Press Clippings XVIII
|Some slightly longer pieces this time - thanks to Dave Law who gave me the bag (weighing *at least* 5
stone!) containing them
Hawkwind / the Aphex Twin (Glasgow Barrowlands gig review,
November 1993, publication unknown):
Hawkwind -Dave Brock, Alan Davey and whoever they've nailed to the
drumstool this week- are surprisingly nimble creatures for their
advanced years. They've proven to be the hardiest branch of the
progressive rock species: nowadays they share their environment with
a diffuse progeny, supporting the theory of evolution that all musical
life stems from these Jurassic beasts.
Ozric Tentacles bear the strongest blood resemblance, but family traits
abound in the likes of Verve (scope and fluidity), The Orb (inability to
knock it on the head after less than 15 minutes) and most of the
Megadog mates they invite to play at their annual Brixton Academy
There are, of course, few surprises: they throw titles like 'Quark,
Strangeness and Charm' and 'Psychedelic Warlords (Disappear In
Smoke)' at unsuspecting passers-by, and drop the statutory drum solo
(which is kind of aboriginal, fashionably enough) into the middle of
'The Assassins of Allah'. It's the track with the cryptic narcotic
references -the chorus that goes Hashish, Hashish, Hashish". They
play 'LSD" too, because they like to dive into ironic transparency as
well as opening the doors of perception. Just like The Shamen and
'Ebenezer Goode'. Probably.
Hawkwind, in essence, are an easy and obvious trip up the Multi-
Coloured Brick Road to Dayglo City (their vivid stage set confirms as
much) but their appeal is, frankly, irresistible. The sense of
comedown after Hawkwind's teeming set is like dancing to the sound
of your vacuum cleaner after you've worn out your favourite party
Lincoln to have free concert after all (Lincolnshire Chronicle,
Lincoln is after all going to get its free concert. Not only that, but
three nationally known acts are appearing, and by kind permission of
the City Parks Department at that.
Adrian Henri, Liverpool poet and ex-member of Liverpool Scene, is the
star attraction, along with Hawkwind, National Head Band, Shape Of
Brief profile in Words, Christmas 1972:
Currently in the midst of their first major British
tour, Hawkwind have been attracting capacity
crowds so regularly this year that it's no longer
worth mentioning. But their present tow months on
the road is something else. No more supporting
acts. Hawkwind are the whole works, and their
show 'The Space Ritual' is a powerful, spectacular
experience with pulsating rock sounds, weird
lighting effects and vibrations, and Stacia the dancer
who made her debut with Hawkwind after the
Glastonbury Fayre in April '71. She has been
delighting rock audiences ever since with her free-
form dancing in which she claims she was
influenced by Isadora Duncan. She believes in
complete freedom of expression even to taking her
clothes off on-stage if and when she feels like it.
Hawkwind was formed by Dave Brock (guitar,
vocals), John Harrison and Mick Slattery in the
summer of '69. Of the original trio only Dave
remains and has been joined by nik Turner (flute,
sax, vocals), Lemmy (bass guitar), Simon King
(drums), Bob Calvert (vocals, words, breathing,
some flute and percussion), Del Dettmar (VCS3
synthesizer plus keyboard, two 50W stacks in
stereo, one Binson echo unit) and DikMik (audio
generators, percussion, oscillators, vocals). The effects are as much a part of Hawkwind's performance
as the music, and it all helped to take their "Silver Machine" up to No. 2 in the charts.
Now there's a new incredible album on release. Titled "Doremi Fasol Latido", it's on United Artists U.A.G.
29364, and if you're lucky enough to catch the Space Opera on tour, you'll recognize these numbers. Side
1 - "Brainstorm", "Space Is Deep", "One Change", Side 2 - "Lord Of Light", :"Down Through The Night",
"Time We Left This World Today", "The Watcher". Certain to repeat the success of Hawkwind's second
L.P. "In Search Of Space", which is still in the album charts after a year. Write to Hawkwind c/o United
Artists Records, 37-41 Mortimer Street, London W1. [...don't!]
"Hawklords Blast Off!" (Review of Warrior On The Edge Of
Time, Sounds 1975):
Hawkwind are a much maligned, much criticised band - their extra-
terrestrial meanderings, their out of date hippy ideals, even their album
covers (this current one folds out into the shape of a shield - far out,
eh?) are, to some, their least endearing qualities. Yet 'Warrior At The
Edge Of Time', while being an album for all Hawkwind space cadets
to savour and enjoy, is also one to make critics sit up a little and
perhaps wonder if there's some hope for the band after all.
This is 'Wind's sixth album, and probably their best to date. It
includes most of their traditional characteristics (leaden guitar,
ritualistic chanting, wailing moogs, SF lyrics) but in a much more
mature and varied setting. Relatively new member, moog, mellotron,
violin player Simon House's influence is strongly felt - to archetypal
numbers like 'The Golden Void Part-II' he adds frantic violin, even
American Indian, Smokey Robinson type sounds, and overall it's all
rather fuller, more interesting than usual. Old-timers Dave Brock (or
perhaps not as he does contribute three or four numbers) and Nik
Turner seem to have stepped into the background a little, and so
numbers like 'Opa Loka', an eerie pummelling Simon House / Alan
Powell co-composition, and 'Spiral Galaxy 28948' by Simon House
and named after his birthday (28-9-48, geddit?), a substantial effort
pushing his violin and keyboard talents to the fore with many clever
touches, can be smoothly slotted in. Michael Moorcock narrates
some 'Space Ritual' type stories; 'The Demented Man' features
Brock's oft-strummed acoustic guitar; 'Kings Of Speed' rollicks along
nicely and should really have been another 'Silver Machine'.
A rave Hawkwind review is a rare enough thing, even the band's
publicist admits that you can't really expect too many people to enjoy
Excerpt from an article entitled "It's music - but is it cricket?"
(Melody Maker, 23/9/72):
Then beams of light hit the sky, "Life Supply" and "Functional" are
flashed on to the back of the stage. Strange sounds whistle around,
slowly building up into an insistent thudding riff. We're on Spaceship
Earth, we're told, and there's a malfunction. Who else but Hawkwind,
time travellers extraordinaire? They take us on a trip to musical
galaxies previously the preserve of the BBC Radiophonics Workshop.
Their mind-bending lightshow provides the backdrop for this
remarkable journey; colours, flashing strobes, pictures and designs
disturb the senses already distraught through the unearthly sounds that
soar above the steady throb of the Silver Machine's engines.
The astonishing Stacla's on-stage writhings set the pace for numerous
urban spacemen dotted around the ground, their feet dance on the turf
but their minds are far away in the universe. Eventually Hawkwind
bring them back to earth, leaving them to worry about more earthly
problems, like how to get home. The ultimate trip?
Review of "Medication Time" (***) by Pre-Med, from Record
Collector, February 2007:
Psychedelic Rock cut with surgical precision
Former Bedouin and Starfield vocalist Danny Faulkner has been
working on his latest project, Pre-Med, since 2004. He has been
working alongside guitarist Lewis Turner (now departed for pastures
new) and bassist/producer Alan Davey. They, in turn, have enjoyed
assistance from drummer Danny Thompson (son of the Pentangle
double-bass player) and one-time Landmarq keyboardist Steve Leigh.
Medication Time has previously been made available for promotional
purposes under the title Invisible Spies, but it gets its first commerical
release here. Pre-Med are drum- and bass-led purveyors of highly
tuneful and immediately accessible Space Rock and are travelling at the
'speed' of light. In fact, they like to hint that there's quite a bit of
substance in their playing. Once Upon A Line is a bright, sparkly and
slightly New-Age piece overlaid with Faulkner's vaguely Jaz Coleman-
like vocals. Up All Night [is] a pounding and grinding thrash, and
Medication Time has some urgent guitars peppered with some
With another album in the pipeline, though no sign of live dates at the
Gig review (from Sounds, 26/01/74):
Hawkwind, currently touring Britain with their now one and a half hour show, flew into Dunstable Civic
Hall last week and drew the largest crowd ever. More people than for Genesis, Floyd or Bowie.
But first there was Chilli Willi and the Red Hot Peppers. Featuring three guitars, sax and drums, they blew
their way through a medley of happy blues numbers and a lovely fifties revival song complete with "Coo
coo ca choo" vocals.
Then, as the lights faded, Hawkwind stumbled on stage. Behind them, the Earth spun, even faster and liquid
lights soon began bubbling across the back screen. Through ethereal sounds came that now familiar voice: â
€œWe are standing on the edge of time" before the Hawkwind machine began pulsating, almost flying
around the oval hall. The synthesizer sound from Del Dettmar seemed to reverberate an echo in the Civic as
strobes, spots and a beautiful light show combined to make this the best show Hawkwind have ever
conceived. Their sound is far more melodic these days, especially in numbers such as "You Know Youâ
€™re Only Dreaming" and a super version of "Brainstorm". Snatches of sci-fi dialogue interspersed their
continuous set which included new numbers "Brainbox Pollution", "It's So Easy", "Paradox" and "You'd
Better Believe It".
But perhaps their best number of the whole evening was Michael Moorcock's "Sonic Attack", with flashing
blue lights, strobes, and an evil sound that really was quite terrifying. It led straight into â€œYou Are
Welcome" which climaxed in three ear-splitting explosions, and Hawkwind left the stage to tremendous
Just The Job (unknown publication, February 1974):
Seeing as how we'd just heard about Hawkwind getting a new drummer to perform alongside the semi-
legendary Simon King -and also seeing how bassist Lemmy had stumbled into the officeit seemed not
inappropriate to seek information on the above topic.
According to Lemmy, the drummer in question, one Alan Powell, "used to be in the Myaks while I was in
the Motown Set. He also used to be in Ivan's Meads. Not to mention the Chicken Shack."
Lemmy further claims that the allegations made by a spokesman (who described himself as "Richard
Ogden") were "absolute rubbish". According to S.Pokesman, Powell would be playing in relay with Simon
Lemmy's parting shot was "Alan is a fantastic drummer." We breathlessly await further dynamic
revelations. After all, for an ex-Del Shannon drummer to end up in Hawkwind is...quite natural, really.
The Rain, Forward Line, Whispering Dwarfs and Roadband. There will be no entrance fee as all groups
have kindly offered to play for expenses.Hawkwind are a progressive group who have trouble getting
bookings at progressive clubs because they are regarded as too â€˜far out'. They are good enough,
however, to merit a lengthy feature in one of the country's best known music papers, and when they do
manage to get a booking they always get a good reception.
They don't rely on pure heaviness and sex to create excitement, but are constantly searching for interesting
new sounds. In their act they make electronic noises played on an audio generator and they would very
much like to incorporate a Moog synthesizer, but they say they haven't the money at present.
The played at both the Bath and the Isle Of Wight festivals and so have a fair knowledge of open-air gigs.
They have an album out at the moment, called 'Space Rock'. Hawkwind are presently on tour with Pink
Fairies and Alexis Korner. They are traveling all the way from Swansea.
Greeted like old friends (Sounds, 21/12/74):
It was their first gig in Britain for some time, but you would hardly have believed it. Newcastle City Hall on
Thursday - and Hawkwind were greeted like old friends with a tumultuous roar. And the set they played,
although brimful with cosmic clichÃ©s, was endured and eventually enjoyed by everyone.
At first 'Wind exchanged greetings with the crowd like any other rock band, but soon enough they donned
their guise of the Psychedelic Warlords, the stage lights grew dim, the lightshow went straight into top gear
and Nik Turner began one of his interminable narrative passages ("it's so ... cold at the edge of time").
It was some time before the band bludgeoned forth, but when they did there was no let-up. Hawkwind still
adhere to a proven, albeit less disciplined, Space Ritual formula. They include most numbers from most of
their albums, interspersed with "Sonic Attack" and other extraterrestrial narrative ditties.
On the night, however, the aforementioned "Sonic Attack" sadly fell apart at the seams, largely due to diff
monitors. Echoes on Turner's voice made him indistinguishable and lemmy missed his cues on a number of
occasions. The audience, however, shouted out "do not panic" at the appropriate places to compensate.
Of course, the two new additions to the band were on show - drummer Alan Powell (making two) and
mellotron player Simon House. The extra drummer gives some extra driving power, but often seems
superfluous: Simon House, although he was sometimes lost in the mix, made his presence felt, particularly
"Master Of The Universe" and "Brainstorm" went down exceptionally well, and such was the crowd's
enthusiasm, that the bouncers eventually had to shrug their shoulders and give up trying to keep people in
By the 40 minute encore the band had gone into stellar overdrive. Nik Turner smiled and even Stacia began
to boogie, so it must have been good. In all, a promising start to H's huge British tour. If Newcastle is
anything to go by, Hawkwind will have decimated the country by the time it ends.
Stacia stages space-age strip (unknown publication, September 1974):
Stacia, Hawkwind's curvaceous space-rock terpsichore, wants to get her hands on some journalists.
Especially, she says contemptuously, "the ones who start rumours about my sordid past. They must lead
such boring lives."
The six foot former gas station attendant, in town to promote Hawkwind's latest album Hall Of The
Mountain Grill, first shook her tail feathers to the band's Venusian monster mash nearly five years ago. â
€œI'd never done anything like that at all" the self-taught dancer confided to Raves. "I'd never even
undressed in front of anyone before. And then there I was in front of all these people with no clothes on."
Stacia's involvement with the group rapidly evolved into a total lifestyle, notwithstanding a brief, blissful
interlude as inamorata of Doll's bassist Arthur Kane. "I love Hawkwind and never want to work with
anyone else, especially with any other chicks."
Besides recording some of the songs she's written over the years, Stacia harbours one secret ambition. "I'd
love to get together with Lou Reed" says the abundantly overendowed beauty, shaking out her raven tresses,
"because he hates everybody and I hate him."
time of writing, Pre-med sound like they certainly have som mileage in them. On the basis of this release,
they shouldn't be reserved for medical purposes only.
the band's albums. But I do. I think.