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Hackensack, Supertramp, Climax Chicago, Can, and Atlantis. It was wonderful to meet so many great musicians from different countries. I did a lot of reminiscing about Skinny Cat – it seemed a very long time ago, particularly when I was experiencing avant-garde bands such as Can. I liked their guitarist, Michael Karoli, as a person and, as a musician, well, I thought he was a quiet genius. He was the David Gilmour of Germany, playing a white Stratocaster and using an Echoplex tape-echo machine with loads of distortion pedals. Everything I never had. I’d watch him as he stood right in the middle of the stage for about fifteen minutes just playing a single chord with effects pouring from his army of pedals. I was totally fascinated by his approach. I had never been exposed to music like theirs. I realised that being a pro guitarist was a long-distance race rather than a sprint.

      The other UFO boys were totally incredulous. Phil Mogg thought it was demeaning for the headliners to watch the support. Sod that! I watched everybody I could. Posters began to appear in Germany that promised, ‘UFO featuring Bernie Marsden’. I’m quite confident it would be a good thing for most people, but not UFO. Phil Mogg ended up screaming at the promoter. I just couldn’t understand what the problem was – wasn’t I in UFO? The others resented my growing fan club and I couldn’t help but wonder if the same thing had happened to my predecessors Mick Bolton and Larry Wallis. Sometimes I had to fight back both verbally and physically. Chelsea had to pull Mogg and me apart. We laughed it off, but there was an undeniably negative vibe.

      The beginning of the end of my relationship with UFO was a double-headliner with Supertramp at the London College of Printing in 1973. UFO opened and Supertramp guitarist and writer Roger Hodgson watched in the wings. I didn’t have a guitar tech and when one of my guitar strings broke I quickly put down my Firebird and switched to my spare Les Paul Junior. I felt something hit me in the side of my face. The lights were in my eyes and I presumed somebody had thrown something, until I saw Pete Way laughing. My suspicions were aroused.

      Mogg looked at me with a grin on his face, ‘Try to be more professional, country boy.’ He had indeed just slapped me on the face onstage. I lost it, big time.

      Cue pandemonium.

      Phil charged with the mic stand swinging in my direction. I parried with the guitar, Pete Way soon joined in, and Chelsea came on stage, trying to break it all up. Drummer Andy Parker just kept playing, blissfully unaware that anything unusual was happening. The crowd thought it was part of the show.

      Roger Hodgson was still in the wings, open-mouthed. He later asked if that was a regular occurrence. I said it wasn’t usually so violent.

      I saw Supertramp a lot in those early days. They were a very good live band and all really nice people – unlike UFO. I began to get familiar with some of the new songs Supertramp were playing, most of them not yet recorded. I liked them a lot. I heard ‘Dreamer’ and ‘Bloody Well Right’ in very early versions. The entire world now knows those songs and I feel lucky to have heard them in development. They released Crime of the Century in 1974 and became a worldwide success, selling millions. I smile every time I hear the harmonica intro of ‘Crime’ on the radio or ‘Dreamer’. I always feel a connection with Supertramp. Good days.

      As for UFO, Wilf Wright had practically vanished and this was a major factor in what was a looming break-up. It was a shame: I had enjoyed recording demos at Rockfield Studios in Monmouth with Dave Edmunds. He was a kindred spirit, a fellow blues-orientated guitarist. Unfortunately, but not surprisingly, the others instantly hated him because he was a), Welsh and b) very famous. Some of the basic tracks later appeared on Phenomenon: ‘Rock and Roll Car’, ‘16’, ‘Oh My’ (songs that I had written with Skinny Cat) and an early working of ‘Doctor Doctor’.

      I called Wilf and told him I couldn’t face another tour in Europe. I don’t think he knew how serious I was. The guys left the UK and I didn’t follow. For years the official story was that I missed the ferry because I lost my passport, which was utter rubbish. I didn’t want to go and it was the only time in my entire career that I have missed gigs. Michael Schenker took over on guitar while Wilf and Chelsea persuaded me, rightly, to finish off the tour. I eventually arrived to find I was not the most popular person in the dressing room. I was petulant, unprofessional and ego-ridden, but I had been the odd one out for too long.

      Those final gigs were filled with tension, which only eased towards the very end. We made a deal – an extremely strange deal. We just didn’t like each other and so I denied ever having been in UFO and they denied that I had been in UFO with them, despite the fact thousands of fans had seen me playing with them on stage between November 1972 and July the following year. This crazy ‘secret’ lasted until the Whitesnake days.

      I knew that Michael would be approached to have the gig on a permanent basis, which was exactly what I had suggested without any response a few weeks before. In no time Michael became a bona-fide guitar hero, and that still makes me proud. The moment I saw him, I knew he was bloody good and he only got better and better over time.

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