The solid song-writing structure, semi-introduced during the Chapman period, allowed vocals a broader template to play with, rather than the brilliant-as-they-were riff method approach of Schenker whose stylisations were to be more apparent in the lead work of one of his former disciples. A dozen tracks of meaty rock and bitter sweet slower tunes, delivered with class, and the prophetic voice of an elder brother warning us which way the wind might blow if we followed suit. And anyway, many of the faithful had moved on, dealing with new families, suffering midlife crises or just totally ignorant of the music scene’s changes in those pre-internet times.įor those of us still clinging on by the seat of our stretch pants, High Stakes & Dangerous Men was just what we needed. The music press (now glossy magazines rather than weekly rags) was still behind UFO, giving them good coverage, but no one was underwriting full scale tours or spending dosh on full page adverts to inform the faithful a new album was out. Their cache with mainstream record labels was behind them though and they signed with Castle Communications, out in Stratford a company who specialised in documentaries and rock video footage for TV, but would continue to diversify their musical output, not least with countless Uriah Heep related releases in years to come. 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. 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.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |