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UFO announced a deluxe reissue of their acclaimed 1981 ninth studio album, *The Wild, The Willing And The Innocent*, arriving 1 May 2026 via Chrysalis.
The release is available as 2CD and 3LP editions, featuring a 2026 remaster, original Hipgnosis artwork, and expanded archival live material.
CD1 includes the remastered album plus seven-inch edits of ‘Couldn’t Get It Right’ and ‘Lonely Heart’, alongside an unreleased alternate mix of ‘It’s Killing Me’.
What makes this reissue interesting from an audiophile standpoint is the contrast between the original self-produced studio aesthetic and the newly revisited live material. The 1981 album has always divided listeners sonically: comparatively lean low-end by early‑’80s hard rock standards, forward midrange guitars, and a dryness that puts Phil Mogg’s vocal phrasing under a microscope. A modern remaster inevitably raises questions about restraint versus revisionism. Early reports suggest the mastering approach leans toward clarification rather than weight—cleaner transient definition on Andy Parker’s snare work, better separation between rhythm guitar and piano, and a less congested upper midrange during the denser chorus sections. If handled conservatively, this should benefit revealing systems without sanding off the album’s slightly brittle, period-correct edge.
The Hammersmith material is where opinions diverge across sources. Some collectors note that portions of this show have circulated in earlier Chrysalis projects, but the emphasis here is clearly on the remix rather than the archival novelty. Brian Kehew’s involvement implies a more modern live balance: tighter stereo imaging, less ambient smear from the venue, and improved articulation of Pete Way’s bass lines, which were often buried in earlier live UFO releases. Expect a punchier kick drum, clearer guitar harmonics during extended solos, and a vocal presentation that sits closer to the listener—traits that will play very differently on vinyl versus CD, especially in systems sensitive to midband energy.
From a broader perspective, this release underlines how The Wild, The Willing And The Innocent occupies an unusual sonic niche in UFO’s catalogue. It straddles hard rock muscle and narrative-driven arrangements influenced by American heartland rock, with piano and saxophone sharing space traditionally dominated by stacked guitars. That hybrid makes it an intriguing test record: systems with strong timing and midrange coherence will highlight the album’s storytelling intent, while more bass-heavy setups may expose its comparatively restrained low-frequency foundation. For listeners interested less in nostalgia and more in how classic recordings translate under contemporary mastering philosophies, this edition offers fertile ground for comparison.
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