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Force It
Force It
Force It
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Force It
Studio album by
UFO
ReleasedJuly 1975[1]
StudioMorgan and Wessex Sound, London
GenreHard rock, heavy metal
Length38:11
LabelChrysalis
ProducerLeo Lyons
UFO chronology
Phenomenon
(1974) 		Force It
(1975) 		No Heavy Petting
(1976)
Singles from Force It
  1. "Shoot Shoot"
    Released: 1975 (Europe)

Force It is the fourth studio album by English rock band UFO, released in 1975. It was their first album to chart in the United States.

The album was produced by Ten Years After bass player Leo Lyons. Another Ten Years After member, Chick Churchill, played Fender Rhodes electric piano keyboard, the first use of that instrument on a UFO record.

The CD reissue was remastered at Sound Recording Technology in Cambridge in 1994.

Album cover

[edit]

The somewhat controversial original album cover was designed by Hipgnosis, as were almost all other UFO album covers of the 1970s. The nudity on the cover verged on breaching decency standards and the sexes of the couple in the bathtub were not known for several years. The models were later revealed to be Genesis P-Orridge and Cosey Fanni Tutti, both later of the influential industrial band Throbbing Gristle.[2] The artwork was softened for the initial US release, making the couple in the bathtub transparent. The cover is a pun – there are multiple taps (British English) or "faucets" (US English) in the picture, which is a play on the album's title.[3]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[4]
Christgau's Record GuideB−[5]
Collector's Guide to Heavy Metal8/10[6]
The Encyclopedia of Popular MusicStarStarStar[7]

Reviewing the LP in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "Heavy metal that's not hard to take? What? Well, the whole first side moves to [sic] smartly you could almost mistake it for rock and roll."[5] Eduardo Rivadavia, reviewer for AllMusic, wrote: "One of the band's best albums, Force It will not disappoint lovers of '70s English hard rock."[4] Canadian journalist Martin Popoff indicated this album as the first of "the band's classic era", spinning "arresting tales of the street, all the while wrestling with and taming the monster that was heavy metal, infusing the beast with wit, subtlety, restraint and British aristocratic class."[6]

Track listing

[edit]

All tracks are written by Michael Schenker and Phil Mogg, except where noted.

Side one
No.TitleWriter(s)Length
1."Let It Roll" 3:57
2."Shoot Shoot"Schenker, Mogg, Pete Way, Andy Parker3:40
3."High Flyer" 4:08
4."Love Lost Love" 3:21
5."Out in the Street"Way, Mogg5:18
Side two
No.TitleWriter(s)Length
6."Mother Mary"Schenker, Mogg, Way, Parker3:49
7."Too Much of Nothing"Way4:02
8."Dance Your Life Away" 3:35
9."This Kid's" (including "Between the Walls", written by Schenker) 6:13
2007 CD reissue bonus tracks
No.TitleLength
10."A Million Miles" (previously unreleased)4:49
11."Mother Mary" (live at the Paris Theatre, London, England on 11 December 1975 for BBC Radio 1)4:04
12."Out in the Street" (live at the Paris Theatre, London, England on 11 December 1975 for BBC Radio 1)5:12
13."Shoot Shoot" (live at the Paris Theatre, London, England on 11 December 1975 for BBC Radio 1)3:48
14."Let It Roll" (live at The Roundhouse, Chalk Farm, London, England on 25 April 1976)4:59
15."This Kid's" (live at The Roundhouse, Chalk Farm, London, England on 25 April 1976)4:19

2021 2-CD Deluxe Edition

[edit]
Disc one bonus track[8]
No.TitleLength
10."A Million Miles"4:49
Disc two
No.TitleLength
1."Intro" (Live at The Record Plant, Los Angeles, CA, 1975)1:12
2."Let It Roll" (Live at The Record Plant, Los Angeles, CA, 1975)5:01
3."Doctor Doctor" (Live at The Record Plant, Los Angeles, CA, 1975)5:15
4."Oh My" (Live at The Record Plant, Los Angeles, CA, 1975)4:16
5."Built for Comfort" (Live at The Record Plant, Los Angeles, CA, 1975)4:41
6."Out in the Street" (Live at The Record Plant, Los Angeles, CA, 1975)5:28
7."Space Child" (Live at The Record Plant, Los Angeles, CA, 1975)4:43
8."Mother Mary" (Live at The Record Plant, Los Angeles, CA, 1975)4:42
9."All or Nothing" (Live at The Record Plant, Los Angeles, CA, 1975)4:39
10."This Kid's" (Live at The Record Plant, Los Angeles, CA, 1975)4:38
11."Shoot Shoot" (Live at The Record Plant, Los Angeles, CA, 1975)3:50
12."Rock Bottom" (Live at The Record Plant, Los Angeles, CA, 1975)9:08

The vinyl release of the 2021 remaster includes the live Record Plant concert, but lacks the studio bonus track "A Million Miles."

Personnel

[edit]
UFO
Additional musicians
Production

Charts

[edit]
Chart (1975) Peak
position
German Albums (Offizielle Top 100)[9] 35
US Billboard 200[10] 71
Chart (2021) Peak
position
Scottish Albums (OCC)[11] 33
Swiss Albums (Schweizer Hitparade)[12] 59
UK Independent Albums (OCC)[13] 19
UK Rock & Metal Albums (OCC)[14] 9

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Force It

View on Grokipedia
from Grokipedia
Force It is the fourth studio album by the English band UFO, released in July 1975. It was produced by , bassist of , and marked the recording debut of German guitarist with the band after he joined in 1974, completing the classic lineup alongside vocalist , bassist , and drummer Andy Parker. Recorded primarily at in (with two tracks at ), the album consists of nine tracks blending with melodic elements, including standout songs like "Let It Roll", "Shoot Shoot", "High Flyer", and "Out in the Street" (the latter featuring piano by of ). The album's cover art, designed by , depicted a controversial semi-nude image that was censored for the U.S. market, contributing to its notoriety. Force It represented UFO's shift away from the space rock of their earlier releases toward a more accessible style, achieving commercial breakthrough as their first U.S. chart entry at number 71 on the and number 39 in the UK. Critically, it received positive acclaim for its energy and the synergy between Mogg's vocals and Schenker's guitar work, with declaring it "about time they were sighted" and praising the band's versatility. Many tracks later appeared on UFO's landmark 1978 live album , underscoring its enduring influence in the genre.

Background

Band history leading up to the album

UFO was formed in 1969 in as a band with influences, initially under the name Hocus Pocus before renaming after a local psychedelic club. The original lineup consisted of vocalist , guitarist Mick Bolton, bassist , and drummer Andy Parker, which provided stability through the band's early years. This core group, with Mogg, Way, and Parker remaining constant, marked UFO's transition from psychedelic experimentation to a more defined identity. The band signed with Beacon Records and debuted with the self-titled album UFO in 1970, featuring a mix of original tracks and covers like "C'mon Everybody," which gained traction in and . Their follow-up, UFO 2: Flying, released in 1971 on the same label, leaned further into with extended compositions such as the 18-minute "Star Storm." A live album recorded during a Japanese tour appeared in 1972, capturing the band's energetic performances amid growing international interest. Bolton's departure in early 1972 led to temporary guitarists and , but by mid-1973, had joined, solidifying the lineup for the third studio album, , released in 1974 after a shift to . UFO toured extensively in during this period, building a dedicated following, while initial efforts to penetrate the market proved challenging due to limited promotion and competition.

Signing with Chrysalis and creative direction

Following the modest success of their first two albums on the independent Beacon Records, UFO signed with the major label in 1973, a pivotal step designed to propel the band toward broader international exposure and commercial viability, especially in the lucrative American market. This deal came at a time when the band was reinventing itself, having parted ways with original guitarist Mick Bolton in 1972 amid internal tensions over musical direction. The signing coincided with the recruitment of from the Scorpions, infusing fresh energy and technical prowess that aligned with Chrysalis's vision for a harder-edged rock sound capable of competing globally. For Force It, the band's creative direction emphasized refining their emerging identity, building directly on the foundation laid by their 1974 Chrysalis debut . The group focused on crafting tighter song structures with infectious hooks and anthemic choruses to broaden appeal, particularly to U.S. listeners accustomed to the arena-ready styles of contemporaries like and Led Zeppelin. Influences from these bands were evident in the intent to blend blistering guitar work with accessible melodies, moving away from the psychedelic experimentation of UFO's formative years toward concise, riff-propelled tracks that prioritized energy and catchiness over prog-like indulgence. Internal band dynamics during this period revolved around harmonizing the rhythm section's raw power—led by bassist and drummer Andy Parker—with Schenker's virtuoso leads and vocalist Phil Mogg's soaring delivery, fostering a collaborative push for guitar-driven compositions that captured the thrill of live . Pre-production emphasized striking a balance between aggressive heavy riffs and melodic interludes, ensuring the material felt both potent and radio-friendly to solidify their foothold in the transatlantic scene. This strategic evolution under Chrysalis's guidance marked UFO's commitment to evolving into a polished yet ferocious unit poised for wider acclaim.

Recording and production

Studio sessions

The recording sessions for UFO's Force It took place primarily at in , , during 1975. Additional work occurred at for select tracks, including "Let It Roll" and "High Flyer," due to practical considerations such as studio availability and cost efficiency. Engineering duties were handled by Mike Bobak for most tracks, with Mike Thompson engineering the Wessex sessions. The band's approach emphasized capturing a hardened edge to their sound, refined through extensive touring following their previous album Phenomenon. Under producer Leo Lyons' oversight, the sessions allowed UFO considerable creative autonomy, building on the momentum from their evolving hard rock style.

Production process and contributors

The production of Force It was led by , the bassist of , who served as the primary producer and provided executive oversight while allowing UFO substantial creative autonomy in arranging and executing the tracks. Lyons, who had produced the band's preceding album , focused on refining minor technical aspects without imposing heavy-handed changes, enabling the group to develop their evolving style through intensive touring-honed performances. Engineering duties were primarily handled by Mike Bobak for the majority of the tracks (A2, A4–B4), with Mike Thompson credited on the remaining tracks, ensuring a cohesive capture of the band's live energy in the studio environment. Guest contributor , keyboardist from , added Fender Rhodes electric piano to "This Kid's (Got Lonely Hands)," introducing subtle atmospheric layers to complement the hard rock foundation. Tape mastering was performed by Arun Chakraverty at , contributing to the album's polished yet raw sonic profile. The mixing process prioritized clarity in Phil Mogg's vocals and prominent guitar tones from , achieving a balanced sound that avoided excessive polish while enhancing the album's punchy dynamics. This approach utilized standard overdubs and effects to amplify the genre's intensity, such as layered guitars and reverb on vocals, without veering into overproduction that could dilute the band's organic drive.

Composition and musical style

Overall sound and influences

Force It represents a pivotal in UFO's musical , transitioning from the spacey, psychedelic undertones of their debut albums toward a more streamlined and aggressive aesthetic infused with proto-metal elements. This shift is evident in the album's emphasis on crunchy guitar riffs and high-energy rhythms, moving away from the extended improvisational jams and bluesy explorations of earlier works like UFO 2: Flying. The result is a tighter, more radio-friendly sound that prioritizes drive and immediacy, showcasing Michael Schenker's razor-sharp guitar work as the central force. The album's influences reflect a blend of transatlantic rock traditions, incorporating the hook-driven melodies reminiscent of American hard rock acts such as , which add anthemic accessibility to the tracks, alongside the brooding heaviness drawn from British heavy rock forebears like . Schenker, in particular, has cited Tony Iommi's riffing as a key inspiration, infusing UFO's compositions with a dark, riff-centric intensity that bridges and emerging metal sensibilities. Bassist has similarly acknowledged Sabbath's impact on the band's foundational groove. This fusion creates a dynamic palette that balances melodic flair with raw power, distinguishing Force It within the mid-1970s rock landscape. Production choices further amplify the album's "forceful" character, with —bassist of —crafting a sound that delivers expansive through clear separation of instruments and punchy mixes recorded at and Wessex Sound. The rhythm section of and Andy Parker provides a rock-solid foundation, locking in with precision to propel Schenker's solos and Phil Mogg's gritty vocals without overpowering the overall balance. This technical polish enhances the album's muscularity, making it feel both visceral and controlled. In comparison to the preceding , Force It serves as a refinement of UFO's reinvention, building on the melodic structures introduced there while honing the aggression and cohesion without introducing radical departures. Where Phenomenon still lingered on occasional space-rock echoes, Force It commits fully to a proto-metal edge, solidifying the band's identity during the Schenker era.

Key song analyses

"Let It Roll" serves as the album's energetic opener, launching into a riff-driven hard rock assault that establishes UFO's evolving sound. The track begins with feedback from Michael Schenker's Gibson Flying V guitar, transitioning into a powerful, driving riff that propels the song forward with locomotive momentum. Phil Mogg's anthemic vocals dominate, delivering an aggressive performance filled with shouts and yells that convey urgency and release, particularly on lyrics evoking the freedom of the open road and razor-sharp nerves in high-speed pursuit, such as "Cold run speed highway was the place where we'd all go / When our nerves were razor sharp, and we'd all let it roll." This structure highlights the band's shift toward concise, muscular compositions, with Schenker's prominent solo underscoring themes of liberation and rock 'n' roll abandon. Following closely, "Shoot Shoot" maintains the high-energy pace as a quintessential rocker defined by its dual guitar interplay and straightforward structure. The song features neat, scratchy hard rock riffs that drive its repetitive yet infectious groove, credited collectively to the band and reflecting a collaborative, fun-filled creation process. Mogg's vocals blend seamlessly with the rhythm section, narrating a tale of nightlife excess through imagery of pool halls and romantic entanglements gone awry, as in "She said she'd love to mess around / But she don't mess around with clowns," capturing the rebellious thrill of the rock lifestyle. Schenker's guitar work adds layers of intensity, with the track's lean muscularity making it a standout for its raw, unpretentious appeal. Across these tracks, a thematic cohesion emerges around , nightlife escapades, and the untamed freedom of the rock existence, unified by Schenker's virtuoso solos that serve as emotional and technical highlights, elevating the album's raw energy into moments of transcendent expression.

Artwork and packaging

Album cover design

The album cover for Force It was designed by the British art collective , renowned for their surreal and provocative visuals on sleeves. The front artwork consists of a black-and-white photograph depicting two androgynous figures— and of the industrial band —embracing in a bathtub against a checkered floor, with one figure shirtless and positioned in a suggestive, forceful pose that implies intimacy or . This ambiguous, racy imagery sparked controversy upon release, reflecting Hipgnosis's signature style of blending eroticism and unease to provoke viewer interpretation. The design process involved , comprising , Aubrey Powell, and , who were commissioned by to create a bold visual aligned with the band's emerging identity and sci-fi-infused name, though the artwork diverges into more personal, psychological territory rather than literal extraterrestrial themes. Symbolism in the cover ties to the album's title, evoking themes of imposition and raw energy through the dynamic tension between the figures, amplified by stark contrasts and minimalistic composition that heightens the sense of intrusion and impact. International releases featured variations to address cultural sensitivities; for instance, the U.S. edition was airbrushed to obscure and soften the explicit elements, resulting in a less provocative version while retaining the core composition.

Sleeve notes and variations

The for the original 1975 vinyl release of Force It featured a standard single with printed inner elements containing production credits and recording details. The , printed on the back cover and inner , detailed the album's production process, noting that most tracks were recorded at in , while "Let It Roll" and "High Flyer" were recorded at , engineered by Mike Thompson. These notes also included standard copyright information, with ℗ 1975 and © 1976 attributions, and publisher credits to Intersong U.S.A., Inc. for the songs. A key variation between editions appeared in the artwork presentation, particularly between the UK and US pressings. The UK original (Chrysalis CHR 1074) used the unaltered Hipgnosis-designed cover featuring and in a steamy scene, while the US version (also Chrysalis CHR 1074) modified the front cover by lightly air-brushing the figures into the steam to mitigate potential offensiveness, reflecting regional sensitivities in packaging. Label variations existed across pressings, such as green Chrysalis labels without rim text in early UK editions and different etching marks in US Santa Maria pressings, but the credits layout remained consistent, listing producer , band members ( on vocals, on guitar, on bass, and Andy Parker on drums), and additional engineering staff. International editions introduced further packaging differences; for instance, the 1975 Japanese pressing included an obi strip and a separate liner notes/lyrics insert for enhanced presentation. Promotional copies in the US and Japan occasionally featured additional inserts, such as custom labels or radio-specific etchings, though these were not standard in retail versions. Later reissues expanded the packaging significantly. The 2021 deluxe edition, available in 2LP gatefold vinyl and 2CD digipak formats, incorporated printed inner sleeves in the vinyl version and a six-panel booklet in the CD, both with updated liner notes authored by rock journalist Malcolm Dome. These notes credit key influences from the band's hard rock evolution and thank production contributors like Lyons, while maintaining the original credits layout for personnel. The gatefold design in this edition provided space for additional historical context, differing from the compact original sleeves, and a limited indies-only clear vinyl pressing was offered with the same expanded packaging.

Release and commercial performance

Initial release details

Force It was released in July 1975 in the United Kingdom by Chrysalis Records. The album became available in the United States shortly afterward, also distributed by Chrysalis. The primary format was a vinyl LP, though cassette and 8-track cartridge versions were also offered to cater to different playback preferences. Promotion centered on the single "Shoot Shoot" backed with "Love Lost Love," issued in that year to generate interest ahead of the full launch. UFO tied the release to a supporting tour in the beginning in the fall of 1975, including key performances that showcased material from the album.

Chart performance and sales

Force It achieved modest commercial success upon its release, marking UFO's first entry on the , where it peaked at number 71. In the , the album peaked at number 39 on the albums chart. It also reached number 35 on the German Albums Chart. This performance represented a for the band in international markets, though it did not attain higher positions in major territories. The album's sales were stronger in during its initial run. In the , sales grew gradually following the band's promotional tour, contributing to sustained interest. The album received no major certifications at the time of release, such as or status from the RIAA or BPI. Later reissues, including deluxe editions in the and , have boosted streaming numbers and renewed catalog sales, though specific figures for these remain limited.

Reception and legacy

Contemporary critical reviews

Upon its release in 1975, Force It received generally favorable reviews in the UK music press, with critics highlighting the album's energetic hard rock sound and the band's evolving guitar-driven style as a significant step forward from their earlier space rock experiments. Melody Maker welcomed UFO's growing visibility, stating it was “about time they were sighted by a few more people,” praising the record's raw power and Michael Schenker's standout guitar work as key to the band's breakthrough potential. Similarly, Sounds critic Geoff Barton described Phil Mogg as a “nasty vocalist” while praising Michael Schenker’s guitar playing as “scalding as the hot tap, or as icy as the cold one.” American outlets offered a more mixed response, acknowledging the album's strengths while noting some derivative elements in its blues-based hard rock approach. Robert Christgau in The Village Voice described the first side as moving “smartly you could almost call it funkily,” with strong, clear and pretty ballads on the second half, though he found the “dumb, but not dumber than average.” This reflected a broader consensus that Force It was a reliable, high-energy effort—bolstered by Leo Lyons' punchy sound—but not a revolutionary statement, helping solidify UFO's entry into the market as their first charting album there.

Retrospective evaluations and influence

In the decades following its release, Force It has been retrospectively acclaimed for capturing UFO's evolution toward a more aggressive sound, often rated highly by critics for its enduring energy and guitar-driven intensity. awarded the album 4 out of 5 , praising its role as a pivotal entry in the band's discography that solidified their classic lineup's chemistry. Similarly, a 2020 review in Sleaze Roxx described it as an album that "has held up very well over the years," highlighting its raw production and memorable riffs as timeless elements of early heavy metal. Reissues in the 2000s and beyond have further elevated its appreciation, with the 2007 remastered edition adding bonus live tracks and an unreleased song, which reviewers noted enhanced the album's dynamic bass and drum clarity without altering its gritty essence. The 2021 deluxe edition, including a full live set from the in 1975, received commendation for its polished remastering that spotlighted the interplay between Michael Schenker's guitar work and Phil Mogg's vocals, making it a definitive listen for fans. Within UFO's canon, Force It is frequently positioned as a transitional milestone, marking the band's shift from psychedelic obscurity to international prominence, as it became their first album to chart in the United States at No. 71 on the Billboard 200. The album's influence extends to the New Wave of British Heavy Metal (NWOBHM), where its concise riffing and melodic hooks inspired bands like , whose bassist Steve Harris has cited UFO as a key early influence. Its cultural legacy persists through inclusions in hard rock compilations, such as the 1994 remastered pairing with .

Track listing

All tracks are written by Phil Mogg and Michael Schenker, except where noted.
No.TitleWriter(s)Length
1."Let It Roll"Mogg, Schenker3:57
2."Shoot Shoot"Mogg, Schenker, Way, Parker3:40
3."High Flyer"Mogg, Schenker4:08
4."Love Lost Love"Mogg, Schenker3:21
5."Out in the Street"Mogg, Schenker5:16
6."Mother Mary"Mogg, Schenker3:25
7."Too Much of Nothing"Mogg, Schenker3:54
8."Dance Your Life Away"Mogg, Schenker3:24
9."Boogie"Mogg, Way, Parker0:28
Total length: 31:33

Personnel

UFO Additional musicians Production
  • Leo Lyons – producer
  • Mike Bobak – engineer (tracks 2, 4–9)
  • Mike Thompson – engineer (tracks 1, 3)

References

  1. https://ultimateclassicrock.com/ufo-force-it/
  2. http://leolyons.org/discography.htm
  3. https://superdeluxeedition.com/news/ufo-force-it-deluxe-edition/
  4. https://www.discogs.com/release/2137416-UFO-Force-It
  5. https://elpee.jp/artist/UFO/
  6. https://www.officialcharts.com/artist/17055/ufo/
  7. https://sleazeroxx.com/reviews/ufo-force-it/
  8. https://mhf-mag.com/lights-out-celebrating-50-years-of-ufo/
  9. https://www.classicrockhistory.com/complete-list-of-ufo-band-members/
  10. https://zrockr.com/2015/10/21/ufo-early-years/
  11. https://ultimateclassicrock.com/ufo-phenomenon/
  12. http://ufo.dave-wood.org/history/ufo.html
  13. https://sleazeroxx.com/reviews/ufo-phenomenon/
  14. https://www.givememetal.com/hardrocktrees/ufo-family-tree
  15. https://chrysalis-records.com/artist/206271-ufo?lang=en_GB
  16. https://www.discogs.com/master/35257-UFO-Force-It
  17. https://www.rockcandymag.com/storage/app/media/latest-issue/Issue2/articles/UFO.pdf
  18. https://www.discogs.com/release/1892532-UFO-Force-It
  19. https://nowspinning.co.uk/ufo-force-it-1975-classic-albums-revisited/
  20. https://www.rockmusicraider.com/ufo-force-it-review/
  21. https://mayobat.wordpress.com/tag/ufo/
  22. https://metalplanetmusic.com/2021/09/album-review-ufo-force-it-deluxe-edition/
  23. https://www.goldminemag.com/music-history/top-hard-rock-albums-from-1975-ranked/
  24. https://www.sputnikmusic.com/review/53678/UFO-Force-It/
  25. https://www.goldminemag.com/music-history/ufo-studio-albums-ranked-from-worst-to-first/
  26. https://disciplinemag.com/features/remembering-when-3-4-of-throbbing-gristle-convened-on-the-ufo-force-it-album-cover/
  27. https://spatulacityrecords.com/blog/ufo-force-it-controversial-album-cover/
  28. https://www.discogs.com/release/1199541-UFO-Force-It
  29. https://www.discogs.com/release/5438274-UFO-Force-It
  30. https://www.discogs.com/release/4973495-UFO-Force-It
  31. https://www.songfacts.com/facts/ufo/shoot-shoot
  32. https://www.setlist.fm/stats/concert-map/ufo-23d6acff.html?year=1975
  33. https://www.offiziellecharts.de/charts/album-details-159592
  34. https://www.allmusic.com/album/force-it-mw0000461530
  35. https://blabbermouth.net/news/watch-bruce-dickinson-explains-why-iron-maiden-uses-ufos-doctor-doctor-as-its-entrance-music-at-every-concert
  36. https://www.discogs.com/release/3354598-UFO-Phenomenon-Force-It
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