This, the longest set of sleevenotes ever, was written by Brian Tawn in May 1986 to accompany the Samurai Records issue of the Hawkwind Anthology albums. I've chopped it into 2 parts
Angels of Death (1977)
Dave Brock - guitar, vocals, synth
Robert Calvert - vocals
Harvey Bainbridge - bass
Paul Hayles - keyboards, synth
Martin Griffin - drums
1976 saw more important changes in the Hawkwind career. Bob Calvert had guested with the band at a festival and subsequently rejoined, shortly after the recording of his Lucky Leif And The Longships album (United Artists UAG 29852), released in September 1975. In the Autumn, the band did their usual lengthy tour, offering a very-powerful set based on material from Space Ritual, Hall Of The Mountain Grill and Warrior On The Edge Of Time. Some might argue that the show, musically, surpassed that of the Space Ritual tour.... and I would go along with that.
1976. Continued touring in the Spring and then a double surprise: Hawkwind parted company with United Artists and with their manager, Doug Smith. They found new management in the form of Wizard Artists and signed to Charisma Records. Unfortunately, neither management nor record company ever came to grips with the Hawkwind style and seemed to want to change the band image instead of retaining its own brand of individuality. The line-up of Dave Brock, Nik Turner, Simon King, Alan Powell, Simon House, Paul Rudolph and Robert Calvert was also divided in its choice of direction, with Paul Rudolph and Alan Powell anxious to see Hawkwind present a more 'funky' image, to cater to the pop scene.
Their first Charisma album did nothing to narrow the gap. It was called Astounding Sounds Amazing Music (Charisma CDS 4004 - released in August 1976) and was a rather clever idea. It was taken from the science fiction pulp magazines which began to be published in the 1920's (1926 for Amazing) and 1930's for Astounding), of which Amazing and Astounding were the first. Indeed, both continue to be published, albeit in digest form and with the name Astounding changed to Analog. The album sleeve was designed to look like
a cover from one of the pulp mags and said, above the word Astounding (which was set out in the lettering style of the original Astouding) 'Thrilling stories of science fiction and fantasy!', which is what one of the mags would have proclaimed...in fact, one such mag was called Thrilling Stories. The inner sleeve had printed on one side a selection of the adverts which used to be printed in pulp mags and on the other side, a set of amusing delicious adverts representing each member of the band. Each song on the album represented a story for the 'magazine'.
The project should have been good for the band but it served only to give the 'rebel' members a chance to diversify from the Hawkwind sound and make the album patchy. To make matters worse, an expensive studio was used and work was slow, causing the band to exceed their budget and be in a position of debt. The single from the album, Kerb Crawler (Charisma CB 289), did nothing to boost their finances.
The tour to promote the album appeared to show the band in their usual good form, with plenty of high-energy music and their Atomhenge stage setting, a complex piece of construction with cotoured lights encased in fibre-glass moulding, which looked both like part of an atom and like a section of Stonehenge. It used four pillars and between each two there was a screen for projections. Unfortunately, due to its size, only two or three venues had a large enough stage to accommodate the full stage set.
Behind the scenes, things were not so good, with endless disputes and attempts by various parties to manipulate the course of the tour and of the future of the band, all of which ultimately led to a purge a few weeks after the tour ended. Nik Turner was sacked, closely followed by Paul Rudolph and Alan Powell. The only positive thing to come from the tour was the decision to release a single of Back On The Streets (Charisma CB 299) in a beautiful photo sleeve showing the band on stage with Atomhenge.
This single was released in January 1977, by which time a new line-up consisting of Dave Brock, Robert Calvert, Simon House, Simon King and Adrian Shaw was rehearsing prior to a February debut at the Roundhouse. The band worked well together, producing a fine single, Quark, Strangeness And Charm (Charisma CB 30S - July '77) and an excellent album of the same title (Charisma CDS 4008 - June '77) which showed them getting back to a more traditional Hawkwind style.
During the year, Hawkwind carried out successful tours of the U.K. (twice) and Europe and on the second U.K. tour recorded the 'live' tracks for the PXR5 album (Charisma CDS 4016), yet Dave Brock remained unhappy with the progress of the band. He felt the urge to do something different, to break out of the rut, and so instead of holding the traditional pre-Christmas gigs which Hawkwind always did he dropped them in favour of another project.
He organised a band called The Sonic Assassins, consisting of himself, Robert Calvert, Harvey Bainbridge, Martin Griffin and Paul Hayles.... the last three being members of a band called Ark, a band local to Brock and who had supported Hawkwind on a few gigs in 1976. They were to play a one-off gig on December 23rd, midway along the bill of an event at Barnstable which included a pantomime for the children, a folk singer and then some bands. A family event.
After the Sonic Assassins had done some rehearsals and mapped out their set, Robert Calvert decided to drop out but on the morning of the event he changed his mind and told Dave Brock he would be there after all. In the meantime, the band had changed the set, introducing some instrumental work unfamiliar to Calvert. In typical Hawkwind fashion, no-one told Robert about the alterations which had been made and he was left to improvise as best he could while he tried to work out what was going on. Part of the set, including the principal piece of improvisation, when Robert was sure they were about to play 'Master Of The Universe' when in fact they played a lengthy instrumental jam leaving Robert to come up with lyrics to suit it, has been
released as a 12" EP called The Sonic Assassins (Flicknife FLEP 101 -1981). A further track was released on the compilation album, Hawkwind Friends & Relations (Flicknife SHARP 101 - 1982) and now Anthology offers two more tracks from the set.
'Magnu' has always been popular with Hawkwind fans and is well suited to be included here in its 'live' form while this early version on 'Angels Of Death' shows how Hawkwind songs often develop from what is basically a jam with possibly a chant, into a full-fledged song later on.... as 'Angel Of Death' was to do in l981.
Intended as a one-off gig done just for fun, with possibly the occasional 'local' concert in the future, the Sonic Assassins turned out to have long-lasting effects on the future of Hawkwind. Indeed, it may well have been the saving of the band.
Hawkwind: Hash Cake Cut (1977)
Dave Brock - guitar
Robert Calvert - vocals
Simon House - keyboards
Simon King - drums
Adrian Shaw -bass
Whenever Hawkwind are in studios, rehearsing for a tour or an album, or at a venue carrying out a soundcheck, members tend to do little solo pieces and very often others will join in and a short jam session emerges. It may produce something which later evolves into a song or it may be a one-off which is lost
forever. Hash Cake Cut is jam session recorded at Rockfield studios prior to the 1977 tour and may have been developed further had it not been for the events of 1978. As it is, the track remains in its original state and that is probably for the best.... the 1977 line-up capturing the mood and style of sessions from the early days of Hawkwind.
Hawkwind: Quark Strangeness And Charm (1977)
Dave Brock - guitar
Robert Calvert - vocals
Simon House - keyboards
Simon King - drums
Adrian Shaw - bass
Hardly a typical Hawkwind song, yet this was well received and deserves a place in the history of the band. The media appreciated the song and the band even appeared on television to promote it, on Marc Bolan's weekly show, though Dave Brock did not appear. It was a fortunate coincidence that made his car break down that day since Dave did not wish to perform on a programme on which artists mimed.
This version is a 'live' one, recorded in March 1978 during the American tour which led to the terrible news that Hawkwind had folded and their proposed Spring tour of England cancelled.
The studio tracks for PXR5 had been recorded in February and then the band had crossed the Atlantic. Simon House was still with them but was due to leave the band to join David Bowie's World tour. The concerts drew good crowds and one of them was broadcast on FM radio but the tour was still another in their line of American misfortunes.
Robert Calvert was worn out and depressive. Since rejoining the band after the departure of Stacia he had acted as front man to the band, bringing to the show a theatrical image by wearing various costumes to suit songs. The more he played the parts, the more he lived them and the more energy he would put into the show until he reached a peak when, his energy and imagination drained, the pendulum would swing the other way. He had been high on energy and enthusiasm during the late 1977 U.K. tour, on the Sonic Assassins event and on the January/February Europe gigs, but was drained and lifeless in his performance on the American tour. The band were disheartened, knowing that the tour was important yet unable to give their best. To make matters worse, Simon House left in mid tour, to join Bowie, and Paul Hayles had to be brought from England to complete the tour.
After the final concert, a very depressed Dave Brock left the stage and within five minutes had sold his guitar to an American fan who had been to most of the concerts.
Hawklords: Douglas In The Jungle (1979)
British Tribal Music (1979)
Dave Brock - guitar, synth, vocals
Simon King - drums
Harvey Bainbridge - bass
Steve Swindells - keyboards
The American trip was not entirely a disaster. Doug Smith was on the same flight back to England and conversation between him and Dave Brock led to plans for the future. Dave Brock wanted to make a fresh start with new ideas and new music...and he wanted to break with Wizard Artists and work, once again, with Doug Smith.
In effect, the new band was the Sonic Assassins, except that Paul Hayles was not anxious to be in a band which toured as widely as Hawkwind had done and so Steve Swindells took his place on keyboards, making the line-up Dave Brock, Robert Calvert, Harvey Bainbridge, Martin Griffin and Steve Swindells. Although the name Sonic Assassins would be familiar to hard-core Hawkwind fans and to readers of Frendz (where Mike Moorcock and Jim Cawthorn presented a short comic strip story in which Hawkwind, under the name of The Sonic Assassins, were the heroes - circa 1972), the name was not sufficiently well known for the band to be able to use it to mount a tour of major venues. Hawklords seemed a more likely name. For years the band had
been often referred to as the Hawklords by the press and in 1976 there was published a book called 'The Time Of The Hawklords', written by Michael Butterworth and based on an idea from Michael Moorcock. In this book, Hawkwind were the heroes, saving the World by using Hawkwind music. There was later a sequel, 'Queens Of Deliria'.
The Hawklords signed to Doug Smith's management and set all Hawkwind material aside in favour of working on new music. They kept the contract with Charisma by having four of the members from the last Hawkwind line-up playing on the new album. Thus, as well as the Hawklords the album also featured Simon King and Simon House on a couple of tracks. Simon King could have joined Hawklords but did not wish to.
At the time, the shift from Hawkwind to Hawklords and the changed line-up seemed most dramatic, though in reality the changes were fairly typical of the story of Hawkwind both before and after that period. News media made the changes seem sudden, in order to give the impression of a new group springing from the old, full of new and exciting ideas...we were told that Hawkwind was no more...and soon after that the new band was being born. The actual transition was less sudden. It was known that Simon House would be leaving to join Bowie (though suggested that he would come back to Hawkwind later) and Adrian Shaw left at the end of the American tour. Simon King's departure came a little later when he didn't want to be in the Hawklords. Perhaps his presence would have put too many Hawkwind members into the regular Hawklords for Wizard Artists to allow them to start up as a new band with a new name.
Whatever, the Hawklords released an album, 25 Years On (Charisma CDS 4014) and a single, Psi Power (Charisma CB 323), both in October, and the band held their Autumn tour of the U.K. The music on the album was far less energetic than previous Hawkwind material ('Armchair Hawkwind', Brock later called it), though the stage set was as lively as ever. Gone though were the bright colours of Hawkwind shows in favour of the Hawklords concert concept of the drab life of the factory/World of a 'big brother' future.
The Hawkwind/Hawklords transition failed to pull in the amount of fans anticipated and the album made a lower chart position than earlier albums. The second Hammersmith concert, set a couple of weeks after the first, was cancelled, despite the fact that the first show was as good as any Hawkwind concert and was brought to an exciting climax when Lemmy joined in the encore (shrugging aside the hands of stage crew who tried to stop him) to sing 'Silver Machine'. Ex Hawkwind members decided to stage a 'real' Hawkwind
concert under the name of the Kittyhawks, at the Electric Ballroom, on the night prior to the second Hammersmith gig. Ironically, this fell through too, though this was due to organisational problems rather than concern from the promoters.
The people who had for years damned Hawkwind for not changing their style now condemned them because they had changed!
Although Charisma released the single 25 Years (Charisma CB 332.... also as a 12" on grey vinyl, CB 332 12) and the album PXR5 (Charisma DBS 4016) in May 1979, the band more or less slipped into obscurity after the Hawklords tour.
They went into studios early in 1979 to record a second Hawklords album and media sheets were circulated in America, telling of a new Hawklords single, 'Shot Down In The Night', intended to be recorded and released in America to promote a tour, but neither of these things came to pass.
Robert Calvert insisted that if Martin Griffin wasn't sacked, then he would leave the band and so Martin was sacked and Simon King re-joined.... then Robert decided to leave anyway and so we come to the Dave Brock, Simon King, Harvey Bainbridge and Steve Swindells line-up. They worked in the studios, preparing new material for a second Hawklords album and generally rehearsing to get the new line-up in trim while they waited for news of another tour, yet no tour was in the offing. For the first time, Hawkwind were not
in sufficient demand to warrant a tour in England and overseas promoters were wary of investing.
The band were restless and impatient and in their frustration wrote Douglas In The Jungle.... and if you bend an ear to the lyrics you will get an idea of how they felt about the world of the music business at that time. As it happens, the song is a good piece of Hawkwind in its own right and goes well with other tracks recorded at the same time, of which British Tribal Music is a first rate example. Other tracks recorded during that period were Valium Ten (the full version of which can be found on the 12" pressing of the Motorhead single
- Flicknife FLS EP 205), which featured Mick Smith on drums and was recorded after Martin left and before Simon re-joined, and Time Of, which appears on the flip side of Flicknife release (FLS 209) of 'Who's Gonna Win The War'.
All four tracks follow the same style and one cannot help felling that a full album of such material would have proved popular with Hawkwind fans. Douglas in the Jungle is the music we would have liked, telling us why we couldn't have it! The Hawklords melted away into the undergrowth.
Hawkwind: High Rise (1977)
Dave Brock - guitar
Robert Calvert - vocals
Simon House - keyboards
Simon King - drums
Adrian Shaw - bass
This is placed on the anthology, out of chronological order not because we have strange calendars but because placing it here gives a better musical balance to the albums. Also, it fits in well with the band history this way in as much that although the 1977 line-up recorded a second album and recorded many 'live' tracks the material was left on the shelf until the Hawklords project had come and gone.
That is why the words 'This is the last but one' appear on the sleeve of PXR5. Many people thought it meant only one more Hawkwind album to come, as indeed was the case so far as the Charisma label was concerned. It was really put there to highlight that although it was the latest Hawkwind album to be released it was not their most recent piece of recording.
High Rise was one of the most powerful Hawkwind songs to come from that era and an example of the band making social comment relative to the times, something which they have tried to do throughout the years in which the band has made music.
Hawkwind: Spirit of the Age (1979)
Urban Guerilla (1979)
Dave Brock - guitar, vocals, synih
Harvey Bainbridge - bass
Huw Lloyd Langton - guitar
Simon King - drums
Tim Blake - synth, keyboards
Time heals many ills and contracts expire. The name of Hawkwind could be used again. Only Dave Brock, Harvey Bainbridge and Simon King were still in the running as Steve Swindells had returned to his solo career to make his album 'Fresh Blood', on which Simon King, Huw Lloyd Langton and Nic Potter were the supporting musicians.
Ex-Gong member and associate of Hawkwind circa 1970 Tim Blake was invited to join the band and they were booked to headline on the opening night of the first Futurama Festival at Leeds in September. With Tim, came Patrice Warrener and his lasers and, with only days to go before the event, Huw Lloyd Langton accepted an invitation lo return to the fold. Also on the bill that night was Nik Turner's new band, Inner City Unit, and so it came as no surprise when Nik guested with Hawkwind during 'Brainstorm'.
The set, short for Hawkwind, being only an hour or so, went down well. Hawkwind were alive and well.... and playing heavier and faster than ever before.
It was time to be adventurous, so with no record to promote and no record company to back them, the band carried out a lengthy U.K. tour during which they introduced plenty of new material. Of the songs drawn from earlier incarnations of the band, many were presented in new, livelier format, bursting with energy and excitement. Spirit Of The Age and Urban Guerilla were two such songs, highlights of an extremely successful tour, with the band playing to packed halls, often with fans being turned away because the halls were full to capacity.
The tour was recorded and a 'live' album, Live 79 (Bronze BRON 527) secured the band a recording deal with Bronze in 1980. All was well again. The 1979 tour bad to succeed in order to ensure the survival of the band and it had turned into a major triumph. When the Live 79 album was released it achieved a higher chart position than Hawkwind had managed for years. Bronze also released a 'live' single of Shot Down In The Night (BRO 98).
Hawkwind: Master of the Universe (1980)
World of Tiers (1980)
Preparations for a new studio album began in the early Summer of 1980 and a handful of Summer concerts served to act as rehearsals and get the band in working mood. Unfortunately, Simon King was having problems which affected his drumming. He worked on a few sessions in the studio with the band but they didn't work out and the band had to look for a replacement. At the time, Huw's wife, Marion, was working for Ginger Baker's management and so it was that Ginger Baker was asked to work on the album. He did so and enjoyed the work to the extent that he joined the band. Bronze released the new album, Levitation (BRON 530), a digital recording, and a new single, Who's Gonna Win The War (BRO 109), in the Autumn and it was back to another long Autumn tour.
The line-up began as Dave Brock, Harvey Bainbridge, Huw Lloyd Langton, Tim Blake and Ginger Baker. This time there were no lasers and the band used a fairly simple stage set based mainly around a projection screen set in a backdrop and stage lights.
The 1979 tour must have used up the Hawkwind quota of luck for the 1980 trek suffered many problems, of which the principal one must have been the sudden split with Tim Blake. A long-running irritation with Tim's habit of making lengthy long-distance phone calls to his girlfriend at a time when the rest of the band would be wailing for him flared into a major row. The band left a hotel and headed for their next gig, leaving Tim behind, and Tim did not follow them. One of the roadies, Twink, covered for a few days until a new man, Keith Hale was brought in to take his place. A keyboard player rather than a synth player, Keith brought a change to the Hawkwind sound, losing some of the spacey sound which Tim's synth had been chiefly responsible for, but adding a sound more in line with rock music. Throughout it all, the overall Hawkwind style prevailed. Master Of The Universe and World Of Tiers show how the band were able to carry on in good form despite such a dramatic mid-tour line-up change. To make things even harder, a serious row with Doug Smith just before the tour started resulted in the band beginning the tour with no management.
They struggled on, giving a good show, and fans were blissfully unaware of the drama going on backstage.
Hawkwind: Who's Gonna Win The War (1981)
While it cannot be denied that Ginger Baker is a drummer of the highest quality and was of great service on the Levitation album, the sad fact is that he was totally unsuited to touring with the band. He also lacked the
Hawkwind willingness to communicate directly with the fans, leaving many fans alienated and confused by his attitude. His fame was a disadvantage to the Hawkwind image too, especially when the media in some countries began to refer to Hawkwind as 'Ginger Baker's Hawkwind' and would sport a photo of Ginger instead of a photo of the band.
The crunch came after Hawkwind went to Germany in February 1981 to perform on a video'd TV show and Ginger met his old friend (from Cream) Jack Bruce there. Afterwards, Ginger wanted Dave Brock to sack Harvey, hire Jack and do a World tour as a supergroup blended from Hawkwind and Cream. This was the final straw... Ginger had already insisted that a couple of crew members were sacked during the 1980 tour.
Despite the fact that a tour of Europe was planned, Ginger was directed to the door and, in passing through it, he took Keith Hale with him. The tour was scrapped, though Ginger and Keith, with their new band, did do the
Italian gigs.
More upheaval. Dave Brock wanted Bronze to release a 'live' e.p. or l.p. of the 1980 tour and was convinced it was the best move to make, but Bronze said they didn't want to release any 'live' material from anyone at all.... shortly after, they released a Motorhead 'live' ep. Brock was incensed and the Bronze liaison came to an abrupt end.
A new record deal was signed, this time with RCA Active, but the band were lacking a drummer and keyboard/synth player and so auditions were held at Rockfield. Prospective new members failed to meet Hawkwind requirements...gone were the casual days of the early seventies when Hawkwind came across as barbarians let loose with technology...the years had seen the band transformed into a group of musicians of a more professional outlook, demanding of quality in members' musicianship.
In the end it was decided to make do without a keyboard player for the time being since Dave and Harvey were enjoying themselves with synths and felt they could cover that side of things themselves. Martin Griffin was given the opportunity to drum for them again and this he did.
The new Hawkwind, Dave Brock, Harvey Bainbridge, Huw Lloyd Langton and Martin Griffin prepared to record a new album at Rockfield.... and Martin promptly caught measles, leaving the other three at the studios with no drummer. As it happened, it was a fortunate mishap, leaving Dave and Harvey with time on their hands, which they used for experimenting with synths and keyboards. Only part of their experiments ('Virgin Of The World') was used on the new album but it gave them ideas and a basis for another album, not typical of the Hawkwind style. When Martin had recovered, he joined them and they recorded the 'Sonic Attack' album (RCA Active RCA LP 6004) and the single 'Angels Of Death' (RCA Active RCA 137), both released in time for the tour which lasted throughout October.
Before the tour, during the Summer, they played some festivals, mostly concerned with CND and anti-missile events so it is fitting that the track chosen from this period was recorded at Glastonbury.... and even more fitting that the song itself should be an anti-war song, Who's Gonna Win The War. This song proved highly popular during the couple of years in which it was included in the Hawkwind set and is a fine example of that interesting phenomenon whereby most heavy rock bands seem to really excel when they tackle a slow number. Certainly this song is well suited to Hawkwind, both in musical content and in its social comment.
The October tour was a huge success, with the small line-up forced to work hard and be imaginative in order to put over the sound usually achieved by having five or six members. The lightshow too was good.... a psychedelic lightshow of slides, film, liquid lights from ex-Lensman Jon Perrin plus regular stage lighting. All the effects of the early seventies with the musical talent and experience of a decade later.
Hawkwind: Ghost Dance (1982)
Dave Brock - synth, keyboards, vocals
Nik Turner - vocals
Harvey Bainbridge - synth, keyboards, vocals
Huw Lloyd Langton - guitar
Martin Griffin - drums
After the 1981 tour, the band went into Rockfield studios to finish off the Church Of Hawkwind album, which included some of the experimental work begun at the time of recording the Sonic Attack album. Then in December, Flicknife released the Sonic Assassins EP (FLEP 101) and the band did seven pre Christmas concerts.
Spring 1982 and the action continues. Flicknife released the first of the Hawkwind Friends And Relations (SHARP 101) albums, featuring tracks by Hawkwind and Hawkwind-related bands in March and during the same month the band did a warm-up concert at Hitchin before touring Germany, Luxemburg and Holland. In May, RCA Active released the Church Of Hawkwind album (RCALP 9004) which, like In Search Of Space, was released with a limited edition booklet. At first, it was intended as a limited edition album of 25,000 copies, each with booklet, but the album charted, despite having no promotion, and so was re-pressed, this time without the booklet. Basically, the album turned out to be more or less a Dave Brock solo album, with other Hawkwind members supporting on various tracks and with some of the material from the studio experiments included.
During the year, they made appearances at various festivals including headlining at Wolverhampton in May, headlining at Stonehenge in June and an unlikely slot halfway down the bill at Castle Donington in August. Nik
Turner was once again a familiar sight, guesting for a few minutes at each Hawkwind set so it came as no great surprise when he was once again with the band for their October/November tour. Martin had left to get back to his studio during the Summer but agreed to play on the tour since they were unable to find a suitable replacement. Ergo, the line-up was Dave Brock, Nik Turner, Harvey Bainbridge, Huw Lloyd Langton and Martin Griffin. They also had two dancers, making seven people on stage, plus Robert Calvert at one gig, Mike Moorcock at another and Zenon (a magician) at some others. A year before there had only been four of them!
The stage set was a new departure for Hawkwind too, consisting of rows of television screens set in a backdrop, with all sorts of combinations of videos being screened. Records being promoted on the tour were a newly recorded version of Silver Machine (RCA Active RCA 267), a limited number of which were released as a photo picture disc, and a new album, Choose Your Masques (RCA Active RCALP 6055).
Having Nik with them made the tour totally different to that of the previous year. He performed as 'front man', introducing songs (never before done by Hawkwind) and behaving in theatrical manner, like a high-energy version of Robert Calvert. He brought a sense of fun and jollity to the show and he brought us Ghost Dance. We would have got this in some form anyway since it is a piece of music composed by Harvey Bainbridge but the words came from Nik and only he could have performed it with such conviction. Set in the middle of a fast-moving rock concert the song might have seemed out of place, yet it won instant popularity and seemed to do more to represent Hawkwind than any other song in the show, possibly because it harked back to earlier
days when many Hawkwind tracks featured repetitive chants over pulsing rhythms.
Whatever, Ghost Dance was the highlight and talking point of the tour and since the first Hawkwind Anthology Series closes with the 1982 tour there could be no better song to complete the music. Hopefully, we will find something equally exciting and appropriate to round off the second Anthology boxed set, covering 1983 to 1998.
-Brian Tawn, Hawkwind Feedback, Spring 1986.
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