Pete Way, a name synonymous with the raw energy and untamed spirit of 1970s rock, embodied the very essence of a rock musician – living life on his own terms and crafting music that resonated with generations. Ozzy Osbourne’s vivid description, “They call me a madman, but compared to Pete Way I’m outta my league; he’s fucking mental!” encapsulates the legendary bassist’s larger-than-life persona.
This rebellious attitude cemented Way’s status as an icon for younger musicians eager to emulate the excesses of their rock predecessors. Nikki Sixx of Mötley Crüe himself acknowledged Way’s influence, stating, “Nikki Sixx told me that I was his hero and how he used to watch me do this and that, and would copy me,” as Way recounted in his autobiography, A Fast Ride Out of Here: Confessions of Rock’s Most Dangerous Man. This self-aware acknowledgment of his wild lifestyle, mirroring his own early days with UFO, highlights the cyclical nature of rock and roll excess.
However, reducing Pete Way solely to the “Wild Men of Rock” archetype would be a disservice to his profound musical contributions. While his most commercially successful period might have been in the 70s, his impact extends far beyond mere notoriety. As the bassist for UFO since their formation in 1968, Pete Way was a pivotal creative force. Alongside contemporaries like Thin Lizzy and Judas Priest, UFO bridged the gap between blues-infused 70s hard rock and the sharper, more aggressive sound of the burgeoning late 70s metal scene. Their influence is undeniable, evidenced by Iron Maiden’s Steve Harris, who continues to honor UFO by using “Doctor Doctor” as their stage entrance music.
UFO’s transformation from a bluesy space rock band to hard rock innovators was catalyzed by the arrival of guitar prodigy Michael Schenker in 1973. This marked a significant shift towards melodic hard rock, culminating in UFO becoming a truly distinctive band by the late 70s. Schenker’s intricate guitar work, Paul Raymond’s atmospheric keyboards, and Pete Way’s dynamic bass lines created a signature sound. Way’s bass playing was far from conventional; he avoided simply playing root notes, adding melodic complexity and driving rhythms to UFO’s sound.
Beyond his bass playing, Pete Way was a crucial songwriter for UFO. He was the primary force behind “Only You Can Rock Me,” a quintessential late 70s hard rock anthem. Furthermore, he contributed significantly to numerous UFO classics such as “Lights Out,” “Too Hot to Handle,” “Shoot Shoot,” “Natural Thing,” “Mother Mary,” and their hit single “Let It Rain.” Pete Way redefined the role of the bass player in rock. He wasn’t just a background musician; he was a showman, an integral part of UFO’s front line alongside Schenker and vocalist Phil Mogg. UFO built their formidable reputation through relentless touring, particularly in America, which culminated in the iconic live album Strangers in the Night, capturing the band at their arena rock peak. Patterson Hood of Drive-By Truckers, witnessing UFO open for AC/DC in 1977, declared, “They were beyond phenomenal. AC/DC was great too, but I’ll go to my grave swearing that UFO took the night.”
In a conversation last year, Michael Schenker offered insights into the personalities within UFO, describing himself as “shy and fragile and sensitive.” He characterized Mogg as “the control freak,” drummer Andy Parker as the band’s good-natured target of jokes, and Pete Way as “the very friendly outgoing person.” Phil Mogg further emphasized Way’s playful nature, recounting his penchant for practical jokes, like altering hotel signs to humorous effect. One memorable anecdote involved Way “borrowing” a hotel manager’s dachshund for a show, only to return it to a distraught manager who feared the dog was lost.
Pete Way departed UFO in 1982, frustrated with their shift towards a more pop-oriented sound. He then co-founded Fastway with “Fast” Eddie Clarke, formerly of Motörhead. However, in true Pete Way style, he exited Fastway before they even recorded, opting to join Ozzy Osbourne’s band. Subsequently, he established his own band, Waysted, a name that aptly reflected his priorities. Waysted garnered a dedicated following, touring with Iron Maiden in the UK, and even featuring Osbourne onstage for a rendition of “Paranoid” at their Hammersmith show with Maiden. Despite these endeavors, Pete Way never quite replicated the heights he achieved with UFO, and his later career involved band reunions, side projects, and solo albums.
Pete Way’s passing marks the end of an era, a quiet departure from the limelight that once so intensely illuminated his career. Yet, the outpouring of tributes following his death underscores his enduring significance. Fellow musicians, including former bandmates, contemporaries, and those he inspired – Ozzy Osbourne, Geezer Butler, Kirk Hammett, Saxon, Tom Morello, Pearl Jam, Nikki Sixx, Geddy Lee – all paid homage to his legacy. Notably, the number of bass players among those paying tribute highlights his profound influence on his instrument. Ultimately, beyond the captivating stories of his life, Pete Way’s true and lasting legacy resides in the music he created during those pivotal years with UFO.
