Review of "Hurry On Sundown" (Liberty LBF 15382):
This is taken from the forthcoming Hawkwind album. It's very commercial and strangely un-typical of their
usual freaky electronic sound. Like the album both tracks on the single were recorded in one take. The flip
"Mirror Of Illusion" features the wierd electronic sounds of Dik Mik in the background, for anyone who has
heard the group live this side has more meaning. Altogether a very promising first release from one of
London's newer bands, hope it makes it.
"Hawkwind Heading For Reading":
Hawkwind have been announced as one of the bands to headline at this years Reading Festival. They are
expected to appear either on Friday August 22, or Sunday August 24. A special stage is being built for the
band so that their light show screen can be accommodated.
The band will include the replacement for Lemmy their old bassist, he is Paul Rudolph, or 'Blackie' - ex Pink
"Hawkwind: new show":
Hawkwind are featuring a completely new stage presentation on their current British tour, which began on
December 10. Titled "The Ridiculous Roadshow with the Silly Hawkwind Brothers", it is the successor to
the band's "Space Ritual" show.
Apart from a Christmas break, the itinerary extends through into February and so far includes one London
date -at Edmonton Sundown on January 25- although one or two others have still to be finalised. Also in
the schedule is a charity concert at Clacton Town Hall on January 11 with the Sutherland Brothers and
Quiver in support.
Support acts on other dates include Chilli Willi and the Red Hot Peppers, Fruupp, Al Matthews and Steve
force and melody.
It's all here on their first vinyl offering (put out in 1970). The countryside hoe-down of 'Hurry On
Sundown'; the swirling menace on 'The Reason Is?' and 'Paranoia Parts One & Two'; the soothing anarchy
found during 'Seeing It As You Really Are'; the mid-sixties psychedelia of 'Be Yourself; and finally the
pre-'Silver Machine' commercialisation on 'Mirror Of Illusions' (why wasn't this a big hit?).
Of course, the band, in later incarnations, went on to make technically better albums (for me 'Warrior On
The Edge Of Time' is still their meisterwork) and they were some three years off their finest commercial
success with 'Silver Machine'. Yet, nonetheless, 'Hawkwind' captures the raw spirit of adventure abroad in
A new generation of rockers is currently following the band, and the re-release of the LP offers them a
chance to hear early Hawkwind at a reasonable price. What's more, the mere fact of its availability once
more shows, in hard commercial terms, interest in the 'Psychedelic Warloads' is far from dead.
I wasn't happy with the quality of the previous archive album in Liberty / United Artsists' 'Rock File' series
(Motorhead's 'On Parole'), but I've no such reservations with this. ****
Review of Palace Springs (GWR GW 104) **:
Palace Springs, their 21st album to celebrate their 21st year, is -says none other than surviving founder
member Dave Brock- "the most important of all the Hawkwind albums". To non-Hawkfans, though, it must
seem as curious as the latest circuit of The Rocky Horror Show. With five out of eight tracks covers of their
own old material (two from 1975's Warrior On The Edge Of Time), it's largely vistas of grinding guitars and
electronic effects with an ultra-English voice, presumably Brock's, whingeing folkily about matters spacey,
mystical and rather menacing. A new singer, the aptly Toyah-ish Bridget Wishart, is heard from only once,
returned fiddler Simon House is even less conspicuous, and the only passage with outsider appeal is a "space
reggae interlude" during the late Bob Calvert's Damnation Alley.
"Hawkwind trip the light fantastic":
With Elton John and Golden Earring both playing Birmingham on Sunday, Hawkwind did really well to fill to
capacity the 2,000-seater Odeon Cinema.
Support band Bronco stretched their set to one and a quarter hours to fill in for Hawkwind who were
somewhere down the M1 attempting to trade Hawkwind badges for diesel fuel!
Bronco's set was obviously a little swampy for Hawkwind's more spacey devotees -who were to be found
wallowing in the dubious splendours of the cosmic hot dog stand- but was never the less enjoyable,
especially the raunchier material "That's How Strong My Love is " and Lloyd Price's "Lawdy Miss Clawdy."
Hawkwind, fresh from their U.S. excursion and playing the fourth date of their new British tour, opened
with an intro, then launched their Fantasy Machine and we were off through a galaxy of familiar and new
material - guided by their fine light show.
From the Hawkwind Song Book came "Master of the Universe", "Seven By Seven" and "Brain Box Pollution"
to be joined by newies "You Better Believe It", "Children In The Moon", "Nik's Roxy Number" (a temporary
title I'm assured), "Paradox" and the nebular "It's So Easy."
The new songs are fine, direct and melodically interesting. It's nice to see Hawkwind maturing, becoming a
little less freaky and concentrating more on their music.
I mean, this inter-galactic Stellar Artois rubbish is all right mate, but you can't bop to it can, you?
Review of "In Search Of Space" (United Artists UAG 29202, Â£2.15):
The second album from this increasingly popular group, it's a beautifully produced and packaged piece of
work. To start with, the fold-out cover is interesting, and there's a little booklet inside which is supposed to
be the log of the captain of the spaceship "Hawkwind," plus additional snippets from the Bible to a little
eulogy on the habits of a tick.
The log and the actual music don't bear too much resemblance - i.e. the log isn't a chronology of what's
happening in the music. Both are space trips because Hawkwind are taking that particular brand of head
music beyond the borders that the Pink Floyd and their Azimuth took it.
It's a brand of spacious rock-and-roll, splendidly solid rhythm with horns (not always very well played
either) going over the top and clever use of synthesiser and electronics. The space ship taking off at the
beginning of each side practically takes your head off.
Quality - good. Value for money - good.
"Hawkwind - Subtle Power", from Disc, January 18th 1975:
Hawkwind, Cardiff Capitol, Tuesday January 7.
A Hawkwind gig is a total assault on the senses and I left the Cardiff
Capitol theatre feeling surprised that I was still on Earth and
disappointed by the dullness of reality. Judging by the zombie-like state
of other departing members of the audience I was not alone in my
The show had been opened by Al Matthews, an impressive black singer
in the Richie Havens vein of energetic accoustic guitar hollerin'. He had
the audience of hardened Hawkwind followers singing along and yelling
for more. If he can find the right musicians to help him broaden his
presentation he'll be a man to watch this year.
The furrily obscured Andy Dunkley deejayed the evening and with true
sense of the occasion gave Hawkwind an atmospheric introduction (and
a free plug for their "Mountain Grill" album).
Having never seen Hawkwind before it was disappointing to be unable
to hear the vocals clearly; distortion and lack of power from the p.a.
meant that I could only catch snatches of both narrative and sung
The lighting accompanying the performance was the best I've seen,
employing traditional stage effects like walls of flame and clouds
passing across the stage, as well as a complex, piano-keyboard operated
projector system that produced both rapidly changing pattern sequences
and animated images of dragons, flying horses and a subtly changing
dream tableaux of butterflies on an undulating background.
One section of the music was accentuated by a visual sequence
depicting the demise of a noble tree in parallel with the rise and fall of
The band's music is compulsive and relentless, conspiring with the
theatricks of Nik Turner and Stacia (a woman with riveting presence)
to produce a spell-binding experience.
As the music moved from level to level and the lights progressed through ever-more dramatic scenarios, the
audience grew more excited until they were all on their feet swaying and roaring for an encore, which they
duly received in the guise of Silver Machine. The encore climaxed with the light show's piece de resistance,
a snake-like tube draped across the stage with brilliant white lights pulsing along its length.
I certainly look forward to witnessing the Hawkwind event again when it reaches London.
Review of 'Electric Tepee' (Castle):
I expect a lot of you only know Hawkwind as the band that Lemmy was in before Motorhead. Yet, they
have one of the most loyal fan bases I have ever come across and being one of those fans I'm pleased to
announce that 'Electric Tepee' is excellent. They seem to have mellowed out a lot more on this album than
the last. Tracks like 'Blue Shift' with its harmonious keyboards bring out their interest in sci-fi, conjuring up
images of great lumbering space crafts like those in 2001.
'The Secret Agent' goes back to the days of 'Masters Of The Universe', with Dave Brock taking an almost
Punk-like quality to the vocals with and the guitars riffing their merry little way, life begins to feel better, and
then all goes strange as the Monty Python-type chorus shuffles in. Hawkwind fans the world over will enjoy
this one, and for those who claim to have a broad musical taste, I suggest you check this album out to see
what 'Festival' music is all about.
Review of 'Epocheclipse: 30 Year Anthology' (EMI) and 'Epocheclipse: Ultimate Best Of' (EMI):
When it comes to influence, few British bands can claim to have the impact of Hawkwind. From the Prodigy
to Monster Magnet, Dave Brock's troops have left a huge impression. Now, as they celebrate 30 years,
Hawkwind are rightly the subject of a three-CD retrospective, '...30 Year Anthology' (8), that showcases just
how the band have moved with the times, while retaining strong links with their roots. And for those whose
knowledge of the band's enormous body of work doesn't go beyond 'Silver Machine', '...Ultimate Best Of'
(8) provides a fine 19-track introduction. It also features a number of different versions to those included on
the boxed set - which is a cunning way of getting you to buy both. Fiendishly clever, these Hawkwind chaps.
the pulse of so-called 'alternative' culture. Although it does help that the whole place is off its collective
As ever, there are few holes in the Hawklords' performance. Maybe they didn't play all your faves, but it's a
long set which is constantly updated to make room for new material, the best of which is 'Tibet Is Not
China', or perhaps 'Letting In The Past'.
The only real complaint is that they over-extend some tunes just long enough for your mind to wander,
when they could be fitting in more classics. But both sound and lights are awesome, and the band are tighter
than Glen Benton on Christmas Day!
Hawkwind are hardly the future of rock 'n' roll, but they'll outlive all those who are, and still come up
smelling of something hand-rolled and dubious!
"Fed-Up Hawkwind Return For Rest: Group Seized In US" (from Record Mirror, 5th October 1974):
After numerous hassles, including getting arrested for income tax evasion, Hawkwind have decided to break
their American tour and return to England. But they will probably go back in a couple of weeks to help
promote their latest album, Hall Of The Mountain Grill, which has entered the American charts at 130 with a
A spokesman for the band said that with their morale sinking lower and lower they felt they could not
continue touring for the moment.
All eighteen members of Hawkwind, including dancer Stacia, the entire road crew and manager Doug Smith
were arrested in Hammond, Indiana.
The group were touring the USA for the third time when agents of the Inland Revenue Service seized them
at the end of their show in Hammond, for the alleged non-payment of an eight-thousand dollar revenue bill
dating from their last USA tour in January this year.
The group were seized by a number of plain-clothed agents, pushed into their dressing rooms, interrogated,
and each member was handed an individual tax claim for 155 dollars.
They were taken back to their hotel where they were held until their thirty thousand pounds worth of
equipment was picked up and then impounded by the revenue service agents.
Manager Doug Smith said: "We were staggered by the whole thing. Our legal advisors in New York who
had been consulting with the I.R.S. for the past four weeks assured us that we were not eligible for tax
payment on our last tour, as we only broke even.
They gave us forty-eight hours to come up with the money otherwise they would have sold the equipment
they were keeping under armed guard. They did not give us a receipt for the equipment impounded, either!"
Their next British tour starts mid-December.
Review of 'Levitation' (Bronze BRON 530), from Record Mirror, 11/10/1980:
When I first received a copy of 'Levitation', Bronze informed me that this was the best Hawkwind album
EVER. Now, knowing the tendency of record companies to slightly exaggerate, I naturally remained rather
unmoved. However, on this occasion, the hyperbole ain't so very far off the mark, for, whilst it's too early
for this to get any 'best of all time' accolade, it is none the less a vast improvement on the four albums
recorded with Charisma and is indisputable proof that they are far from being outdated hippies. The great
thing about 'Levitation' is that it heralds a return to the Hawkwind style of the early 70s and not before time!
Since '76 this outfit has become very accessible, very eccentric and far too safe, the upshot being that the
intensity and imagination which characterised 'Space Ritual' and 'Warrior On The Edge Of Time' has
become somewhat blunted. So it's a pleasure to have once more an album that uses blistering sci-fi imagery
as an angry searchlight focusing on alternative thought, leaving the Fall and their ilk still in their cots. With
Ginger Baker slotting in almost as if it were second nature the band have come up with a creative set of nine
numbers, ranging from the pacifistic bellow of 'Who's Gonna Win The War' to the agoraphobic wilderness
of 'Motorway City' with a haunting juxtaposition of delicate Spanish guitar from Huw Lloyd-Langton. There
are mystically-inspired Eastern melodies and atmospherically desolate synthesisers which engulf the JG
Ballardesque 'Dust Of Time' (quite possibly the most evocative piece of mood music to emerge this year).
But part of Hawkwind's strength has always been an ability to intersperse the serious stuff with more
lighthearted, whimsical instrumentals and here 'Space Chase' and 'World Of Tiers' fit the bill admirably.
So, what does all this add up to? An album of the year, that's what! *****
of it. Carol Clerk has located and interviewed almost all the people involved and the resulting tome is loaded
with hilarious anecdotes, contradicting accounts of legendary events, affectionate recollections and
Lemmy -whose quotes are characteristically unpretentious- describes Dave Brock as a 'dirty old acid-fuelled
fucking busker' and says of Alan (the second drummer) that 'he wanted to be a tree surgeon, but he couldn't
stand the sight of sap'. The inter-band battles were rife, with members walking out, sacking each other,
being checked into mental institutions or disappearing on drug-fuelled benders - while remaining a band of
the people, giving free performances and maintaining their hippie ethics. A soap opera of drug busts, broken
marriages, death, a visitation by God himself and a naked dancer with a 52-inch chest, The Saga Of
Hawkwind is an honest and irreverent account of an unbelievable tale. Essential for fans; entertaining for
Review of 'Hawkwind - Sonic Assassins' (Ian Abrahams) *** - "Comprehensive Hawklords history":
Ian Abrahams' well-researched book takes readers on a journey from Hawkwind's early free gigs right up to
the legal Sumo wrestling between David Brock and Nik Turner over trademark infringement concerning the
use of the name. That it came to this is regrettable, as Sonic Assassins details how Hawkwind not only
carved out a particular space-rock niche in the 70s but were pliant enough to adapt and change in the 80s,
90s and beyond.
The story behind the major hit Silver Machine is here -although Lemmy is not interviewed!- as is the
unfulfilled potential of singer Robert Calvert. But the main story is one of musical development, exploration
and longevity, with albums such as The Chronicle Of The Black Sword and amazing staying power on the
live circuit. Abrahams has interviewed most of the former Hawks who passed through the ranks and, of
course, Turner, Brock and science fiction writer Michael Moorcock. The book will attract the neutral as
well as the devoted to the story of a band who have always demohstrated a musical vision of quark,
strangeness and charm.
Review of LIVE 79 *** / LEVITATION **** / THE XENON CODEX *** / SPACE BANDITS ****
PALACE SPRINGS *** / IT IS THE BUSINESS OF THE FUTURE TO BE DANGEROUS ***
(All Castle) - "Collection of Eighties and Nineties albums excellently remastered and repackaged in
While never quite scaling the heights of their Seventies work, Hawkwind continued to issue worthy albums
during their second and third decades. Fortunately, this reissued selection sticks to the best material from
their prolific output, and will hopefully restore some of the credibility lost through the unscrupulous
recycling of much dubious live material during the past 15 years.
Live 79 was the first release from the revitalised Hawkwind which hit the road in the final months of the
Seventies, and while lacking the wall-of-sound power of their earlier work, it proved their most
commercially successful venture in five years. Levitation (1980) is one of the band's very best, and,
curiously, features Ginger Baker on temporary drum duties.
The Xenon Codex (1988) and Space Bandits (1990) saw the band celebrating 20-odd years at the forefront
of space rock in great form, while Palace Springs (1991) is yet another landmark live album.
It Is The Business Of The Future To Be Dangerous (1993) is an album of ambient experimentation,
providing an interesting contrast with their normal style.
terrific. The only embarrassing obstacle to Hawkwind's rehabilitation is the lyrics. The sword'n'sorcery
drivel is bad enuff, but worse is when they come across as a cissy version of the MC5 on "Urban Guerilla".
"I'm society's disrupter / a potential bomb constructor... Watch out Mr Businessman / your empire's about
to blow... Time to do it in the road." Thankfully, the words are mostly inaudible.
Hawkwind were "Born To Go" (nowhere, fast), and their biker boogie bombs along an expressway into the
furthest recesses of yr skull.
Hawkwind 'The Business Trip - Live' (Emergency Broadcast System EBSSCD111) **** (from
This week's Hawkwind release is a bit special. Not only is it officially sanctioned by the band, it marks the
launch of their own Emergency Broadcast System label and celebrates 25 years of recording by this
country's most endearing off-balance troupe.
Lacking 'Silver Machine', 'Motorhead' and 'Levitation', 'The Business Trip' is neither the definitive
Hawkwind live document nor the ideal introduction for novices. Only two numbers bear the Robert Calvert
mark: 'Right Stuff' and a drastically slowed-down and ironed-out reworking of 'Quark Strangeness and
Charm'. And a profusion of ambient instrumental scene-setters suggests that this album will appeal most to
the crusty festival-goers who have adopted this most chameleon act of late.
Perhaps paradoxically, 'The Business Trip' also highlights the fact that, when he feels like it, Dave Brock can
marry those patented psychedelic valve noises and basslines that won't quit, to some ridiculously good
songs; present here as evidence are the stomping 'Right To Decide', the mellow 'Green Finned Demon' and
the terrific agit-Dub whiteout of 'The Camera That Could Lie'.
Truly, a band for all seasons.
Review of "BBC Radio 1 Live In Concert" (Windsong WIND CD 007) (59:39):
Another band who shared Joe Meek's fixation with Little Green Men (see Album of the Month) were
Hawkwind. Funny noises, courtesy of Dik Mik's audio generator and Del Dettmar's synthesiser (in 1972,
when this "In Concert" was recorded, such instruments were the height of modernity), battled it out with a
relentless riff machine, provided by drummer Simon King, guitarist Dave Brock and bassist Ian 'Lemmy'
The likes of Loop and Spacemen 3 have made the sound of this vintage-era Hawkwind fashionable once
more, and born-again 'Windies can approach this live set with confidence: it's nothing less than the fourth
part in a quartet of essential Hawkwind releases, joining "In Search Of Space", "Doremi Fasol Latido" and "A
There are no new songs on this disc, but for the intro and the outro, intoned by the infamous Stacia and
compere Andy Dunkley, who suitably top and tail the performance...
"Q&A with Nik Turner":
Q1: You did the full solstice celebration, didn't you?
A1: Yes. I thought it was a very spiritual event: the gatherihg of the tribes, and all that sort of thing. I
organised the vestal virgins on stage because I wanted to make the performance spiritually symbolic. To me
it was the death of the old and the birth of the new - the solar fertility cycle.
Q2: A year later the police shut down the festival. Why was that?
A2: Well, it was very anarchic. Too anarchic. There was a lot of drug dealing going on: there were people
walking round selling heroin. People thought it was a free-for-all. One group of people went round in a
chopped-off bus called the Warped Ones, and they were ripping up fences. Anarchy for the sake of it,
really, without any respect for authority. There was a police caravan that got burned down, too. And there
was no unity: the police said that if there was one individual who was representing all the people in a
responsible way, they'd be quite happy for the festival to go on. No, I didn't feel like stepping forward!
Unless otherwise attributed, the clippings on this page are from
unknown dates and publications
Review of Zones (ANAGRAM) **:
With the current interest in all things '70s, Hawkwind will doubtless be
in for a revival, especially if The Orb have their way. 'Zones' ('83) is a
half-live half-studio offering and was a main chart entrant (well,
number 45 actually) but lacks the power and presence of their 'classic
period'. Live versions of 'Sonic Attack' and 'Brainstorm' remind that if
it's bludgeoning space-rock you're after, try the 'Space Ritual' and
Review of 'Hawkwind' (Liberty / United Artists LBR 1012), from
Record Mirror, 08/03/1980:
Is it really 10 years since this first staggered into the racks? Standing
as we do just a couple of months into the eighties, 'Hawkwind'
sounds remarkably as exciting as anything currently being done in the
name of rock.
During the early days of the seventies the band were the cult idols of
the acid underground, proclaiming the need for revolution and using
science fantasy allusions as their weapon to regale authority, with both
Gig review - Kentish Town Forum, London, Tuesday, November
23 (from Kerrang!, November 1993):
It's a bizarre thought that, while most of tonight's bedraggled and
addled audience are dedicated Hawkfiends, a few are experiencing this
spectacle for the first time. Welcome to the world of the ambient mind-
Hawkwind have been around since Judas decided he could do with
some extra cash, but they've always kept their resin-soiled fingers on
Review of 'Stasis: The UA Years 1971-1975'
In the early Seventies Hawkwind did for mystic
elation what Black Sabbath did for downered
despondency, i.e. provide a naff but effective
soundtrack for the great provincial unwashed. And
in the name "Hawkwind" they found the perfect
signifier for their particular buzz. Their sound
simulated the air-rushing vertigo of the bird-of-prey,
soaring above the petty constraints of mundanity.
Another emblem of rootless liberty / libertinism for
Hawkwind was the biker. Bikers deliberately set up
their saddles and handlebars not to improve
streamlining but to increase drag, the rush of air full
in the face accentuating the impression of speed.
Hawkwind's minimal-is-maximal wind-tunnel of
phased and flanged guitars, was both an
unacknowledged ancestor for the trance-rock of
Loop and B.A.L.L.
This compilation, including hard-to-obtain, "original
versions" of their early singles and five tracks, is
"Hawkwind - Still The Naughty Boys Of Pop",
from Disc and Music Echo, 30th October 1971:
Hawkwind are the naughty boys of pop. An
assortment of weird looking guys who out-freak the
now accepted freak-norm; who play stoned-out
space music; who occasionally strip onstage and
who threw a Christmas party at the Roundhouse
that was overrun by Hell Angels.
Their past and present has been extreme. They've
had a lot of personnel changes. To begin with half
the band insisted on carrying on busking round
London to keep the revenue coming in.
But whatever their problems there's also been one
hell of a reaction wherever they've played, with the
result that Hawkwind are now a *big* name, with a
22,000 advance order on their second album - "In
Search Of Space." Their plans for the future are
numerous and ambitious. They've been joined
permanently by Bob Calvert, an enthusiastic poet
who has been helping them out for some time. Bob
wrote the booklet that was included with the album,
a sort of Captain's Log with other snippets. He's
been reading his poetry onstage with them for quite
some time, and whereas the rest of them tend to he fairly come-what-may, he positively crackles with
energy and ideas.
"People connect electronics with space," he says, "because of the type used in space films, etc. It
immediately conjures up spacey images. I think we can hit people by the use of words, sound and light, and
we can hypnotise an audience into exploring their own space. Space is the last unexplored terrain, it's all
that's left, it's where man's future is."
The act they're planning for the future will be a total experience in itself - a space opera. It will involve the
group, mime dancers, lights, poetry. They want to make much more use of a light show than has been
done in the past. They think they'll probably have to go off the road for a month to rehearse and organise
the whole thing.
Another addition to the group has been Del Dettmar on synthesizer. He was with them as a roadie for ages
and then when Dik Mik went into hospital he stepped in, so Dik Mik concentrates only on audio generator
Their new alhum which is already attracting a quite considerable amount of attention, consists of material
they do onstage, partly new stuff.
"Some of the material we did for the first time in the studio," says Nik Turner who plays alto sax and flute,
specialises in looking freaky and giggles if you tell him so. "We have already overtaken the album, not that
that's a bad thing; it's something you cannot avoid. The album represents the culmination of a year's work."
Their music defies description, apart from being spacious, pertaining to space, because of their use of
electronics and hypnotic rhythm section. The editor of "New Worlds", a science fiction magazine, is
already taking an interest in them.
"We're not trying to please the audience," says Nik, "we just say 'this is nice, let's do it'." I think mainly the
audience respond to the fact that we're enjoying what we're doing, plus the fact that none of us ever did
claim to be brilliant musicians."
Review of Nik Turner's Hawkwind Experience at The Great American Music Hall, San Francisco,
Tuesday, February 15 1994:
From NASA HQ, California...
I have long been aware that not all hippies are a bunch of soft, kindly old Jessies. No, some hippies,
especially the older, bitter ones who refuse to let go of their 'golden era', are bitter and mean. Judging by
the reported reactions of main-Hawkman Dave Brock to the use of the Hawkwind name during Nik
Turner's tour of the USA, our Dave fits these descriptions perfectly.
So let's cut to the quick of Brock's brooding anger.
How does Nik Turner get away with using the famous monicker? Try the fact he's got a couple of other
original members (Del Dettmar and Simon King) on the tour, and that he was himself a founding Hawkman.
Then there's the incredible assembly of musicians (including Helios Creed and Genesis P. Orridge) who did
the name, the songs, the vibes and the attitudes absolute justice.
T'was two-plus hours of mesmerising, absorbing, deviant music. Whether blasting out 'You Shouldn't Do
That' or loosely jamming 'Silver Machine', there was no way to switch off, no way to tune out, no way to
avoid the inevitable seduction of superior jams, insane sound and engulfing presence.
Turner looked like a silver stick insect, complete with a Martian horn in his head and tribal face paint.
Blasting away on his sax with disturbed class, he found space amid the wild and spacy lead playing of
Creed, for those who don't know him, was the founder of a Bay Area band called Chrome, one of the main
reasons the Butthole Surfers' Paul Leary plays guitar. If ever there were songs designed to accommodate
such lead lunacy, they were here tonight. Having also been a studio collaborator on Turner's latest studio
LP, 'Prophets of Time', as well as in the process of releasing a new solo album, Creed's time for wide-
ranging recognition is coming.
As if this wasn't enough, Orridge (formally Throbbing Gristle, still sometime Psychic TV) was dabbling in
electronic wizardry to help the zooms arid zaps punch yet harder. The much-touted visuals were not up
tonight, but it didn't matter. The beauty of this band was that you listened to them, took in all the
projections mentally. You didn't need to watch it.
Space Rock? Acid Rock? Stoner Rock? Arrggghh, I don't know! All I can tell you is that a sold-out Brixton
Academy or Glasgow Barrowlands would shit themselves for this head-tripper of a performance. You
would too. Hope you get the chance.
Review of 'The Saga Of Hawkwind' (Carol Clerk)
**** - "Sex, drugs and space-rock":
The Hawkwind story is long and complicated, with a
revolving-door cast of reprobates, poets and space
cadets on their journey from the days of peace and
free love right up to the present. With the amount of
acid they took, it's amazing they can remember most