![]() By then, co-founding member and bass player Pete Way had made his way to Brum, and plots were being hatched. The Misdemeanour line-up was the result, but a UK tour and another mini-album later there was no mistake they were mimicking the hairband acts who’d stolen their own musical schtick. Picking himself up, he began checking out whizz-kid guitarists in Los Angeles, while cashing royalty cheques at Five Ways, Birmingham and dropping in for a drink at the Costermongers, where he was now residing (Brum that is, not the pub). After the original Schenker fallout, Lone Star guitarist Chapman returned full-time to the band, and despite naysayers attempting to rewrite history (UFO were doing increasingly good business, the Odeon was down the road but up a level from the Town Hall where the Obsession and Light’s Out tours took place, with Bogarts, where they’d played earlier in their career, situated mid-point), right up until the time Mogg had a meltdown on stage in Athens, Greece. High Stakes & Dangerous Men came out in 1992, the band’s 13th studio album, as luck or otherwise would have it. It’s apparently new guitarist Lauren Archer’s 30th birthday, so I continue to forgive exuberances, and fortunately, as our own alcohol intake increases, we join in the party atmosphere – These are still my teenage idols after all and I’ve already become fond of their new album. Once in the club, we arm ourselves with ale, and by the time the new line-up appears on stage it looks like they’re a few shorts ahead of us. My innocence is broken, I thought they were good naturedly doing a Keef & Woodie routine. ![]() Instead, we’re having to head out of town to catch the reformed band, but I’m confused listening to mates reminisce about how Pete Way and Paul Chapman were shoulder-barging each other and shooting daggers through intoxicant-fuelled eyes centre stage down at the Odeon, New Street during one of their annual tours there. Victims of their own excesses, that wasn’t to be. In a brighter world UFO would have continued their rise to fame, and they’d have been playing the NEC. All I know is, time has passed since the former Quaker hierarchy at Birmingham City Council began closing down all the rock venues in the second city, blind that fellow councillors were plotting to develop woodland area near the airport for an arena to bring in musical mega-bucks with themselves as shareholders along the way. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands.I’m sitting in the back of the car as we’re driving out to the Black Country, heading for the old JB’s or the original Robin. The heavier weight steadies the record and ensures consistency in pressing and promises the highest fidelity reproduction of the source recording.Įach record is protected within its record sleeve by a white vellum anti-dust sleeve.Īll items are shipped brand-new and unopened in original packaging. This record is pressed onto 180 grams of black audiophile grade vinyl. ![]() This vinyl record is available only in limited quantities. Friday Music proudly presents for the first time on limited edition audiophile vinyl in North America, UFO's classic masterpiece Lights Out mastered from the original Chrysalis Tapes. This watershed album roars on with more classic UFO tracks like Electric Phase, Try Me and Love to Love. From the smash single “Too Hot to Handle” to the anthem title track Lights Out, you will soon know that you are in for one amazing hard rock extravaganza. The LP contained 8 stellar tracks which have become UFO classics. UFO hit the arena rock world big time with their 1977 mega smash Lights Out.
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