Liverpool Sound and Vision Rating 8.5/10
To be able to look back with hindsight and understand the sheer hiding to nothing that UFO were under as they released their first album without Michael Schenker for the first time since 1971’s UFO 2: Flying is to know that Rock’s perpetual cycle of renewal is what keeps it fresh, forceful, and unpredictable.
Whilst at the time of issue No Place To Run took a critical knock, in retrospect the album that saw the already admired Paul Chapman take on the responsibility of being the crowd-pleasing guitar player, a huge ask, one that could have seen the group implode as other had before, and after them, when a charismatic member left for pastures new, is to be seen as one of confident realignment, of readjustment to the cause of hard rock/metal and step into the 1980s with a positive claim of security.
Produced by George Martin, the album upon first listen does feel as though, as Paul Chapman remarked, “sounded a bit flat”, however the sense of continuation was there, the build up to a possible future was intriguingly filled with a graft that would come to be resolute during the decade, and of there was a fault it was perhaps asking too much of the legendary producer who had spent years refining the sound of groups such as The Beatles, and who after this would return to work with Paul McCartney on a run of three studio albums, via producing for the Little River Band and Ultravox.
Aside from America, UFO were by far the heaviest band that the esteemed and vibrant producer had worked alongside, and in respect it was possibly a mix that wasn’t going to have the same kind of illumination, the same dynamic as encountered by the listener as Ron Nevison for example who understood the complexity and freedom of the genre instinctively.
No Place To Run though is more than its first hearing, and in the 2025 vinyl reissue, its level of sound and songwriting have a underrated groove to them that is ready to punish the unbeliever and lay down an authority of mature outlook to the constant fan; and as with the other impressive reissues that have come along in the last few years from the band, the addition of a live set, this time from The Marquee at the back end of 1980, is a welcome reminder of the band’s strength…especially when people remember that this was now at a time when groups such as Iron Maiden were on the verge of being one of the all time greats, and American metal was about to discover the next evolution with Thrash.
From the beginnings of Alpha Centauri and Lettin’ Go, the new resolution of the band was clear, to avoid, if possible, any sign of missing the sublime Michael Schenker, to be more thoughtful in their approach as they entered a new decade with different world concerns pushing the agenda, so the album became one of more reflection rather than push button excess.
With the terrific This Fire Burns Tonight, Young Blood, and Take It Or Leave It at the heart of the album, and with motivating live tracks such as Only You Can Rock Me, Lights Out, and Doctor Doctor combining to great effect from within the Marquee Club atmosphere, the retrospection of UFO continues to inform and regale the long term fan and the curious alike.
An album that arguably was a foundation bridge between two periods, one in which the group was redirecting themselves, redefining but refusing to stray away from the beauty they had encountered and relished in performing; No Place To Run maybe, but certainly declaring they weren’t going to hide either.
Ian D. Hall