But there was no particular strategy of how to do it. It’s a combination based on the circumstances and on the moment. And then I added all the other pieces to it. Or in the other song, that kind of happened quite a few times, too, that Pete came up with, like, Only You Can Rock Me, for instance (guitar sounds). Then I get inspired by that and find the additional parts. Michael: Well, on songs like Only You Can Rock Me or Lights Out, Pete Way would come up with (guitar sounds – play the clip to hear), and that was it. Was that song pretty much the same, that you came up with the riff first and then it was a collaboration? Songfacts: Another favorite UFO song of mine is the song Lights Out. That’s a very fascinating, enjoyable part of music for me. It’s always enjoyable to play over and over and over, because I can be very creative with it on the spot. I keep the basic structure of it, but there is a lot of space to put new “sparks” on here and there and keep it fresh. It’s a really, really good part to play over that particular chord there, and it leaves a lot of space to come up with a whole bunch of creative ideas.
Ufo lights out in boston free#
Michael: Well, Rock Bottom has that piece in the middle of free expression, and it’s perfect for me because I love pure self-expression. The studio version and the live version are a bit different, as the live version had a long jam section. Songfacts: You just mentioned the song Rock Bottom, which I was always a big fan of. Then we’d go into the rehearsal studio and work on it. We were just sitting there looking for an additional song, and when I played “ Rock Bottom,” the riff, that’s when Phil jumped up and said, “That’s it! That’s it!” So we started putting it together and putting it into form.īut in general, I would always come up with some riffs, give it to the singer and he would find something, too. Some very early songs, like Rock Bottom, were very spontaneous. Because we were doing everything in the short amount of time, we spent a lot of time at the rehearsal studio. I wrote that way right from the beginning, and it’s still how I write today.īut because I had just joined them, we were more in the mode of making a record, touring, making a record, touring, making a record, touring. When I got there I just laid down a riff and another one and another one, and Phil did his vocals to it and it just became a totally different band based on the pieces that I gave them, which every song was built on. They invited me over and I took the offer. So I was more than happy to go over there.
It was disco music and it wasn’t very interesting what I was doing. I always told the Scorpions that if a British band would ever ask me, I would go just to get to a country where there was the interest for rock n’ roll. And that’s when they asked me to join them. I opened up with the Scorpions and then I played with UFO for a couple of days. When I toured with UFO and Scorpions, the guitarist from UFO lost his passport, so in order to continue the tour, I had to play for both bands. Well, Johnny Winter was American, but a lot of the music that we were listening to at that point in time when I was 15 years old was coming from there. But I was attracted to them being British, since that’s where the music that I fell in love with came from: Zeppelin, Black Sabbath, and Johnny Winter. Michael: Well, when I joined UFO, they were a psychedelic band. Songfacts: How did the songwriting work in the band UFO? Was it more of a collaboration? Excerpts from the interview appear below. Greg Prato of Songfacts spoke with iconic guitarist Michael Schenker.
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