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15 Mar. 1996 | Format: MP3

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Product details

  • Original Release Date: 1 Jan. 1992
  • Release Date: 15 Mar. 1996
  • Label: Universal-Island Records Ltd.
  • Copyright: (C) 1992 Inter-Modo
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:13:47
  • Genres:
  • ASIN: B001KWFUV6
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (21 customer reviews)
  • Amazon Bestsellers Rank: 12,884 in Albums (See Top 100 in Albums)

Customer Reviews

4.8 out of 5 stars
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Most Helpful Customer Reviews

32 of 33 people found the following review helpful By Mr. A. Pomeroy on 12 July 2005
Format: Audio CD
Mine still has the 'Brit Awards Nominee' sticker on the front. I believe this got to number one in the charts, which was dead unprecedented for what was mostly a lot of multi-layered samples with some beats here and there. For some reason it all worked; I have heard bootlegs of the early sessions which led to this album, and there's no magic in the demos. The Orb's later albums were conceptually similar but uniformly rubbish. But U.F.Orb, whether because the band was going the extra mile, or because of some ineffable fairy dust, U.F.Orb actually worked, it was relaxing, funny, mesmerising, an excellent listen with headphones, as background music, and loudly to dance to in the bits which have beats. The samples are all well-chosen and I can still recite most of them; the bit where there is a snippet from Radio Moscow, followed by loud drums, is the best. The second side of the album is noticeably moodier, with 'Close Encounters' sounding as you would expect a song about UFOs to sound.
It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.
Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).
And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.
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5 of 5 people found the following review helpful By ronston on 11 Nov. 2011
Format: Audio CD
There are some albums that you know from the first listen are going to be favourites for life and this is what happened for me when I first heard this glorious album almost twenty years ago. The album is undoubtedly ahead of its time and is packed with amazing textures, samples and lush synthysisers. From the opening ethereal drones of O.O.B.E. we are taken on a journey that travels through different tempos and moods whilst flowing effortlessly from start to finish. "UFOrb" ebbs and flows from ambience to dub to techno taking the listener to all sorts of strange places with the melange of different sounds and other-worldly textures. "Blue Room", featured here in a 17 minute edited form is a true masterpiece. Bubbling synths and astral effects make a perfect bedding for Steve Hillage's milky way guitar meanderings before the piece develops into a deep and infectious groove with dubbed out percussion and a superb bassline by Jah Wobble. The journey continues with the dub epic "Towers Of Dub" where harmnonicas, vibes and all manner of sonic delights are sent echoing to some distant place over a smokey groove. "Close Encounters" keeps the underlying textures and ambiences continuing but builds into a hypnotic trance track with spiralling synth motifs exciting the ear. "Majestic" takes the listener into some almost tropical world with layered percussion and echoing flutes and chimes. This album is more than just music it is a voyage that is expertly crafted from start to finish. I am always hearing new things in it and I could not even begin to count how many times I have listened to it. I hope new listeners will find great pleasure in this record, a truly timeless piece of work.
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6 of 6 people found the following review helpful By A Customer on 26 Jan. 2001
Format: Audio CD
From the swirling, outer-space beauty of O.O.B.E. to the simply stunning and very long Blue Room and Towers of Dub, this is the Orb's most assured and most melodic album, with evidence of the weird sound effects and dialogue voiceovers to come in their very good 1997 album Orblivion, although this one is far more memorable probably due to more recognizable tunes and stunning house beats that render any kind of modern dance music anaemic. Stunning!
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11 of 12 people found the following review helpful By C. Quinn on 19 May 2005
Format: Audio CD
This is a condensed version of the original triple vinyl release of 'U.F.Orb', which came 'hermetically sealed' in blue-grey PVC and had to be cut open with knife or scissors - a typically elaborate Paterson/Cauty marketing gimmick that also seemed to say something about how they viewed The Orb as a cultural project. It was as if 'U.F.Orb' was a time capsule, a distillation of the sprawling experiments on 'Adventures Beyond the Ultraworld', a sealed container flung into space to show the rest of the universe what it was like on Earth (or at least in Britain) in 1992.
As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.
'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.
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