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When bass players stop, drummers begin. Aaaargh! Somewhen in the vague past I rather rashly promised to
try and do my thing (in a Crohinga stylee) with the guys who pounded Hawkwind's beat. Oh boy was I ever
wrong! The list is seemingly endless and some of the people concerned apparently were determined to keep
their presence a secret to be unravelled only after the most painstaking and time-consuming research. But all's
well that ends well, so what you are about to read is the story that I managed to piece together. I did my best
to include every scrap of info I've come across regarding the subject, so here you have it, to browse through
or skip over, whatever tickles your fancy:

Hawkwind's original drummer was a former grave digger with a propensity for playing in the nude called
Terry Ollis. His father owned a scrap yard in Hammersmith, a borough of London that's rather famous
because of its (hard) rock venue, the Hammersmith Odeon. The person who taught Terry to do his scrap
yard thing on the drums was Phil Seaman, a well-known jazz and blues drummer who played with Blues
Incorporated and Georgie Fame, amongst others; in the early seventies, he drummed for Ginger Baker's
Airforce (mark the name well). Terry Ollis played with Hawkwind from the beginning (the All Saints Hall
days) until early 1972, when the constant touring and the pills began to get to him (he didn't see eye to eye
with the rest of the band in a musical sense any more either). He'd eventually end up working in the family
business and playing with Laughing Sam's Dice and more recently The Honkey Boys.

Even before he permanently left the band, Ollis had sometimes been unable to turn up for some of the gigs, so
substitutes were called for. The real super-sub drummer's name was Viv Prince. In the early sixties, he'd
played for the Dauphin Street Trad Band. Later he was with Carter Lewis And The Southerners (so were
many other musicians, including Jimmy Page) before becoming the Pretty Things' first permanent drummer.
He played on their first two albums but was then sacked by the rest of the band (at the end of 1965)
following a tour of Asia and Australia: not only had he been thrown off a plane for being drunk and
disorderly, on one occasion during a gig! He'd spent more time on the floor than behind his drums, drinking
whisky out of his boots before setting fire to the stage! And not that it had anything to do with his being
sacked, but he was also the first "rock star" to be busted for drugs. His place in Pretty Things was briefly
taken by Mitch Mitchell (later to join The Jimi Hendrix Experience), relieved in his turn by Skip Alan (former
leader of the Skip Alan Trio) who played on 1967's "Emotions" but left again (due to' some romantic
involvement) during the recording of "S.F. Sorrow", when Twink (another one of the Hawkwind spare
drummers, who played with them on several occasions in 1971) stepped in for about a year (after which Alan
returned to the fold). After leaving Pretty Things Prince was in The Chicago Line Blues Band with Louis
Cennamo (later with Steamhammer and Renaissance), Tim Hinkley and Mike Patto. This group had been
formed after the demise of the Bo Street Runners but fell apart rather quickly. 1966 also saw Viv Prince
playing with The Bunch Of Fives (he was a founding member) who made one single for Parlophone,
whereupon the little drummer boy went on to release a 7" of his own, on Columbia ("Light of the Charge
Brigade", b/w "Minuet for Ringo" (1968) anything went in those days). He also did a few gigs with the Who,
standing in for that other pillar of the British alcoholic beverages industry, Keith Moon, and became a part of
the line-up of Denny Laine's Electric String Band for a short while. Jeff Beck considered him for his band as
well, but he never made it to the first rehearsal. In 1969 he started up Kate and put out some singles for CBS.
Most of his time was spent either drunk or stoned; his name only cropped up again when he was beaten up
by Hell's Angels in 1973 (they must've gotten the wrong Prince!).

Another one of the spare drummers was Simon King, the son of an antique dealer, who'd been in Opal
Butterfly with Lemmy. By February 1972 he (as well as his sheep-dog Pegasus) had grown to be a fulltime
member of Hawkwind's line-up, after having gone through a sort of apprenticeship (when Terry Ollis was
still with them). The first record he played on was "Doremi Fasol Latido" but it would take another few years
for him to get his first completely self-penned song on a Hawkwind album (in case you're wondering: "Iron
Dream" on 1977's "Quark, Strangeness And Charm"). In the meantime he'd been invited to play sessions for
Brian Eno (he can be heard on "Here Come The Warm Jets"), Robert Calvert's "Captain Lockheed & The
Starfighters" project, and Mike Moorcock's first musical outing with the Deep Fix.

There was a slight setback when King suffered a rib injury playing football (in July 1974) but the resulting
temporary vacancy was filled by Alan Powell who'd been with Vinegar Joe, Stackridge and Chicken Shack.
He never made it as far as the studio with any of the aforementioned bands, and the only vinyl traces of his
pre-Hawkwind exploits can be found on Chicken Shack's "Goodbye" live album of 1974. When King got his
ribs back together again Powell stayed on nevertheless and Hawkwind became a twin-drummers band.
"Warrior On The Edge Of Time" was the first album featuring not only the new line-up, but also a
collaboration between the two in the form of the song "Opa-Loka". As far as I know there's only one studio
recording of Powell as was Hawkwind's sole drummer, a version of "Motorhead" with only Dave Brock and
Lemmy in support. Also Simon King didn't play at the Watchfield free festival of 1975 and some recordings
of that gig exist (to wit on the triple "Anthology" album, where the "Motorhead" version can also be found).
Powell was also invited to do some drumming on "The New Worlds Fair" by Michael Moorcock (as was
Simon King).

Another point of some interest is that they had a percussionist guesting with them on a few occasions
roundabout this period, namely Al Matthews, who played on Rare Bird's "Somebody's Watching" album of
1973, and who appeared under his own name as a support act. I must have actually seen him, for he was at
the 1975 Reading festival with the band as well, but then, things being what they were in the seventies, my
recollection of the event is a bit hazy; I do remember I was stunned by the music, as I had been a few
months before when they played in Brussels.

By the time "Astounding Sounds Amazing Music" was in the shops things had started to go wrong within the
band and before long Nik Turner, Paul Rudolph and Alan Powell had been sacked. The latter two tried to
continue as Kicks (with Cal Batchelor and Steve York see CW 6 for more details, I can't go on repeating
myself forever); things may have kicked but they sure never clicked, and before long Kicks had faded away
into obscurity. Powell then did session work for Nik Turner (playing on the "Xitintoday" album and became a
member of Tanz Der Youth in April '78 (a band that included ex-Damned singer Brian James and ex-Warsaw
Pact guitarist Andy Colquhoun). When this group folded (after having released one single on the Radar label)
in September Powell and Colquhoun teamed up with Mick Farren, becoming a member of The Good Guys
and playing on the brilliantly-titled "Vampires Stoles My Lunch Money" (there's some more info on this bunch
in CW 7). In 1979, Powell was featured on the debut album by The Korgis (Pure Pop For Then People). In
the eighties he moved to the States (Los Angeles, to be precise; I like being precise; it's probably Freudian)
where he's supposed to have taken on an alias a become the drummer of a band called Jo Alien And The
Shapes (apparently there's a photo of him on the sleeve of their 1980 single "Crying Over You" and Jo Alien is
the name of the drummer, so ...) for a while and maybe to have played (as Jo Alien) on an album by Bette
Bright ("Rhythm Breaks The Ice", Korova 1981). All this is highly speculative, but the most recent news
concerning Alan Powell isn't: it only dates back to last year, when he was seen in Mick Farren's company
once more (the latter now lives in L.A., as does Andy Colquhoun). Powell has moved to San Francisco in the
meantime, where he received Larry Wallis (somewhere around Christmas 1992). The four of them got
together for a one-off bash on New Year's Eve at the Hong Kong cafe, as The Pink Fairies. Jack Lancaster
(the erstwhile saxophone player of Blodwyn Pig, among others) who's also moved to America was there as
well, and the line-up was completed with King Dinosaur, the ex-bass player of an American band called
Haunted Garage.

But let us turn back to our main storyline: Simon King stayed on as Hawkwind's drummer up to the split of
February '78 when Dave Brock disbanded Hawkwind after touring America. His last composition for the band
can be found on the "Quark Strangeness And Charm" album of 1977 ("Iron Dream"). When The Hawklords
appeared on the scene (in July 1978) Simon King was no longer with them: he'd refused the offer (although
he did play a few sessions for the "25 Years On" album, on Brock's request) and teamed up with Huw
Lloyd-Langton to form a band of their own. Nothing much came of that, however.

Now most of you probably remember that Brock and Calvert had appeared on stage as the Sonic Assassins
near the end of 1977, supported by three musicians from a band called Ark. It shouldn't come as too big a
surprise, therefore, to learn that Martin Griffin (Ark's drummer) came in to replace Simon King. He didn't
have a long career ahead of him within the band, however, for by the end of the year Robert Calvert had
instigated his dismissal from the group (for reasons unknown to me). After some hesitation, Griffin was
sacked. He followed Dave Andersen's example and started up his own studio, where he worked with The
Brainiac 5, among others, producing their "World Inside" album (recorded in 1979) that was picked up by
Reckless in 1988.

Another temp was called for and found in the person of Mick Smith (reputedly the same guy that played in
The Softies, although according to Rock Record he played the guitar there) who stayed on long enough to
actually record two tracks: "Time of" and "Valium 10". If I'm not mistaken (and I might well be, this time)
Robbie Dobson of The Enid guested with Hawkwind (or The Hawklords) somewhere around this period as
well, but I don't know this for a fact (to be quite honest, I don't even know this for a rumour!).

At the beginning of the New Year (1979) who else should appear on the drum stool but Simon King? He
hadn't been completely out of the picture, as he'd also worked with Brock at the Week Park Farm (co-writing
some songs that appeared on May 1979's "P.X.R. 5". As I mentioned before, he'd been trying to put a band
together with Huw Lloyd-Langton, but they were having trouble finding a suitable bass player. When Dave
Brock asked him to come and drum for Hawkwind again it was an offer he couldn't refuse. This time King
stayed with the band through the year, drumming on their winter tour that resulted in the "Live 79" album. By
the time Hawkwind went back to the studio once more (the early summer of 1980) to record the "Levitation"
album King was having some problems "that affected his drumming" (the quote is from Pete Frame's "Rock
Family Trees") and Dave Brock decided he was no longer satisfactory. Or, as Huw Lloyd-Langton put it in
his Ptolemaic Terrascope interview "I'd gone out to get a bag of chips and as I got back... Dave Brock didn't
think he was up to it and he was out of the band". Up to it or not, King did play on Mike Moorcock's
"Dodgem Dude" b/w "Star Cruiser" single of December 1980 (released on Flicknife). In August 1981 Simon
King joined forces with Andy Colquhoun and Simon House in a band called Turbo, with singer Tom Jackson
and bass player Ian Henderson (sorry, I've never 'eard of 'em either). By June 1982 they were in the studio to
record a single, which got to the demo stage (it was called "When the Movie's All Through" and had Mick
Farren lyrics) but nothing ever materialised. The latest news I found concerning Simon King was that he'd
become a tree surgeon.

So once again Hawkwind was faced with the problem of an empty drum stool. This time it was Huw
Lloyd-Langton's wife Marion who came up with a replacement: she worked for Ginger Baker's management
firm and decided to ask if he was in any way interested in joining them for the studio sessions of the new
album. Ginger not only accepted to do the sessions, he got along so well with the rest of the band that he
decided to stay on.

I've been in a bit of a quandary about the next few paragraphs, for the larger part of what's in them should
already be known to most music lovers. But then what the hell, a bit of redundancy never hurt anyone except
during the artillery barrage preceding the first battle of the Somme in 1916, but that's a different story
altogether. On the eve of the next world war (the second one, to be precise) Peter Baker was born in
Lewisham, the date being August 19th, 1939. In post-war days he learned to play the trumpet, but quickly
switched to pots and pans, with Buddy Rich and Gene Krupa as his main sources of inspiration (if you don't
know who they are, ask your granddads). His first musical employers were the conductors of fifties big
bands, like Terry Lightfoot and Mr. Acker Bilk. He also played with Free At Last, a project including Alexis
Korner and Graham Bond. In November 1962, Baker was to be found in the line-up of Blues Incorporated,
where he was the successor of Charlie Watts (who'd left to join another moderately successful combo called
The Rolling Stones). Most of their gigs took place either at the Marquee or at the Ealing Club, which had been
bought by the founders of Blues Incorporated, Alexis Korner and Cyril Davis (time to wake your granddads
again, I'm afraid). Just a few months later, in February '63, Graham Bond, Jack Bruce and Ginger Baker
formed their own band: The Graham Bond Trio, that developed into The Graham Bond Quartet when John
McLaughlin was added to the line-up (you know, there's a rumour that McLaughlin used to play around
Antwerp in those days, mainly at a pub called De Muze where he shared the bill with local skiffle/protest hero
Ferre Grignard; I've heard this story from people who are older than me, poor souls, and who were sort of
obliquely involved in the local scene but I haven't been able to find any confirmation in writing; just thought
I'd mention it anyway; is it grammatically correct to use more than one semicolon in the same sentence, I
wonder?). The quartet played mainly jazz but changed its style back to rhythm'n'blues at the end of 1963,
when McLaughlin was replaced by Dick Heckstall-Smith (saxes, preferably two at a time) who later was to
rise to fame with Jon Hiseman's Colosseum. Although the press and the critics loved The Organisation they
never quite made it big on record, in spite of some singles and two albums being released ("The Sound Of
'65" and "There's A Bond Between Us"), and the original lineup gradually dissipated.

By the end of 1965, Jack Bruce was playing for John Mayall's Bluesbreakers, who had ex-Yardbird Eric
Clapton on guitar. In June 1966, Ginger Baker turned up at one of their gigs in Oxford and asked if he could
play. This he did, and everybody was pleased with the performance. Afterwards Baker proposed to Clapton
that they'd form a band of their own, the latter agreed and asked if he could bring in Bruce, and thus Cream
was born. I daresay this band's history is fairly well-known, so I'm not going to go into it in any great detail.

They released four studio albums (although some of them contained live recordings as well) that set the
standards for heavy, blues-based, partly improvised rock for quite some time to come: December 1966 saw
the release of their debut, "Fresh Cream", their second ("Disraeli Gears") came out in November 1967, the
double set "Wheels Of Fire" saw the light of day in August '68, and their farewell album "Goodbye" hit the
stalls roundabout March 1969. Meanwhile things had been going steadily downhill relationship-wise for Baker
and Bruce, who were both excellent musicians but apart from that basically came to hate each other's guts,
with poor innocent Eric Clapton caught in the middle of the mental flak all the time (enough to drive a person
to drugs, apparently).

What finally happened was that Bruce went solo (producing some very fine albums indeed) and Clapton and
Baker got together with Family's Rick Grech and former child prodigy Steve Winwood (from Traffic) to
form Blind Faith. They made their first appearance in Hyde Park, on June 7th, 1969; two months later, what
was to turn out to be their sole album was put out on Polydor. It contained some very fine tunes, but was a
bit patchy on the whole. I still think Ginger Baker's "Do What You Like" is Blind Faith's finest moment, by the

To promote the album an American tour was embarked upon that was to be the band's first and last one:
Clapton met Delaney and Bonnie Bramlett and they got on like a house on fire. Joining their band was a
dreamt-of occasion for him to be able to get out of the spotlights that had always been on him while playing
with Cream and Blind Faith and "hide" in the comfortable surroundings of a backing group (also his heroin
addiction was catching up with him and combined with the stress of having to play the guitar god on stage all
the time it was proving all too much for him). So Clapton was out of it, and it wasn't too long before Blind
Faith was history, spurred on by the fact that Winwood was getting pissed off at all the leeches swarming
round the band, trying to earn a quick bob on the musicians' backs.

While Clapton went on tour with Delaney and Bonnie (scoring a hit with "Comin' Home") Baker, Grech and
Winwood drafted another ex-member of Traffic into their new group. There was no question as to who was
the leader of the band, for this budding formation was called Ginger Baker's Airforce. When their first album
came out (February 1970) Wood and Winwood had already rejoined Traffic. In the spring of 1970 Ginger
Baker travelled to Africa. In Ghana he stayed with Kofi Ghanaba, a famous Afro-jazz drummer, while in
Nigeria he met the Afro-beat king Fela Anikulapo-Kuti and jammed with him at the AfroSpot. At the same
venue, he saw one of Nigeria's oldest pop groups at work; they were called The Clusters and Baker was so
taken with the talents of the band leader, organ player Joni Haastrup, that he asked him to come back to
Europe with him and join Airforce.

The remaining members of The Clusters teamed up with Tunde Kuboye and a Swiss-Nigerian flute player
who called himself Tee Mac, and formed the AfroCollection; they took up residency at the Batakoto Club in
Lagos (set up by Baker with a Nigerian partner). The second Airforce album (still on Polydor, by the way)
appeared in September of the same year. The task of keeping together all the (excellent) musicians involved
proved to be insurmountable: people like Graham Bond, Phil Seaman, Dave Gregory, Remi Kabaka and Denny
Laine to name but a few of the many had a lot of other engagements or bands of their own and the Airforce
couldn't be kept aloft for long. It finally crashed in the early summer of '71. Personally, I like both their
albums a lot, besides which they're important in their own right as well because they were among the earliest
trying to blend western rock with African songs, percussion and rhythms.

After the breakup of Airforce and having done a session for George Harrison's "All Things Must Pass" (you
know, the triple album with the cover that looks a bit like Kramer's "The Guilt Trip" boxed set of last year)
Baker followed the lure of his passion for rally-driving and his interest in African music and went overseas
again, back to Nigeria. This time he chose to return via the desert, driving across it in a Land Rover. When he
saw the Afro-Collection playing at the Batakoto Club they impressed him so much that he asked Berkley
Jones, Laolu Akins and Tunde Kuboye to join him in a new band. Other members included two Nigerian
female singers and two European musicians: Steve Gregory and Bud Beadle. The band was baptised Salt and
played its first big gig in 1972, at the Kakadu Club in Lagos. Later they played the Olympic Jazz Festival and
went on an American tour. Albums featuring Ginger Baker that were released during this period were "Fela
Ransome Kuti And Ginger Baker Live" and "Stratavarious" (released on Regal Zonophone and Polydor

Baker's next project was to help set up Nigeria's first-16 track studio, the Associated Recording Company, in
Ikeja. Ginger's studio was finished by January 1973; one of the best-known persons to book some recording
time there was Paul McCartney who recorded "Band On The Run" in it. Not content with resting on his
laurels. Baker then put a film together featuring himself, Fela & The African 70, Segun Bucknor, The
Afro-Collection and Twin Seven Seven.

After this spree of African activities Ginger Baker returned to London in 1974, where he ran into the Gurvitz
brothers (this happened when they were playing sessions for The Graeme Edge Band, presumably). They'd
been having a drummer problem since the late sixties, apparently, when they were still calling themselves
Curtis: their band The Gun (quite rightly famous for having scored a hit with "Race With the Devil") had
already lost Tim Mycroft (to Sounds Nice) and Peter Dunton (to T2) before they found Louis Farrell to
complete the trio.

When The Gun folded in the beginning of the decade (leaving behind two excellent albums "Gun" and "Gun
Sight") the brothers continued in the same musical direction with Three Man Army, releasing three records in
the process. Their first album ("A Third Of A Lifetime", 1971) featured drumming by session men Buddy
Miles and Mike Kellie (of Spooky Tooth fame) and they'd recruited Tony Newman from The Jeff Beck
Group (and before that Sounds Incorporated) for the next two records ("Three Man Army 2" and "Mahesha")
but he'd now left them again, to go and join David Bowie's backing band, drawn by the lure of success, no
doubt. This left the Gurvitz siblings once again lacking in the percussion department but their predicament
was soon remedied by Baker agreeing to join them in a new formation, to be called The Baker-Gurvitz Army.

Before the year was through a first, eponymous album was in the racks (courtesy of the Vertigo label) but it
was destined to stay there, at increasingly lower prices, for quite some years to come. Quite rightly so, I
must say, for it was not really too hot an item musically. I quite dig (note the cunning use of seventies slang)
the opening song "Help Me" and Baker's wild tale of an African rally called "Mad Jack" but the rest of it just
doesn't cut it, in my opinion. And there was worse to come, for neither "Elysian Encounter" nor "Hearts On
Fire" managed to come close to the level (even if it was only average) of the debut album, despite the
recruitment of keyboard player Peter Lemer (previously with John Stevens and The Spontaneous Music
Ensemble, back in 1969; he did sessions for Seventh Wave as well) and singer Mr. Snips (from Sharks).

The decision to call it quits was the logical one to make and so it came to pass that Snips made a solo album
("Video King", on the Jet label), Peter Lemer got involved with the jazz-rock scene (Ascend, Harold Beckett,
Annette Peacock, Barbara Thompson) and later became a member of Mike Oldfield's backing band, while the
Gurvitz brothers teamed up with the former drummer of The Moody Blues again for a second Graeme Edge
Band album, and Ginger Baker now concentrated his efforts mostly on the noble game of polo but also went
and brought out a solo album of his own again. The latter was called "Eleven Sides Of Ginger Baker" and
appeared on the Mountain record label; I recall I didn't like it one bit when it came out, even though it featured
Chris Spedding on guitar, Rick Grech (remember, the one from Blind Faith) and Herbie Flowers on bass, the
cream of the British jazz-rock scene on brass (Alan Skidmore, Jeff Daly, Stan Suizmann, Derek Wadsworth
...) and many others. Still, there was something missing somehow. There's a three-year gap in my files then
(most probably filled by supervising the club and the studio, polo and racing, and not necessarily in that order
I should think) but the next thing we heard was that Baker was playing with a newly-hatched version of
Atomic Rooster in the beginning of 1980.

That's about it for the Ginger Baker story up till September 1980, when he joined Hawkwind and went with
them on tour. As those of you who've read the second part of this series (in CW 2) know, things didn't go
too smoothly: before the tour got properly under way there was another argument with Doug Smith so the
band went on the road without any management, and about halfway through Tim Blake was left behind in a
hotel with his ear glued to the phone, never to be seen again. Baker himself caused some turbulence as well,
sporting an attitude of aloofness towards the fans (a behaviour that most other musicians in Hawkwind's long
inventory were not in the habit of exhibiting) and demanding that a number of the road crew be sacked for
various reasons. The biggest problem was caused as usual by the "gentlemen" of the press who did subtle
things, like write about "Ginger Baker's Hawkwind" or only publishing photographs of Baker, without
bothering to show the rest of the band. This wasn't exactly Ginger's fault, of course, but it seems to have put
some ideas into his head that weren't all that kosher.

The last straw descended upon the camel's back in February 1981, while Hawkwind was in Germany for
some TV recordings. Baker met his erstwhile colleague from Cream, Jack Bruce (who if I'm not mistaken
had just done a gig for the German TV live show Rockpalast as Jack Bruce and Friends) and did some
talking. Their mutual dislike seems to have been dead and buried by then, for Baker went to see Brock with a
proposition: why not chuck out Harvey Bainbridge, bring in Jack Bruce, and go on tour as a new supergroup,
half-Hawkwind and half-Cream. Despite the fact that a European tour was in the works, Baker succeeded in
getting himself ousted from the band, taking with him keyboard player Keith Hale in the process.

They went to Italy to play the dates planned there for Hawkwind, bringing in Doug Brockie on guitar and Karl
Hill on bass. Hale didn't stay very long, but Bakerandband (that's how they called themselves) enjoyed their
stay in Italy very much, judging by the fact that they recorded their debut album ("From Humble Oranges",
CDG label) in the Idea studios in Milan. The music on it was a step down from Hawkwind (to say the least)
but there's some nice songs on it, and it's easily as good as anything by The Baker Gurvitz Army.

After his Bakerandband outing there was a live album called "Ginger Baker in Concert", recorded in 1982 but
shelved until 1987, apparently. This release was preceded by "Horses And Trees" (on the Celluloid label,
1986) and followed by "African Force" (ITM, 1987). Another item I've seen mentioned but know nothing
about (not even a release date) is an LP called "Live With Ginger Baker's Nutters"; Baker appears to have been
an active supporter of an American anti-drug campaign in the late eighties (endorsed by Ronald "Robocop"
Reagan, no less!) so maybe this was recorded then; I really don't know, but the name of the band seems
fitting enough. During the second half of the eighties Baker worked with a number of people, doing sessions
on various albums, like John Mizarolli's "Message From The Fifth Stone" (Boulevard, 1985), Public Image
Ltd's "Album" (or, conversely, "Compact Disc", Virgin, 1986), Jonas Hellborg's "Bass" (Day Eight, 1987) and
1989's "Next To Nothing" by Nicky Skopelitis (on Virgin). In 1989 he started bringing out albums again:
"African Force" came out on CD in 1989 and was followed by "Palanquin's Pole" in 1990 (both on the ITM
label). 1991's "Middle Passage" came out on Axion and "Ginger Baker's Energy" (Traditional, 1992) made it to
Antwerp's Radio Centraal's Top 10, but so far I haven't heard it and neither do I know anything about it (or
any of the other nineties releases), so let's get on with our story.

Baker's replacement was also his predecessor (if you're willing to omit some steps; this story's about as
straightforward as Russian politics) for Martin Griffin was plucked from his studio to fill in the gap left by the
former's somewhat hasty departure. The first Hawkwind album sporting Griffin's drumming again was
"Sonic Attack", but once again there were problems right from the outset: the band had only just arrived at the
Rockfield studios when Martin Griffin came down with measles, so they spent about three weeks in the
studio without a drummer; this unfortunate incident was to turn out to be a boon for the future, however, as
it gave Brock and Bainbridge ample time to experiment with synthesizers of all kinds, not only resulting in
new ideas for songs-to-be but also in providing the basis of Harvey's second career as a keyboard player.

After Griffin's recovery, work on the album was resumed and finished, closely followed by the annual winter
tour that started in October 1981. Following the tour, the ideas that Brock and Bainbridge had come up with
in the summer of '81 were given concrete form on the "Church Of Hawkwind" album. Although he had lots
of work with his own studio, Griffin was also there when "Choose Your Masques" was recorded in June and
July 1982, and he also agreed to go on the next winter tour, because no replacement could be found that met
the band's qualifications.

An interesting item in this respect is the solo track that can be found on the "Hawkwind Friends And Relations
2" compilation album; it's called "Work" (I hate that word) and Griffin is helped out on it by Hawkwind's
former keyboard player Steve Swindells, Richard Strange (Nick Saloman's erstwhile colleague at Stanford's
of Long Acre; as you'll no doubt recall this is not a band but an Ordnance Survey map shop); via working in
the bargain basement at the Cheapo Cheapo second hand record store in Soho, Strange eventually became the
lead singer of The Doctors Of Madness and had a short solo career in which Martin Griffin participated), sax
player Dave Winthrop and bassist Paul Martinez (ex-Paice Ashton & Lord and Stretch). The latter two had
also played on Richard Strange's solo albums.

Griffin's studio work gradually increased in volume and in the end he was forced to opt out of Hawkwind
once more (I think that must have been around February 1983). No full-time replacement was found,
however, so they had Andy Anderson (who'd played with Steve Hillage, Nik Turner, Gilli Smyth, Jimmy
Pursey and Techno Twins) filling in occasionally. When no-one could make it to that year's Stonehenge Free
(1983) Andy's drum roadie (called Bob Harding) sat in. By the end of the year Anderson had gone on to play
with The Cure (the first thing he appears on is "The Love Cats"). In 1985 he was seen backing Jeffrey Lee
Pierce, and in 1989 he had an album of his own out, called "Andy Andersen's Tribe" (on the We Bite label).
Oh and incidentally, Martin Griffin played the drums on "Working Time" b/w "I See You", the Lloyd-Langton
Group's 1984 single, released on Flicknife.

George Orwell's very own year started off with Rik Martinez on Hawkwind's by now quite worn drum stool,
a session musician. He caught bronchitis halfway through the first tour of the year and left in the beginning of
March; later that year he played with Fiat Lux on their "Hired History" album (issued on Polydor, 1984). Clive
Deamer (nowadays with Big Town Playboys) replaced him as of March 5th. John Clarke (of the
Lloyd-Langton Group) and Rob Heaton (of New Model Army) played on the "Earth Ritual Preview" EP, but:
by mid-'84 Clive Deamer had been drafted in as a sort of permanent temporary drummer. At the Stonehenge
Free Festival of 1984, Danny Thompson (a friend of bass player Alan Davey) guested with the band, and he
also came with them on that year's winter tour in November, but it wasn't until June 1985 that Thompson
became a permanent member. He was to stay on for three years.

1985 was the year "The Chronicles Of The Black Sword" was released, an album based on Michael
Moorcock's Elric stories (see "Memo From Turner" in CW 7 for some more details). Danny Thompson
drummed on it, and for the second time they had a percussive guest, in the person of Dave Charles. As far as
I know he has never actually been a member of the band, but who cares, I'll do a quick review of some of
the bands he played with, so no one can accuse me of chickening out just because the guy has worked with
so many of them: the first time I found his name on a record sleeve was back in 1969, when he played for
Sam Apple Pie (who actually played some gigs supporting Hawkwind back in 1970, as can be seen on the
back cover of "Hawkwind Friends And Relations Vol. 3"). In 1971 Dave Charles backed Ernie Graham and
became a member of Help Yourself, a band that evolved out of Sam Apple Pie and recorded a fair number of
albums between 1971 and 1973, with a lot of coming and going and interchanging of band members with
Welsh band Man. When Man's main man, Deke Leonard, cut his first solo albums (in 1973 and 1974) Charles
was there as well, having also participated in the gig that was recorded to become the double 10" called
"Christmas At The Patty". After a sessions for ex-Bonzo Roger Ruskin Spear's "Unusual" (I still want that
one, as well as Spear's debut "Electric Shocks", by the way) Charles was to be found in yet another offspring
of Man, called The Neutrons, with sessions for Tim Rose (1974), Clive John (1975) and Barry Melton (same
year) thrown in for good measure. Still in the same year, he engineered for Hawkwind, on "Warrior On The
Edge Of Time". He appears to have taken a sabbatical in 1976, but came back a year later for a second stint
with Barry Melton (ex-Country Joe And The Fish, by the way) and for another engineering job for Hawkwind
("Quark Strangeness And Charm" as well as bits of "P.X.R. 5"). In 1978 and 1979 Dave Charles was a
member of Airwaves, a band that included Paul Cobbold, who was to do a lot of production work for
Hawkwind in the years to come. In the early eighties, Charles lent his percussive skills to Andy
Fairweather-Low, Deke Leonard, Dave Edmunds, David Matthews and Hugh Masekela, and a great many
others. There was even an admittedly rather tenuous Hawkwind-link as he worked on the Bristol Custom Bike
Show of 1986 as an engineer for The Barfish Boys.

After three years of service, and after having played on the "Live Chronicles", "Out & Intake" and "The
Xenon Codex", Danny Thompson left, to be temporarily replaced by Mick Kirton, formerly with The
Groundhogs (he played on their "Razor's Edge" album in 1984) and Dumpy's Rusty Nuts. In October 1988,
Richard Chadwick from Smart Pils (one of the many budding bands on the British festival scene) who has
stayed with Hawkwind ever since was taken on as his successor. Smart Pils' music had first appeared on the
"Wessex 84" cassette issued by Bluurg Records, a label they stayed faithful to over the years, releasing two
cassettes and an album (1987's "No Good No Evil") on it before Chadwick's departure to Hawkwind.

There's one last thing that I mustn't forget to mention: Martin Griffin returned to guest with the band at the
Robert Calvert tribute in April 1989. Otherwise, no news is good news: Chadwick has been with Hawkwind
for more than five years now, and there aren't any obvious signs that any sudden changes are to be expected.
But then, isn't it the business of the future to be dangerous?

That's about it, I guess. Among the books and magazines I perused in the writing of this episode were the

-Rock Family Trees
-Rock Record (there's a new one out, you know)
-Ptolemaic Terrascope
-Record Collector
-Brian Tawn's Approved History of Hawkwind
-Hawkwind; The Never-Ending Story of the Psychedelic Warlords
-African Pop Roots
-Uncle Harry's City Kids
-an innumerable amount of record sleeves

I'll be tackling the guitar players next, I think (with the exception of Dave Brock, of course, as most of the
details regarding him and his side projects were featured in the first two parts of this "series" for want of a
better expression) which should prove to be a lot easier than getting this episode together, as there were
rather less of them about. I'll probably miss the challenge. Now if you'll pardon me while I go get an Aspirin.
Thank you.

From issue 8 of Crohinga Well fanzine (left), Spring '94.
Below: this illustration was, I think, from the same
issue and features the trio, as they were, reincarnated
as Native Americans in Utah's Monument Valley.  And
Alan Davey has a buckwheat pancake embedded in his
left eye for some reason.