. Yikes!

[wolfking]

IT shipped!!!!!!!!!!!



Arriving Jan 28th.

Booyah!

This Strangers box set is becoming the most legendary box set for delays and postponements I’ve ever seen lol.

Make sure you're part of this history Jason.

[Stadler]

IT shipped!!!!!!!!!!!



Arriving Jan 28th.

Mine too!!    Yippee!

[ProfessorPeart]

IT shipped!!!!!!!!!!!



Arriving Jan 28th.

Mine too!!    Yippee!

Since it was done to me, I feel I need to return the favor. Seeing as me and Kade have posted ours:

Pics or it didn't happen!

[TAC]

You can count on it!!

[wolfking]

20. Cherry (Obsession)

This is another that grew on me.  At first I thought it was just okay but made its way into my top 20, I really love this one now.  It's a very interesting song.  Pete's peddling bass line is really infectious and groovy.  The thing I love is that the 'We are golden,' line followed up by that explosion in the chorus with the line 'I'm out here on the road,' is just so damn good, they are both so melodic and memorable.  The contrast of the song back and forth with that intro is really great too.  Schenker's solo is short and to the point but the perfect length and placement in the song.  You can simply get lost in the structure of this song also, it's over before you know it.  That chorus though is so infectious.  I think the live Strangers versions made me appreciate this song more also.


19. Born to Lose (Obsession)

This is one interesting song and a really great album closer.  The intro and verses are so depressive and somber.  The chord changes are F# minor to E minor, giving the depressed and uneasy fell.  E minor is a subtle key change it seems in there.  Michael's tone is excellent and Phil sounds great as usual.  The contrast of the chorus took me by surprise at first but I grew to love it, I love the shortness of both verses and chorus leading into the epic solo.  There are some nice things going on in the chorus too, nice chromatic climb in there too.  The funny thing is, there's not much to this song really length and structure wise but the solo is the hero.  The solo spans 1:10 of a 3:42 song, I like that.

Schenker's solo is a song within a song.  The constant key changes are epic too. The first part shifts between the key changes of F# and E minor and Michael plays in those natural minor scales accordingly to the changes.  It explodes at 2:22 with a key shift to B flat minor and then a shift to G minor.  The chord progression of the whole thing is all minor chords and is really interesting. (F# minor/C# minor/E minor/B minor x2 then E flat minor/B flat minor/C minor/G minor) Creates that constant tension throughout and interesting as hell. One of Michael's best solos no doubt.


18. Stop Breaking Down (The Visitor)

Another Vinnie song and this one is catchy as hell.  The mood on this one is wonderful.  Vinnie's solo of course fits like a glove in the intro and sets up the mood nicely.  Despite the production on Phil's voice, I really like his tone here.  This song is pure C minor, nice key.  Vinnie's solo is blistering, it builds really nicely.  Pure C minor again and this is one I love to jam along to.  That lick at 3:02 is tasty as fuck.  His control on those high bends is really nice too.  That section at 3:24 though is fucking nuts, WTF?  So self indulgent but with the subject matter, it gives off that confusion and frustration of a lost love that's just disappeared or taken off. The ending of the solo with the whammy bar work is the acceptance and 'breaking down' too.  The lyrics in this one are great too.  The outro solo to me is the acceptance and walking away, kind of stopping the search and letting go.  I didn't mention the chorus but it's very melodic and easy on the ears.  Great song!



30. The Writer
29. Long Gone
28. Wonderland
27. Diesel in the Dust
26. I'm A Loser
25. Hunger in the Night
24. Darker Days
23. Can't Buy A Thrill
22. Meanstreets
21. This Kids/Between the Walls
20. Cherry
19. Born to Lose
18. Stop Breaking Down

[Podaar]

19. Born to Lose (Obsession)

This is one interesting song and a really great album closer.  The intro and verses are so depressive and somber.  The chord changes are F# minor to E minor, giving the depressed and uneasy fell.  E minor is a subtle key change it seems in there.  Michael's tone is excellent and Phil sounds great as usual.  The contrast of the chorus took me by surprise at first but I grew to love it, I love the shortness of both verses and chorus leading into the epic solo.  There are some nice things going on in the chorus too, nice chromatic climb in there too.  The funny thing is, there's not much to this song really length and structure wise but the solo is the hero.  The solo spans 1:10 of a 3:42 song, I like that.

Schenker's solo is a song within a song.  The constant key changes are epic too. The first part shifts between the key changes of F# and E minor and Michael plays in those natural minor scales accordingly to the changes.  It explodes at 2:22 with a key shift to B flat minor and then a shift to G minor.  The chord progression of the whole thing is all minor chords and is really interesting. (F# minor/C# minor/E minor/B minor x2 then E flat minor/B flat minor/C minor/G minor) Creates that constant tension throughout and interesting as hell. One of Michael's best solos no doubt.

I've always loved that bit! Part despair, part anger. What I always admired about it is the story telling aspect. The key change, the flurry of notes, his attack on the strings, all gradually boil down to a calmer sadness. Then it explodes again at 2:51 in a similar vein only to sadly resolve itself again. I don't think either of these peaks in the solo would have been as effective without the other...and I don't think the overall sadness of the solo would be as poignant without these two moments of extreme tension. Beautifully crafted.

Also, I'm a big fan of the guitar intro to this song and especially the chosen effects.

[wolfking]

19. Born to Lose (Obsession)

This is one interesting song and a really great album closer.  The intro and verses are so depressive and somber.  The chord changes are F# minor to E minor, giving the depressed and uneasy fell.  E minor is a subtle key change it seems in there.  Michael's tone is excellent and Phil sounds great as usual.  The contrast of the chorus took me by surprise at first but I grew to love it, I love the shortness of both verses and chorus leading into the epic solo.  There are some nice things going on in the chorus too, nice chromatic climb in there too.  The funny thing is, there's not much to this song really length and structure wise but the solo is the hero.  The solo spans 1:10 of a 3:42 song, I like that.

Schenker's solo is a song within a song.  The constant key changes are epic too. The first part shifts between the key changes of F# and E minor and Michael plays in those natural minor scales accordingly to the changes.  It explodes at 2:22 with a key shift to B flat minor and then a shift to G minor.  The chord progression of the whole thing is all minor chords and is really interesting. (F# minor/C# minor/E minor/B minor x2 then E flat minor/B flat minor/C minor/G minor) Creates that constant tension throughout and interesting as hell. One of Michael's best solos no doubt.

I've always loved that bit! Part despair, part anger. What I always admired about it is the story telling aspect. The key change, the flurry of notes, his attack on the strings, all gradually boil down to a calmer sadness. Then it explodes again at 2:51 in a similar vein only to sadly resolve itself again. I don't think either of these peaks in the solo would have been as effective without the other...and I don't think the overall sadness of the solo would be as poignant without these two moments of extreme tension. Beautifully crafted.

Also, I'm a big fan of the guitar intro to this song and especially the chosen effects.

Fuck yes Gregg!     It's a story within a story and the whole thing is perfectly crafted.  I agree, it definitely wouldn't have been as effective with both those peaks in the solo.  The key changes are so good and important to the tune.

[TAC]

20. Cherry (Obsession)

This is another that grew on me.  At first I thought it was just okay but made its way into my top 20, I really love this one now.  It's a very interesting song.  Pete's peddling bass line is really infectious and groovy. The thing I love is that the 'We are golden,' line followed up by that explosion in the chorus with the line 'I'm out here on the road,' is just so damn good, they are both so melodic and memorable.  The contrast of the song back and forth with that intro is really great too.  Schenker's solo is short and to the point but the perfect length and placement in the song.  You can simply get lost in the structure of this song also, it's over before you know it.  That chorus though is so infectious.  I think the live Strangers versions made me appreciate this song more also.

Definitely yes to the bolded part, but this track doesn't really rate for me. I've honestly never cared for it.

19. Born to Lose (Obsession)

This is one interesting song and a really great album closer.  The intro and verses are so depressive and somber.  The chord changes are F# minor to E minor, giving the depressed and uneasy fell.  E minor is a subtle key change it seems in there.  Michael's tone is excellent and Phil sounds great as usual.  The contrast of the chorus took me by surprise at first but I grew to love it, I love the shortness of both verses and chorus leading into the epic solo.  There are some nice things going on in the chorus too, nice chromatic climb in there too.  The funny thing is, there's not much to this song really length and structure wise but the solo is the hero.  The solo spans 1:10 of a 3:42 song, I like that.

Schenker's solo is a song within a song.  The constant key changes are epic too. The first part shifts between the key changes of F# and E minor and Michael plays in those natural minor scales accordingly to the changes.  It explodes at 2:22 with a key shift to B flat minor and then a shift to G minor.  The chord progression of the whole thing is all minor chords and is really interesting. (F# minor/C# minor/E minor/B minor x2 then E flat minor/B flat minor/C minor/G minor) Creates that constant tension throughout and interesting as hell. One of Michael's best solos no doubt.

I've always loved that bit! Part despair, part anger. What I always admired about it is the story telling aspect. The key change, the flurry of notes, his attack on the strings, all gradually boil down to a calmer sadness. Then it explodes again at 2:51 in a similar vein only to sadly resolve itself again. I don't think either of these peaks in the solo would have been as effective without the other...and I don't think the overall sadness of the solo would be as poignant without these two moments of extreme tension. Beautifully crafted.

Also, I'm a big fan of the guitar intro to this song and especially the chosen effects.

Yes and a hell yes. 

Great song. I love it. I don't think it makes my Top 20, but damn it's a good one.

18. Stop Breaking Down (The Visitor)

Another Vinnie song and this one is catchy as hell.  The mood on this one is wonderful.  Vinnie's solo of course fits like a glove in the intro and sets up the mood nicely.  Despite the production on Phil's voice, I really like his tone here.  This song is pure C minor, nice key.  Vinnie's solo is blistering, it builds really nicely.  Pure C minor again and this is one I love to jam along to.  That lick at 3:02 is tasty as fuck.  His control on those high bends is really nice too.  That section at 3:24 though is fucking nuts, WTF?  So self indulgent but with the subject matter, it gives off that confusion and frustration of a lost love that's just disappeared or taken off. The ending of the solo with the whammy bar work is the acceptance and 'breaking down' too.  The lyrics in this one are great too.  The outro solo to me is the acceptance and walking away, kind of stopping the search and letting go.  I didn't mention the chorus but it's very melodic and easy on the ears.  Great song!

Great song here!

@Podaar, two great Vinnie songs so far!!

As Kade says, it gets a bit shreddy at the end of the solo, but it really relays a frustration in the protagonist.


Yeah, the vocal production is not great but man, The Visitor is a GREAT album.

Kade, you mention the lyrics....the Vinnie Era in general is lyrical gold. It really is.

I love the line:
"The telephone's disconnected, The papers fall out of the box"

Really classic imagery.

[wolfking]

That paper line struck me too.  So grim.

Tim, a lot of my songs not making your cut really shows the strength of the band.  Keep in mind, it's still early in my discovery of all these tunes so 6 months later it will be interesting if my list changes significantly.

[TAC]

Your list so far is filled with great tunes.  No complaints here.

[wolfking]

Your list so far is filled with great tunes.  No complaints here.

There was a bit of shuffling around but I'm happy with it overall.

[TAC]

I'm trying to think of a top 30.

[wolfking]

I'm trying to think of a top 30.

   good luck to you sir.

[ProfessorPeart]

Just scored my white whale on eBay. Had to actually bid. Haven't done that in I don't know how long.



Listed as Near Mint/Mint.