Pink Floyd may have started the chemically inspired exploration of inner and outer space with Piper At The Gates Of Dawn, but by 1975 there was little doubt that Hawkwind were the real kings of the new frontier. Despite a number of line-up changes, far too many to mention here, this was arguably their most successful period. The albums In Search of Space, Doremi, Space Ritual Alive, Hall of the Mountain Grill and Warrior On The Edge of Time had all achieved Top 20 status, the single Silver Machine (available here in its original form) actually made it to Number 3, and even more surprisingly had been covered by James Last. Containing a scarce 1976 remix of Machine's flip-side Seven By Seven, this set also contains a rare coupling of Urban Guerrilla and b-side Brainbox Pollution - the latter, along with an unedited version of Lord Of Light, a four-minute edit of Psychedelic Warlords, You'd Better Believe It and Paradox, making its first ever appearance on album. All these alongside hugely atmospheric versions of Black Corridor, Space Is Deep and You Shouldn't Do That make it a must for aspiring space cadets and confirmed Windheads everywhere. ****
-Graeme Kay
Gig review at Edinburgh Usher Hall
They don't do Silver Machine. They do, however, project slides of sci-fi landscapes and flying saucers onto the white sheets which cover their synthesizers. Coloured strobes flash mind-bendingly at the rear. And fast-cut animated mazes of stars, stripes and wobbling oil - like they used to show on the Whistle Test when it was Old and Grey - flop onto a screen behind the bell-bottomed silhouettes of the band. Beware, oh my children, for space rock lives.
It's a cold night and the smell of freshly smoked budgie gravel fills those portions of the air not already chucking with the stench of damp unlaundered afghans. Tie-dye T-shirts and comet car stickers are doing brisk business in the foyer but the stall promoting free festivals and Ken Barlow-style Druidic culture has, one suspects, seen better days.
The crowd is a mix of rugby-shirted student types and hardcore spaceheads, whose waist-length beards testify to their commitment. But there is a disturbing minority of younger dumplings flirting with doped submissiveness and decorated lab-coats and unwittingly lending support to the argument for the reintroduction of national service.
The songs are ten minute sonic loops with blips, bleeps and birdy noises adding to the violin frills and swishy guitar. The synths are the key to the sound and are played with timewarped futuristic zeal, like the science class at Anarchy High, on a daytrip to the BBC Radiophonics Workshop. The words? The whole Utopia trip, blurred reality, out-of-body experiences and making footprints, yes really, in the sands of time.
Two hours of transcendental tedium later and the lead Hawkperson draws a raffle to raise funds for mud-curdling free festivals of this stuff. The prize is, what else, a book about Stonehenge. Then there's a projected image of a strange plant, a mild tandoori tune and a song in which the chorus appears to be "Hashish, Hashish, Hashish, I've smoked lots and lots." The ozone-destroying dry ice descends for the last time and the subliminally flashed question "? is the" begins to work its devilish spell. Or was it "the ? is". Oops, wrong decade. Beam me up Scotty. Hello? Is there anybody there?
-Alastair McKay
Review of Michael Butterworth's Time Of The Hawklords:
A rather tedious piece of science fiction, this publication is strictly for the diehard Hawkwind memorabilia collector. The space-rock legends may well make apt heroes for this thrown-together fantasy novel, but their ultimate victory over the forces of evil (achieved while being transported from scene to scene in -yes- the back of the van) isn't the psychedelic trip you might hope for. The storyline is a strange blancmange of late-80s Transformer cartoons, late-70s hippie cartoon strips and early-60s sci-fi pulp-trash. Its theme - the destruction of Earth by a Death Generator - is wearing, and the battles fought by firing concentrated Hawkwind music are just plain daft.
Inconsequential references to the band do not enhance the experience. The first mention of lines from 'Welcome To The Future' made a tingle of anticipation run down my back, as I'd initially hoped for a story which could possibly lend some further depth to the ongoing myth that is Hawkwind, but it was short-lived.
Hawkwind's songs have always suggested to me some epic underlying theme which, unfortunately, has been completely missed by the author. Each character is flat; each reference to the music is inane. This book boldly goes where it shouldn't.
-Robert Hogben
Review of the Castle Digipack reissues (Live 79, Levitation, Xenon Codex, Space Bandits, Palace Springs, IITBOTFTBD)
I don't think I'll surprise or upset too many people by saying that by the 1980's Hawkwind were a spent force. A decade of amazing sounds and more line-up changes than the national football squad had taken its toll, and left the band sadly depleted. Their Winter 1979 tour hauled in two members of earlier band incarnations, plus keyboardist Tim Blake, to join the core of Dave Brock and Harvey Bainbridge. Running through some classics - 'Brainstorm', 'Master Of The Universe' - and some newies, they presented a powerful though heartless performance, revealing Brock's shortcomings as a singer. For 'Levitation' they were joined briefly by Ginger Baker, who made little impact on their newer harder-edged sound. The title track became a staple of their live set for years, while 'World Of Tiers' reworked the opening of Fleetwood Mac's 'Oh Well' into an acoustic / electric space jam.
The mid-80's saw an upturn in the 'Wind's popularity, the proliferation of free festivals and the rise of anti-Thatcherism making them a people's band at the forefront of the crusty generation. Despite some lame albums, including the godawful concept that was 'Chronicle Of The Black Sword', if you happened to catch them in the small hours on some hastily assembled stage, you could be forgiven for thinking they were the greatest band on Earth. Of course, it could have been something in the water.
By 1988's 'The Xenon Codex', another rhythm section was in place and Bainbridge was helping out on lead vocals. But little had changed apart from the dreadful electronic drum sound and a preponderance of high-tech keyboards. 'Space Bandits' from 1990 brought untrained vocalist Bridget Wishart on board for the lengthy opening track 'Images' and elsewhere showed the influence of Amerindian and Irish music. The album revealed that there was life in the old dogs yet, and the reappearance of Simon House boded well. But 'Palace Springs', a live recording of the 1990/91 tour was a backwards step, revamping old faves alongside three newer songs.
Come 1993, Hawkwind's eighteenth album was released and heralded a sea change, with the band down to a trio and synthesizers to the fore. The influence of The Orb and the festival / rave scene had had a huge impact and brought the band a fresh audience, who were discovering just how good trance music and light shows could be. Utilising lyrics from previous releases on several tracks hinted at a creative stalemate, and the inclusion of 'Gimme Shelter' from a charity compilation was a mistake. But overall the future looked rosy.
This is a smart repackaging of six of Hawkwind's lesser albums, all with new notes and designed with lysergic eyes in mind. Bewilderingly, this year celebrates 30 years of Hawkwind. They're still going and a reunion of the classic 'In Search Of Space' line-up is imminent. Spirit of the old age?
-Trevor King
Review of The Weird CD's 1-5, Weird 7, Atomhenge, Family Tree & Spacebrock
Unlike the endless succession of Hawkwind discs that have been repackaged dozens of times since they first surfaced in the early 80s, this selection emanates from the Lord Of Light himself, Dave Brock. Being a bit of a historian, Dave has obviously managed to archive a vast number of the soundboard tapes and studio demos - cue the 'Weird Tapes' series.
These are not new; as their name suggests, they were previously mail-order cassette-only releases. Let's get the gripes out of the way first. The playing times are stingy and the sleeve notes are minimal - for instance 'No.7' (there was no No.6) reveals nothing but the artist and the titles - such a collection deserves better. But these grouses aside, the sound quality is mainly excellent, and the 50s sci-fi styled covers are very attractive.
'Weird No.1' kicks off with a Christmas Eve '77 set from the Sonic Assassins, an ad hoc project that was, in this incarnation, just a stopgap between the defunct Hawkwind and the soon-to-be Hawklords. Many of the 'Weird Tapes' hail from the late 70s and therefore heavily feature Bob Calvert on vocals. His songwriting skills brought a greater discipline to the band and produced much of their best work. Live, as here in Barnstaple, Devon, the newer song-based tracks mingle successfully with the earlier space-rock freak-outs. Making up the weight are some dispensable Dave Brock demos probably taped in the 80s.
'Weird No.2' ploughs a similar furrow with five live '77 recordings and three demos from 1978. 'No.3' cleans up the bootleg of the band's Watchfield and Stonehenge festival appearances to great effect and features superb versions of 'Uncle Sam's On Mars' and 'Damnation Alley'. Volume 'No.4' catches the band at their most punk with the pogo-inducing 'Death Trap' and 'Urban Guerrilla' taken from an unspecified source. 'No.5' similarly, gives no location but does have a stunning version of the always wonderful 'Steppenwolf'.
'Atomhenge' documents one of the great Hawkwind tours. Named after the futuristic 'henge stage set (shades of Spinal Tap & Sabbath here) we get an almost complete 1976 show, with crowd-pleasers like 'Sonic Attack' and 'Brainstorm' lining up alongside 'Back On The Streets' and 'Kerb Crawler': incidentally, am I the only person who remembers Stacia's replacement, Riki, from this tour? Again, the venue is undisclosed, no matter, this is classic stuff, as are the tour programme repros in the booklet.
'Family Tree' and 'Spacebrock' are less essential. The former documents the extracurricular activities of latterday members of the band whose output drifts from hard dance beats to ambient-trance, while 'Spacebrock' is virtually a solo Brock album, with his usual mix of synth programming and tape samples.
So, a pretty good selection of rarities and, sorting the wheat from the chaff, committed fans should be kept happy for some time.
-Trevor King
Brief review of 'Friends & Relations: The Rarities'
Reeking of patchouli and lighter fluid, here's psychedelic hogwash and brain-numbing heavy metal from Hawkwind's extended family (Michael Moorcock, Robert Calvert, etc.) **
Review of the CD reissue of New World's Fair, by Michael Moorcock and The Deep Fix:
Cult sci-fi writer Moorcock, teamed up with various Hawkwind members, plus guitarist Snowy White, for this 1975 concept album, which sounds variously like Ziggy-era Bowie (the single Starcruiser) and The Wall-era Floyd (Candy Floss Cowboy). Silly and bombastic but oddly appealing, particularly to
spotty 16-year-olds with no friends. ***
Whatever Happened To...Huw Lloyd Langton (from Record Buyer, 2001)
London-born guitarist Huw Lloyd Langton was working in a music instrument shop when he took a lunchtime stroll and came across Dave Brock busking on the Tottenham Court Road in 1969. He was 17, and joining Brock's band Hawkwind (originally Group X) was an adventure. He played on their eponymous first album, but left on health grounds in 1971...
...playing with fellow ex-Hawkwinder Simon King in a three-piece called Circumstance when both were asked by Dave Brock to rejoin the group in '79. "Having been through the drug thing I didn't want to do that again, but everyone was different, on the ball, so it was totally enjoyable." His second stint lasted ten years, including the albums 'Levitation', 'Choose Your Masques' and 'The Xenon Codex'. "But people in the band came and went far too often, and that's what upset me eventually." He'd launch his own Lloyd-Langton Group, who've released a series of acclaimed albums, while also teaching guitar at the Kilburn Community Centre for five years.
Now four ex-members of the Hawkwind line-up that played for free to the dwellers of Canvas City outside the Isle Of Wight Festival in 1970 - Lloyd Langton (guitar, vocals), Thomas Crimble (bass guitar), Nik Turner (sax, vocals) and Terry Ollis (drums) - aim to recreate the experience at Blackpool's Congress Ballroom (part of the Winter Gardens) on Sunday 12th August 2001...
...Huw, who still plays the first album's 'Hurry On Sundown' at acoustic gigs, linked with Hawkwind for a one-off gig at Blackheath in June 1997 that raised £4,500 for the homeless. His current group of ex-members also featured at the Hawkwind 30th Anniversary celebrations at Brixton Academy late last year.
Live At Leeds, Get Yer Ya-Ya's Out, Live Evil - damn, the early 70's was a great era for the Great Live Rock Album, now such a chillingly unfashionable concept. The record companies' thinking seemed to be based on recouping some touring budget by recording a show, wrapping it up in a triple gatefold sleeve, lacing it with photos and memorabilia and shoving it out as a souvenir package for the diehard fans - and few such projects made more of an impact than 1973's Space Ritual.
Hawkwind, a fairly ragtag bunch of ex-buskers, eccentric electronics wizards, grizzled sessioneers and dancers, had watched in amazement as the 'Silver Machine' single went to No. 2 in summer '72 and, inspired by their rising profile, resolved to make the winter tour a memorable one. Based on songs taken from that year's Doremi Fasol Latido and 1971's In Search Of Space, the subsequent live album was more successful than anyone could have predicted - least of all the band themselves.
While the original record was a mixture of songs recorded at shows in Liverpool and Brixton, this version is simply the latter concert in its entirety, and has presumably been issued to provide fans with a complete, untweaked performance in all its raw glory. The extended psychedelic workouts of 'Brainstorm' and 'Seven By Seven' are the high points of the album alongside the old warhorses 'Orgone Accumulator' and 'Sonic Attack', but as it's all basically one brain-frying jam, sit back and let it wash over you.
Die-hards and those entirely new to the album will welcome this version, but if you've got the original and are still happy with it, there's no real reason to upgrade. However, there are one or two mind-bending variations on the original to keep the anoraks happy. Bob Calvert's bizarre Sonic Attack warnings are suitably nutty (even if you may not wish to hear them more than once). Dave Brock and Lemmy were always a formidable (and underrated) powerhouse, and Nik Turner's twisted homages to John Coltrane are always worth a listen, especially if you're in herbally-enhanced mode.
The packaging will be just the thing, too (four-panel foldout sleeve, booklet with new sleevenotes, repros of the original artwork, band shots from Jorgen Angel), although spliff-rolling duties are still better confined to that old copy of Dark Side Of The Moon.
Hawkwind drummer on drug charge - from the West London Observer, 25th March 1971
Terry Alan Ollis, 18 year old drummer with the Hawkwind group was fined £15 when, at Marylebone Court, he admitted unauthorised possession of a dangerous drug - two amphetamine sulphate tablets.
P.C. Colin Longman told the court that after refusing to be searched in Talbot Road, Notting Hill, Ollis, of Milton Road, Hanwell was taken to police station where the tablets where found in his coat pocket. Ollis explained that he had been given the drug in a Public House in Portobello Road, Notting Hill, after complaining of toothache.
After reading a probation officer's report, the Chairman of the bench gave Ollis 14 days to pay the fine, and directed that a two-year probation order imposed in July 1969 for possessing cannabis should continue.
The thumbs down star rating isn't there to tell you that this is a bad Hawkwind album, but that your reviewer doesn't like Hawkwind. Being about the same age as the members of the band I've periodically tried to get into them over the last ten years. It's never worked and here I go again. What a shapeless row, what a bloody racket, hasn't anybody ever told them about melody, do they really think that's any kind of rocking rhythm... and so on.
A bit of a critical stand-off in effect, but that's surely in the nature of live albums. They don't reflect experiment or change so them as likes the band likes the record and those as don't don't. Hawkwind work to rules. This is just the same as their studio albums, but more rambling.
So, without further imprecations may I set down that the Hawkwind in question is the lineup from their pre-Christmas tour, namely Dave Brock, Simon King, Harvey Bainbridge, Huw Lloyd Langton and Tim Blake (who is allowed the only break with the standard 'greatest hits in concert' format in the shape of his synthesiser piece "Lighthouse"). For the rest it's that thrashing bedlam rock, lacking even the relief of Robert Calvert's imagination and English eccentric persona or Liquid Len playing his lighting keyboard like a luminescent Rick Wakeman. At least they have the grace to cut off their encore of "Silver Machine" after about 30 seconds with a huge explosion.
Oh yes - hit!
-Phil Sutcliffe (writing in Sounds, 12/7/80)
Sounds Review of 21/10/81 and 22/11/81 gigs at the Hammersmith Odeon
HAWKS HONOUR THE PAST
Hammersmith wasn't sold out until the night of the Hawk. I suppose the average Hawkfan takes things slow and easy, as good hippies should. They were here again, recovering from Stonehenge, Wales and other such gatherings for the children of peace. The Afghans had been donned for one of the remaining groups that still stand for the spirit of the Sixties. Hawkwind are established and what they are is what the Psychedelic Revival should be (watch, Silence and Future Daze.) With about 15 years of classics to pick from, they can't fail to bring back the spirit of Peace, Love and the way things should be.
Mama's Boys were a better than average HM band, but that isn't good enough is it? To the bleary-eyed worshippers the band were as welcome as the boys in blue at Stonehenge... Then the night of the Hawk began. The flight began before the first note, with the stunning light show that lasted throughout the gig with a display of sci-fi cartoons, cosmic trips and psychedelic circles. Many eyes remained fixed on the pretty pictures and I'm not sure if this was due to their brilliance or the effect of the hippies' suppertime treats.
The band broke into the synth introduction with 'Motorway City', the first song usually predicts the way things are going to go... it was excellent. A couple of songs off Sonic Attack were played, and very well. But the honour must go to the trip into the past. Dave Brock gave them what they wanted, 'Psi Power', 'Psychedelic Warlords', 'Masters Of The Universe', 'Golden Void', 'Brainstorm' with 'Urban Guerrilla' replacing 'Silver Machine' on the second night. As if that wasn't enough, Bob Calvert returned to the fold to sing 'Sonic Attack', but I felt he'd been away from the temple for too long.
Hawkwind can bring festival freedom to any venue, even Uncle Hamm. They are a heavier band than before, and their softer classics have sadly disappeared. Still, they ain't dead and I predict they're on a trip to a bout of success and fame, which they probably care about. Some devil had scrawled 'The year of the Hawk hath come.' I hope it's true...
The Sunday Times' review of the Epoch-Eclipse 30th Anniversary compliation CD's
Ladbroke Grove's acid-raddled veterans Hawkwind were Britain's closest analogy to the unhinged and recently re-evaluated 1960s German Freaks Amon Düül II or Guru Guru. Hated by 1970s punks and tolerated by 1980s metal bands, the 1990s saw them belatedly adopted by crusty ravers, but if all you know of Hawkwind is the sci-fi biker fantasy Silver Machine, and the fact that they sacked Motorhead's Lemmy for taking too many drugs, then prepare to be amazed and appalled in equal measure by this definitive best-of collection. Psychedelic Warlords and Assault & Battery are lost trance-rock classics, the saucy Albert Einstein bio-song Quark Strangeness and Charm is a scientifically minded Cockney Rebel, and the late Robert Calvert's RSC incantations in Sonic Attack are joyously absurd. Post-1979 everything's largely awful, until 1993's Right to Decide, an irrepressible and strangely successful drum'n'bass pop song. Epocheclipse is also available as a triple CD, but even buying the single album would go some way towards the apology Hawkwind deserve.
-from the Sunday Times 'Culture' section, 19/9/99
Mind-blowing psychedelia for all the family
The lovely Mount Ephraim Gardens are hidden deep in the Kent countryside, surrounded by a vineyard, a lake, woodlands and a manor house. This idyllic setting regularly plays host to outdoor productions of Shakespeare and popular classics from the Royal Philharmonic Orchestra. Last Saturday, however, a different kind of costume drama was unleashed upon the garden's Edwardian tranquility with the Canterbury Sound Festival, now in its' second year, hosting a line-up that included Arthur "Fire" Brown, pioneer African band Osibisa, veteran prog-rockers Caravan and the mighty Hawkwind, legendary originators of space rock, acid-dazed proto-punks and leading lights of the festival underground for over 30 years.
It was a family event. Ageing parents and their kids were joined by twentysomething converts, Though overcast and threatening a downpour, the humid weather held through an energetic set by Osibisa, whose hugely energetic performance was the afternoon's highlight.
Arthur Brown was the psychedelic MC. By the time he introduced Caravan, the first spots of rain were presaging the deluge to come. Featuring founder members Pye Hastings, Dave Sinclair and Richard Coughlan, Caravan performed a sturdy set, concluding with a medley of classic songs. Good natured and good humoured, they are their own tribute band. As twilight set in, the techno-prog metal of Porcupine Tree blasted through the grounds. After their set, Arthur Brown lit the flaming top hat for the inevitable rendition of Fire, looking and sounding more or less as he did 30 years before.
And then it was the turn of headliners Hawkwind. The crowd surged forward as the band laid into their first number. With a full psychedelic lightshow and a furious, intermittent strobe illuminating the misty, rain-soaked darkness of the gardens, Hawkwind performed a revelatory set of classics from their Seventies heyday. Songs such as "Carry On Sundown" (sic) - from their first album - as well as the classic 'Silver Machine' and 'Hassan-i-Sahba' from the Robert Calvert-influenced Quark Strangeness and Charm album of 1977, demonstrated a band stripping itself to the essential earthbound pulse of their music. The current line-up includes veteran members Simon House on violin and Huw Lloyd-Langton on guitar, as well as founder Dave Brock.
Space Rock it may be, but with rock-solid foundations - this is electronic trance music of the highest order. As the pounding sinks in, the violin, guitar and electronics break up over the rhythm, mirroring in sheets of sound the onset of the LSD experience. Altered states and mental freedom via Marvel comics are Hawkwind's remit.
They are an integral part of the remix culture of 2001, when every major stylistic influence from the last 30 years seems to hang in the air, waiting to be downloaded by some band. But Hawkwind are as unique now as they were then. And what a long, strange trip it's been.
-Tim Cummings, writing in The Independent, 24/08/2001
The legendary Sonic Assassins on a cheap day return to the realm of the gods. A musical time-trip back to the nether regions of '71, calling at '78 and '72 before the return to present-time and current assessment.
The Wonderful Wasteland
We board the spaceship clutching nothing but our crumpled tickets, and barely have time to ignore the No Smoking sign before the craft vibrates in a violent shudder. The familiar nausea and we shoot backwards in time, sideways through space.
'This is Earth Calling' comes the reassuring voice, emerging from a sea of electronically doodled, atmospheric noise. So the first stop then is 1972, the previously known 'Earth Calling' here transformed in a live setting, just as we grasp our bearings a sudden lurch hurls us into a careering bedlam of the primal Hawkwind riff.
In the swirling haze of smoke the strobe-light silhouettes Lemmy hammering at the same bass note for the entire ten-minute duration of 'We Do It'. This is the Roundhouse and Hawkwind this primal must be 1971. Vintage. We must be nearing the heart of the sun; time and space warp into a blinding, bone-wrenching blur...and suddenly it's Chicago, 1978.
An electric-rock ending 'Spirit Of The Age' was their last recording before they fragmented into seperate shards of spirited psychedelia. "As she comes she calls Another's name / But that's the spirit of the age". A fine song, showing no sign of impending internal collapse, it's also the last souvenir we have to savour on this journey through time and meaning.
With the memory of these, newly discovered remnants of early Hawkwind glory resonating through the memory, a flick of the wrist turns the record over and we meet Hawkwind '83.
The Wasteful Wonderland
A solo offering apiece from the four current 'Wind personnel, plus 'Phone Home Elliot', which is a collaboration between three of them and easily most enjoyable. 'The Changing' by Harvey Bainbridge throws a bomb of netherworld menace into the synthetic complacency of current-day synth 'explorations'. At a time when endless studio time meets bored synth-star running out of ideas, watch them as they hail the re-birth of the 'concept album'.
Listen to the first side of this LP. Move over 23 Skidoo and tell P.Orridge the news: the Hawkwind are back in town. Dressed to fly.
-Tony D
"An evening of Brain Damage" was how Hawkwind's second visit to Torquay within a month was described on the posters, and that was just what developed. After support act Zoe had run through an unusual and entertaining set that was very well received by Hawkwind's audience, Mothership Controller Andy Dunkley went into the pre-flight Countdown Sequence which introduces the group, consisting of a series of taped sound effects, music and disembodied announcements, effectively designed to create a fever-pitch feeling of anticipation in the audience. It works.
Hawkwind crunched straight into an overpowering rhythm which was to continue unrelentingly for two and a half hours. Hawkwind have developed a sort of juggernaut power which sweeps its audience before it and out of which emerge various well-known and obviously much-loved songs, like Dave Brock's Down, Down and Down, Nick Turner's Master Of The Universe, We Were Born To Go, and three or four new pieces displaying much stronger melodies than one would normally associate with the group.
After over two hours of solid heavy rock the juggernaut slowly drew to a halt and the audience took over. After the band had left the stage the cheering continued for over five minutes and it was not until a chant of "Hawkwind, Hawkwind, Hawkwind" started that the group finally returned, powered into Silver Machine, changed it to Shouldn't Do That, jammed a little and finally closed the show to the hum of Del Dettmar's synthesizers as the lights went up.
I've had for this album for over two weeks and so far spent more time looking at the cover than listening to the record. I wish we could print it for you in colour - both sides. A real acid design, nicer on LSD, but nice anyway. I've never heard this group live, though I've heard tales that they are very loud and produce a 'whole' sound, the sound level of the album is of course up to you and your ears! Very interesting arrangement of musicians, the bass-player, heavily pronounced and directly in the middle, carving through the music like a ship, mouth-harp on the left, acoustic guitar on the right, with the vocalist standing behind the bass, like a captain on his bridge. "Hurry On Sundown", drums move softly from left to right and then from right to left, "Hurry on Sundown, see what tomorrow brings". The sound of a shimmering gong heralds the opening of "The Reason Is" and you're up and flying. This music is a trip: fly high, brothers and sisters, but keep both feet on the ground!
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