Customer Reviews

Misdemeanor

5 star:		(3)
4 star:		(1)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

This is a good ufo release and a good 1980's hard rock disc. It's not a classic hard rock disc though. And universally it's agreed that UFO released some of the best and true classic hard rock cd's (albums). The first three were psychedelic and hard rock and have their moments but from 1974's "phenomenom" through 1983's 'making contact" the band delivered powerful and highly influential albums. Their live disc 'strangers in the night' is also considered one of the best live rock albums of all time too. This one came after a three year break in 1986. It was mixed more slickly with keyboards right up front in the mix. Which sound good but it's similiar to many other discs out that year. In other words it is a good hard rock disc. But this is from a band that made GREAT hard discs that are among the best ever made. That being said , this is still worth owning but only after you buy the earlier releases or later releases starting with 1995's "walk on water" every release from 1995 on right up to 2008's 'the visitor" are very good to great discs. This disc isn't bad though it has good songs a few great ones like 'heavens gate" and 'meanstreets". Which are good enough to be on any UFO disc. But even a nongreat ufo disc is worth owning because these are melodic songs with a distinctive 1980's sound. THe Other releases are more timeless because they seem just to be straight hard rock though. The remaster has many bonus tracks and although I would say:" buy the other releases first" there is no reason NOT to get this decent release too. No band can make great discs all the time and a great bands average album is often better than most of the stuff out there.
Here's the track listing: On the 2009 remaster. that's the version I bought to replace my earlier japanese import. Make sure you order the new version.
1. This Time 4:36
2. One Heart 4:09
3. Night Run 4:32
4. The Only Ones 5:16
5. Meanstreets 4:17
6. Name Of Love 4:37
7. Blue 5:18
8. Dream The Dream 4:32
9. Heavens Gate 4:15
10. Wreckless 4:56
11. The Chase (B-Side of "This Time" 45) 3:47
(Bonus Track)
12. Night Run (US Remix) (Bonus Track) 4:23
13. This Time (US Remix) (Bonus Track) 4:39
14. Heavens Gate (US Remix) (Bonus Track) 4:17
15. Name Of Love (US Remix) (Bonus Track) 3:43
16. One Heart (Us Remix) (Bonus Track) 4:22
17. Blue (US Remix) (Bonus Track) 5:09
running time: 76:48.

Many believe that UFO without Michael Schenker is no good. That's not all true, but when it comes to "Misdemeanor" from 1985 you can sure say that something important is missing. Keyboards dominate the album and it all feels more like a pop album than the hard rocking effort we all have grown to appreciate from Mogg & Co. Maybe the material could have gained something if the guitars were given more room, but the sad truth is that most of the songs are nothing special at all - sometimes UFO sounds like a bad Magnum like in "The only ones"; at other times like a decent Magnum ("Name of love"). Although this album over all is a rather weak effort, there are a couple of tracks that are good indeed and with a proper arrangement I think "Mean streets", "Heaven's gate" and "Wreckless" all have the potential to reach the sky.

Phil Mogg gathers himself together after the implosion of UFO in '83 during the ill-fated Making Contact, and it only took over a year and half to bounce back from the break. This offering could and SHOULD have been named a solo project, for as much as the UFO moniker is used and even though Paul Raymond returns here, the music is undoubtably of the mid-eighties hair metal/pop infusion of its day. With the reinstated Paul Gray on bass(whom actually played UFO's last gigs previously) and Jim Simpson on drums, the guitar spot features a young shredder "Atomic" Tommy McClendon. While Tommy proves his guitar prowess on tracks like One Heart, Meanstreets, Wreckless and Night Run, and even though Paul Gray is heavily involved with the songwriting aspects with Mogg and McClendon on this set, its just as much driven by keyboards and the style from which Mogg and company projects, leaves much to be desired for a supposed "comeback" album. Its anything but that; every song on here is so derivative of its time,(and believe me, this is not a release that has aged well one bit) that its painstakingly obvious Mogg had made a poor attempt at reinventing UFO for the sake of managers and contractual obligations because of the almighty dollar.

I owned this on cassette many years ago, along with Making Contact and decided to purchase the double disc discount version thru Chrysalis' subsidiary BGO records to give these releases another try after all these years. Whereas, Making Contact retains a bit of the UFO sound, Misdemeanor is such an abomination and the ultimate disappointment for an old school fan like myself; it sucked then and its even worse now. I think if it had been named the Phil Mogg Project, it may have been easier to accept and realize that even though the music is earnest in its attempt at being trendy and keeping up with the times, it still fails to deliver any sort of creedence or higher quality to what resembles Mogg or UFO itself. As I've stated earlier, this isn't the UFO most are familiar with and even though the playing on this record and the production is very competent, contemporary and sharp, its just not what most expect out of a UFO release. The 2 star rating is being most generous here on my part and its only that of the attempt of Phil Mogg, Paul Gray and Tommy McClendon to start something new and fresh, the problem is, using the UFO banner is a feable and desperate move to sell records, and the public in turn, resounded this by its lack of decent record sales. If you're curious about this release, be very cautious!! You may wind up being utterly disappointed...

1986 was a transformative year for metal: METALLICA, MEGADETH, SLAYER and BON JOVI would all release careeer-defining albums; an obscure, tiny radio station based in Long Beach, California would switch to an all-metal format which was dubbed "Pure Rock"; Glam Metal and Thrash Metal were all the rage with each genre fighting valiantly for musical superiority and VAN HALEN would release their debut record with Sammy Hagar.

Oh, and legendary U.K. act UFO would reform and release a new album.

Reflecting wistfully about this era is especially poignant for me. A platonic-relationship with a blindingly-cute girl had arrived suddenly at the departure gate for romance and saw us both willingly drizzled with the magic pixie dust which would transform our friendship into something much more. And like all great romances, our courtship that Summer of '86 was accompanied by a rockin' soundtrack. This soundtrack was splintered with longing tales of love on the run, forbidden trysts and dangerous rendezvous which accuratley chronicled the escapades of a budding young romance in the mid-eighties.

The name of the soundtrack? MISDEMEANOR from UFO.

But to understand all that was to come, we must first gaze back into the foggy-mists of time through the magic of the Heavy Metal Crystal Ball.......

Released in the U.K. at the tail-end of 1985 to the expected fanfare and critical accclaim, MISDEMEANOR was the first recorded output from the newly "reformed" UFO whom a mere two years prior had released their "final" studio LP and embarked upon their "farewell" tour.

Proving the old addage that "you can't keep a good man - er, BAND - down," founding member and he of the velvety-smooth pipes Phil Mogg, decided that the retirement-from-heavy metal business was not to his liking and bravely (and some might say defiantly) resurrected UFO with an all-new line-up.

Joining Mogg in the new UFO were Paul Gray on bass, Jim Simpson on drums and journeyman and long-time mate Paul Raymond. Last but not least was guitar wunderkind Atomik Tommy M; who came recommended from Shrapnel Records' own Mike Varney and who proved to be a prodigious addition to the group's ranks.

My first indication that something new was bubbling in the UFO universe came to me through the pages of the Heavy Metal Bible KERRANG! magazine. Based in the U.K., KERRANG! was the go-to source for all the latest news and gossip for the then burgeoning metal scene. I recall flipping through the pages of the mag late in the autumn of '85 and coming across an ad which taunted the impending release of a NEW 12"-single from the NEW UFO. Enticingly-titled "This Time," the single was due for release the following week. My excitement was palpable and the anticipation for new music from one of my favorite acts was off-the-charts. Knowing ahead of time that the single would be available in the U.S. as an import-only, I made plans to visit one of my favorite haunts of the time to procure my copy.

MIDDLE EARTH Records and Tapes was a haven for all things metal and new wave. Upon entering the store, you left all pre-conceived notions of reality behind and were quickly swallowed into an immersive world of sight and sound: A magazine rack to the left of the entrance was loaded with the latest issues of CIRCUS, KERRANG!, NME, ROLLING STONE, METAL HAMMER and an assortment of hard-to-find U.K.-based periodicals; the walls of the store were adorned with posters of the hottest artists; the in-store sound-system was blasting at MAXIMUM VOLUME and the staff were the motley assortment of goth-chicks, preppies and hard rockers. Such an incredible place and one that is sorely missed.

On album release-day, I arrived at the store riddled with anticipation. I traversed my way through aisles of vinyl, cassettes and CD's (biting my laced-with-anxiety fingernails the entire time) to one particular corner of the store where there was a section reserved exclusively for 12"-inch import singles. There, nestled comfortably into one of the wodden slots and wrapped in clear plastic was the new single from UFO! But something was different, a bit OFF. The iconic UFO logo had been given a mid-eighties make-over: triangular, elongated, vibrant and colored a soft hue of blue and pink. OUTSTANDING! The cover art was also a departure from previous UFO album art and featured a western/cowboys-in-love-type motif; a telling precursor of the stylistic musical changes within.

I rushed home and plopped the album onto the turntable and watched nervously as the needle hit the groove. Without warning, the room was surprisingly awash with the lush keyboard flourishes of Paul Raymond's Hammond Organ which served as the opening riff that was "This Time."

Penned by Mogg and new bassist Paul Gray, "This Time" was unlike anything UFO had ever recorded. The predominant keyboard hook was the immediate indicator that the new UFO were operating under different parameters which would see them adapting a more commercial and melodic edge. I was quickly seduced by the new direction and with baited-breath awaited the release of the full-length album.

The U.K. version of MISDEMEANOR was released in late November of 1985. Containing 10 tracks of pure, radio-ready heavy rock, the album was a stylistic deviation from previous UFO albums and featured the aforementioned heavy reliance on keyboard-based hooks for the majority of the songs. It is doubtful that any of these tracks would have seen the light of day if either Pete Way or Michael Schenker were still in the band and purists would undoubtedly pout that their heroes had "sold-out" with this blatant attempt at garnering radio airplay in the U.S. While the songwriting had taken a jarring commercial bent, the fact remains that the songs on offer were all stellar compositions and proved Moggie to be at the height of both his lyrical and vocal prowess.

MISDEMEANOR begins innocuously enough with the truncated version of "This Time." Paul Raymond leads the charge with his captivating synth-line while Mogg is all heartbroken warbling of "building worlds that you can see" and "hitting bottles just one more time/just to believe that you were mine." Ouch. Somebody get this man another drink. Guitarist-extraordinaire Atomik Tommy M becomes the spotlight kid for his solo-spot and shreds with absolute abandon as he delivers the exclamation point on this one before all is said and done.

"One Heart" is another tale of love unrequited and and love lost again, this time propelled by a dynamic Atomik riff and plucky keyboard strokes from Mr. Raymond. Mogg is is in rare-form here as you can actually feel him LEANING into the microphone as he croons "tell me now/that this is just a mistake." Tommy's fretboard fireworks are on full display here and have me in awe now just as they did then.

Third track "Night Run" had me in fits upon first listen. In inimitable Mogg-fashion, a majestic, woeful tale is spun of ill-fated friends and "coming across photographs/where everything was just a laugh." "Night Run" exists as yet another vehicle to showcase Paul Raymomd's dense bed of glorious keyboards upon which Phil blankets with a sensuous, pleading chorus. A standout track.

The classic Euro-Metal stylings of UFO's earlier LIGHTS OUT/OBSESSION-era are faithfully revisited via three of the set's harder offerings. "Meanstreets," "Name of Love" and "Heaven's Gate" all recall former glories with superior arrangements and afford Atomik Tommy the opportunity to crank it up and let it rip with some aggressive riffing and speedy solos. All streamlined and polished, the aforementioned tracks act as a counterbalance to some of the album's more mid-tempo cuts and ballads.

Album-closer "Wreckless" is the heart and soul of MISDEMEANOR. A fast-paced affair which is buoyed by the seductive strums of an electric guitar on which Mogg contemplates the end of yet another relationship gone-bad. This time (ahem) the track builds to a stirring crescendo which sees the entire band go SUPERNOVA as they launch head-first into greatness. "Wreckless" is a combustible liquid of melody, speed, power and finesse. Mogg's passionate vocals are in full-bloom as he pleads with his lover that "I can't stand one lonely night" and his attempts at swaying her with "oh baby let me know/I gotta keep you can't let you go" are met with deafening silence and indifference. Atomik Tommy M uses this platform of rejection as the impetus to take-off into the stratosphere with an articulate explosion of guitar histrionics before the whole thing comes crashing to an abrupt end.

The MISDEMEANOR LP is a mere blip on most UFO fan's radar. Those reared on the classic Schenker albums were surely disappointed at the material that was masquerading as UFO. But, if given the chance and looked at objectively, Mogg had assembld a capable group and penned some memorbale songs that can stand proud under the banner of UFO.

The MISDEMEANOR record and the era in which it existed will always be a romanticized time in my life. I was with a wonderful girl, I was forging life-long friendships and my favorite band had released what was to me, their definitive album. UFO would self-destuct during the West Coast swing of the U.S. MISDEMEANOR Tour later that summer. But as they say, that story is for another time and place. - Ronnie Jimenez

I think to be a real fan you have to point out the band in question's miscues as well as celebrating their triumphs. In the spirit of the former I have to say I hate `Misdemeanor'. I think it is everything that was wrong with heavy metal in the mid `80's. Much like Sabbath's `Seventh Star' which was released around the same period, the intent was to produce a Phil Mogg solo album and in that manner (like Tony Iommi's original intention) then I can't hate `Mistake'...er.. .'Misdemeanor' that much but unfortunately that is not what happened and Phil dragged his band's name into this fiasco. At least Iommi made a decent record which I can't say the same for Phil. This LP flat out stinks and the only reason it gets two stars is because it's UFO. "Night Run" and "Heaven's Gate" are the lone standouts but the music on this record lacks the guts and the soul of classic UFO. If people put down `Making Contact' then praise this piece of garbage then I don't want to know about their taste in music. Pathetic is all I can say and Phil Mogg should have let this sleeping dog lie.

making contact and misdemeanor in my opinion were two of ufo,s weakest albums albums ever.i personally favor the schenker and chapman era ufo line ups,after ufo,s mechanix tour when pete way left the group ufo relly began a downward slide.i am still a fan of ufo to this day.i love all their albums from phenomenon thru and including wild willing and the innocent..and some of the mechanix album i saw ufo on this tour and they were good. i think the next decent album ufo made after mechanix was walk on water. i would personally avoid making contact and misdemeanor.

I often wonder how reviewers have enough time to write detailed reviews of albums....given that there are so many out there, and you can only write so many.

Well, I'm taking a few moments to write a positive review of this excellent album. I purchased it when it was released in the mid-80s and was pleased then as I am now. I had grown up with all the hard rock 70's music by older brothers had purchased (Black Sabbath, Judas Priest, UFO, etc.) and come into my own with 80's hair metal and heavy metal (Whitesnake, Iron Maiden, Van Halen, etc.)

Knowing the history of UFO and owning every MSG album until this time, I took a chance on UFO's Misdemeanor album. Loved it--great melodic music and catchy tunes. Not pop or too weak, but it hit the right emotional chord with me. Still does.

Don't listen to the reviewers that call this un-UFO...it's great stuff. Own it and I bet you'll agree. It's one of my my favorite 80's albums, probably top ten, and I've heard them all--it's that good.

I'm aware of the beef that long-time UFO fans had over this album, feeling that it was too '80's, too Whitesnake, too keyboardy, or whatever. I have no problems with it - and maybe that's just because I'm not the kind of guy to revise my tastes just because after "Nevermind" the 80's suddenly became unhip.

"Misdemeanour" was one catchy slab of pop metal, hook after hook after hook - and except for Tommy's lead tone (which I found a bit bright) it was all exciting, fun stuff and still is. I won't bore you with the track-by-track breakdown, but man - "Name Of Love" is one smokin' track, and "Night Run" is one of the most maddeningly sing-along choruses ever.

Really - how can anyone bash this LP when we have "Making Contact" out there?

-djh

I think its a pretty good effort for ufo without having micheal schenker on the axe.Sure its a little commercialized sound from the eighties but I think most the cuts are as good as most of the songs ufo did with schenker.Atomic Tommy on the lead guitar is pretty hot and wild sounding and makes it kinda fun to listen to since his style is so much diffrent than schenkers for a change.