Most critics and fans agree that the finest studio album by British hard-rockers UFO was 1977’s Lights Out.

The group’s sixth studio effort is renowned as a cohesive yet varied set highlighted by the full-out strut of the title track along with catchy mid-tempo rockers like “Too Hot to Handle” and “Gettin’ Ready” perched alongside the nascent power ballad “Try Me,” which closes with a tremendous guitar solo by Michael Schenker.

Brought by the definitive lineup of vocalist Phil Mogg, Schenker on lead guitar, keyboardist/rhythm guitarist Paul Raymond, bass guitarist Pete Way, and drummer Andy Parker, there are no throw-away tracks. Schenker is especially revered as a hugely influential guitarist, and his overall performance on this album, especially his solos on the furiously explosive title track, is often cited as a career highlight.

Nudged by its label, Chrysalis, the band was pushing itself to greater heights in ’76/’77. Ten Years After bassist Leo Lyons had produced its previous three albums, but for Lights Out they hired Ron Nevison, who was highly regarded for his engineering and mixing with Led Zeppelin, Bad Company, the Rolling Stones, the Who, Thin Lizzy, and others. Also, Raymond having replaced keyboardist Danny Peyronel was important because he also brought rhythm-guitar capabilities.

“By the time we got to Lights Out, we had reached a stumbling block, because we thought the material on No Heavy Petting was up to scratch,” said Mogg. “But we needed a change in terms of recording, and most of it came about whilst we were banging around in the rehearsal room, writing new material.

“Paul had joined and he was most-adept at switching between guitar and keyboards – he saved us a fortune from getting another player in! He also added a different coloring with a couple of songs, ‘Gettin’ Ready’ and ‘Just Another Suicide.’”

Nevison suggested fleshing-out their sound by adding strings to some songs. Some members were reluctant, but arranger Alan McMillan handled the task. While a risky proposition for a hard-rock band, McMillan’s application of them as accents worked well.

Nevison and Mogg butted heads over the lyrics; the producer was stressed by what he believed was the vocalist’s tendency to write at the last minute.

“Our Ron. What can we say?” Mogg recalled with a chuckle. “It was one of the most-creative, funny times I’ll ever have. Oh, the joy of recording under the whip! Admittedly, there were some last-minute lyric changes, but that bleeding singer thought he could get it better, poor boy!”

Personal tensions among the band and Schenker are well-known. He left for a short time during the Lights Out tour but returned.

“There was always a little tension, but nothing out of the ordinary,” Mogg said. “I thought Michael’s work was outstanding on all the UFO albums. The material was absolutely right in his pocket to excel, and he did by jingo.”

In all, Lights Out began what is widely considered the band’s finest era. Several tracks are highlights, including the surprise cover of Love’s 1967 release “Alone Again Or.”

“I believe we were all on the same page and very focused… in a hazy sort of way. ‘Too Hot to Handle’ was Pete and I having a dance and a sing-song after hours, and we actually believed we were the second coming! (laughs) ‘Lights Out’ was a crunch-up jam session – a jolly jam after visiting the pub. ‘Alone Again Or’ was an outsider which we changed, and Michael’s guitar solo took over for (Love’s) trumpet solo. Lovely. It was a fit for the album.”

The majestic closer, “Love to Love,” is a masterful performance. Cited by Iron Maiden bassist/founder Steve Harris as his all-time favorite song, it includes a haunting keyboard line, powerful electric-guitar chording, flowing acoustic runs, thumping bass, skittering hi-hat amidst rugged drums, and soaring vocals topped off with strings.

“‘Love to Love’ is a bit of a mystery,” Mogg said. “It started as one of Michael’s solos on a cassette, and had a lovely melody. So we found a vocal for that part, but when we rehearsed, it took a different turn and became something else.”

Lights Out reached #23 on Billboard and was just remastered and expanded for CD and vinyl that includes a remixed 1977 concert at the Roundhouse, in London – the first show of that tour.

“It’s a reminder of what we were about in that particular place in time, and I must say it was a jolly good period,” said Mogg. “Apart from the old Marquee Club in Wardour Street, the Roundhouse was one of our favorite gigs, where you could see the Faces with young Steve Marriott, the Who, Pink Floyd, the New Yardbirds, and others. It was great to play there.”

UFO was a massive influence on many artists including Iron Maiden, Metallica, Guns ’N Roses, Def Leppard, Pearl Jam, and others.

Sadly, any chance of the Lights Out lineup reuniting became impossible when Raymond died in 2019, followed by Way in ’20. The band’s farewell tour in ’22 had to be canceled early due to Mogg suffering a heart attack.

The singer, who has a new solo album called Mogg’s Motel, doesn’t feel bad about the commercial success UFO reached or believe the common notion that the band was underrated.

“There’s never been any bittersweet feelings because things pan out how they do, and we don’t think we’ve ever been underrated because we never doubted ourselves,” he said. “We came, we saw, and we had a wonderful time!”

This article originally appeared in VG’s April 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.