UFO

4. Let It Roll (Force It, 1975) featured great guitar feedback that would have made Ritchie Blackmore proud. Andy Parker (“AP”), UFO’s original drummer, resumed his duties with vigor at the skins pounding a coffee colored Tama drum set with double bass drums like a madman. The song featured a fast pounding drum beat. AP’s act of snarling and grinding his teeth as he pummeled the life out of his drums was priceless. [I was waiting for AP to lift a bass drum atop his head and shout, “Hulk angry!” Then effortlessly crush the bass drum like an aluminum can.] AP wore a black muscle t shirt, fitting for his large John Bohnamseque frame. At the end of this song, PM made a witty comment, something that became the norm during the show. Sadly, given PM’s thick British accent, I could not understand most of what he was saying, something about it “being hard to get to the East End.” [I looked at VM and he had the same blank expression on his face. Now if VM does not understand what PM was saying after a six year tenure in the band, I gather I am not retarded, at least not in the clinical sense.]

5. I’m A Loser (No Heavy Petting, 1976) features a slow introduction and then progresses to an upbeat tempo. This song has a groovy, punchy bass line faithfully delivered by Rob De Luca (“RDL”). RDL, a New Yorker, formerly of Sebastian Bach’s band, filled in for the ill Pete Way. RDL wore a black muscle t shirt, brown boots, and vintage vertical striped (grey, red, and blue) slacks. [RDL told me post show his slacks were inspired by the Pete Way school of fashion.] Paul Raymond (“PR”) played his Korg and Roland keyboards. At the end of the song PM told another incoherent joke. [I felt as if I was watching the opening monologue of a re run episode of the classic 1970s British comedy show, “Benny Hill.”]

6. Hell Driver (The Visitor, 2009) was the second new song UFO performed, a song with a groovy riff, memorable solo, heavy drums, and prominent use of a cowbell. This song received the most rabid response, making it the ideal choice for the set opener. At the end of the song PM consumed one of many beers for the night and proclaimed, “It is all for effect.” [However, PM’s gusto for, and quantity of, beer consumption reflected it was more for the love of beer, qualifying PM for candidacy in Alcoholics Anonymous.]



7. Cherry (Obsession, 1978) is a crushing number that meandered between slow fast slow fast tempos. It reminded me of classic songs by The Who. At the end of the song PM said there is “humor in the last line [of the song].” [Sadly, the humor of the joke was lost on me. I looked at VM and his expression echoed the same sentiment. PM looked at VM while telling the joke and VM forcibly nodded while PM was mid sentence as if to say, “Get on with it already. I am on an adrenaline high and do not want to hear a standup routine.”]

8. Only You Can Rock Me (Obsession, 1978) features prominent keyboard by PR, making it a poppier song but still with a strong drum beat. PR wore black jean pants, a short sleeve button up black shirt, black satin vest with a burgundy floral pattern, and black sneakers. PR is a talented guitarist and keyboardist. His laid back lackadaisical stage persona is in sharp contrast to his band mates. [But then again, so was that of John Entwistle in comparison to the over the top antics of Roger Daltrey, Keith Moon, and Pete Townshend of The Who.]

9. Ain’t No Baby (Obsession, 1978) features an effective, plodding bass line. During this song, and many others, PM took two to three steps left and right with conviction and a slight bob of the head. [PM looked as if he was sparring or getting ready for a boxing match. He would also come up toward stage front, but back away just before he got close enough for the fans to reach him.]