It's been speculated that this album, taped in front of an enthusiastic Tokyo audience in the early '70s, was recorded without UFO's knowledge. When it was issued, however, it ended up as the final recorded document of the band with original guitarist Mick Bolton still in the lineup. Five of the six songs were rehashes of songs from their first two albums, and the bandmembers favored their bluesy boogie side rather than their art rock aspirations, with the exception, in some respects at least, of their long "Prince Kajuku ...
Read More
It's been speculated that this album, taped in front of an enthusiastic Tokyo audience in the early '70s, was recorded without UFO's knowledge. When it was issued, however, it ended up as the final recorded document of the band with original guitarist Mick Bolton still in the lineup. Five of the six songs were rehashes of songs from their first two albums, and the bandmembers favored their bluesy boogie side rather than their art rock aspirations, with the exception, in some respects at least, of their long "Prince Kajuku/The Coming of Prince Kajuku" suite (which, in its studio version, had taken up much of the space on their second album, Flying). The only one of the half-dozen tunes not to have appeared in a studio arrangement on the first two UFO albums was a long take of Paul Butterfield's "Loving Cup." The crowd certainly sounds as if it was eating the music up, and there's a somewhat more edgy raucousness than was heard in the studio counterparts. ~ Richie Unterberger, Rovi
Read Less
![Phenomenon [Deluxe Edition]](https://www3.alibris-static.com/phenomenon-deluxe-edition/cover/30335e2inr.jpg)
Portions of content provided by Rovi Corporation. © 2024 Rovi Corporation.