UFO,Michel Schenker/CA,US 1976 Upgrade

During the golden 70’s Schenker era, Danny Peyronel was a standout. The best soundboard album has been brushed up. What is engraved in this work is “May 3, 1976: West Hollywood Performance”. This is a stereo soundboard recording. The Schenker era in the 1970s can be broadly divided into three groups according to regular keyboard players: the four-piece/Danny era/Paul Raymond era. Among these, the “Danny era” was one that ended with just one studio album and allowed us to hear a unique piano sound that was different from other eras. This work is a soundboard album where you can enjoy such a valuable lineup. Also, speaking of the live album from Danny’s era, the official box “OFFICIAL BOOTLEG BOX” includes two performances, but of course this work is a separate performance. First, let’s look back at the schedule at that time and check each position. 1975 [August: Danny Peyronel joins] August 22nd – September 14th: Europe (9 performances) September 23rd – November 19th: North America #1 (31 performances) ← *Official Record Plant Performances (?) December 6th-28th: ​​UK #1 (7 performances) 1976 March 5th + 10th: Sweden (2 performances) April 6th-25th: UK #2 (13 performances) ) ← *Official London performance May 1st – June 7th: North America #2 (22 performances) ←★This work★ [July: Peyronel leaves] This is UFO during the Danny Peyronel era. We were touring before and after this, but we narrowed it down to Danny’s participation. Among them, the West Hollywood performance of this work is the third performance of the final version “North America #2”. It was also a concert about a week after the Roundhouse performance recorded in the official box (here are two side notes regarding the date. First, the same show as this work is also distributed as “March 3rd”) As mentioned above, there was no live performance at that time.The other is the official box record plant performance.This is officially scheduled for “September 1st in New York”, but it was actually during a European tour. (September 23rd” or “October 6th” and the location is said to be California). This work, which records such a show, is a real soundboard that is directly connected to your brain. Although it has a rough feel that comes directly from the mix table, the pure and unprocessed live performance flows out endlessly. The recent official roundhouse performance soundboard was also vivid, but this work is even more powerful. The momentum of “1976,” when he was climbing the ladder of success, bursts out from the speakers. Moreover, this work is the highest peak updated version that has been refined by meticulous mastering of such sound board recordings. The original sound discovered in 2012 was a 2nd generation master, so there were some unstable parts, and the sound was (slightly) rounded. Although it would normally be at a sufficient level, it could not be denied that it was not as good as the official soundboard group in that respect. Therefore, in this work, such weak points have been thoroughly repaired. The pitch, which was partially out of order (maybe due to the tape change?), has been straightened out, and the sound dropout has been greatly improved. Although it has a clarity comparable to the official Roundhouse SBD, it has been reborn as a superb sound with an even more powerful and rushing feeling. With such a vivid sound, the show features Schenker’s crying and Danny’s groovy piano. The set is very similar to the Roundhouse performance because it is recent, but it is also a good opportunity, so let’s organize it. Mick Bolton era (2 songs) UFO appearance: C’mon Everybody/Boogie For George Michael Schenker era (10 songs) Phenomenon: Doctor Doctor/Oh My/Rock Bottom Force It: Out In The Street/Let It Roll/This Kids/Shoot Shoot No Heavy Petting: Can You Roll Her/Highway Lady/I’m A Loser…and so on. There are still two songs left from the Mick Bolton era repertoire that disappeared as the albums went on, and Schenker’s early “Oh My” is also delicious. And the best ones are the new songs “Can You Roll Her” and “Highway Lady” at the time. Both songs are limited edition songs from this tour, and there are only a handful of performance records of them. It is a rare song unique to Danny’s era. And the ensemble that creates such a set is a must-listen. As expected, the key point is Danny’s keyboard. I think the standard for the keyboard in UFO is the support aesthetic created by Paul Raymond, but Danny easily transcends that framework and uses twin reeds on a par with the guitar. What’s more, the tone is very particular to that of an electric piano, and while it uses a lot of honky-tonk tones, it rolls around comfortably, and you can hear plenty of solos as well. What’s more, it’s amazing because even though it’s a different ensemble than usual, it doesn’t feel out of place at all. It fits perfectly into the rock’n’roll essence that the band had even before Schenker joined. The groove created with Pete Way is extremely pleasant, and the contrast with Flying V, who is crying in tears, is also vivid. In particular, the highlights “Rock Bottom,” “C’mon Everybody,” and “Boogie For George” are 8-10 minute long performances. This good chemistry also applies to Paul Chapman. If the Chapman/Peyronel system of UFO had been born, the strongest British rock’n’roll in history might have been created. If you say “UFO is definitely better than MSG,” I think you’ll love UFO’s unique groove and weeping guitar interplay. The Schenker/Peyronel era was when that flavor reached its peak. This work is a masterpiece of a live album where you can enjoy a special show with the best stereo sound board, both set and ensemble. This is the ultimate piece that comes close to the official soundboard, but allows you to enjoy the vivid, groovy rushing power unique to this period. (Remaster memo) The pitch of the second half of the tape’s B side is fast, so I corrected it. Sound quality has also improved. Live at Starwood Club, West Hollywood, CA, USA 3rd May 1976 STEREO SBD (UPGRADE) (74:47) 1. Intro. 2. Can You Roll Her 3. Doctor Doctor 4. Oh My 5. Out In The Street 6. Highway Lady 7. I’m A Loser 8. Let It Roll 9. This Kids 10. Shoot Shoot 11. Rock Bottom 12. C’mon Everybody 13. Boogie For George Phil Mogg – Vocals Michael Schenker – Guitar Pete Way – Bass Andy Parker – Drums Danny Peyronel – Keyboards STEREO SOUNDBOARD RECORDING