Hawkwind: 27 Years On

From Expose, Summer 1997...photos added by me, today!
27 Years on...how many bands can claim that lifespan? Though in reality, Hawkwind isn't so much a band as
a person - Dave Brock, the captain of the ship SS Hawkwind. For 27 years he has been the driving force of
Hawkwind. Guiding her through the genres of prog rock, space rock, hard rock, disco, punk, new wave,
heavy metal, Modern, alternative, ambient and techno. Never compromising, always flying in the face of
fashion, as Dave himself has said, "We're like Barbarians let loose with Technology." Never caring for
stardom, just wanting to give the people a good show. What do you think of when you hear the name
Hawkwind? A naked chick dancing in strobe-lights? A bunch of LSD-dropping hippies? That shitty band
whose songs just go on and on? Or as a group, who despite constant line-up changes, have survived for
nearly 3 decades.

I have been a follower of Dave Brock and Hawkwind for damn near 20 years. My first encounter with
Hawkwind was PXR5. It was in Rather Ripped Records in Berkeley, in those days you could give the
counter guy a stack of LP's and he would play them for you on the store system. "...From the back of my
mind I can feel a strange sensation, feels like the crisis of all creation..."

At the time I was listening to both Progressive and Punk/New Wave music. PXR5 seemed a little like both.
From fast, jerky 4/4 type rhythms to synthy, swirling, violin-laden space rock. I bought it and loved it, and
was quickly to become a serious Hawkfan. I soon had bought up the current catalog. Me and Mr. Bong
would ride the groove provided by Hawkwind at high volume, or better yet, headphones. I was the only
person I knew who 'really' liked them, most people I knew hated them ("they suck" was a common remark.)
What was it? I just loved this band. They were psychedelic, they were hard rock, they were progressive.
The music was very spacey, stereo crossovers abound. To me, they are the black sheep of prog.

When I decided to write this article, I assumed my love of the band would be enough. A profile should
provide readers with both history and insight, give an account of all the band has done, and report on the
members who have been a part of it. And not to bore the crap out of you.

Without ever hearing the music you know what to expect. Their album covers are wild. Pyramids,
Spaceships, Stonehenge, Aliens, American Indian motifs and Science Fiction are common themes. They
frequently collaborated with SF&F author Michael Moorcock, creator of Elric, Jerry Cornelius and my
favorite, Jherek Carnelian. Up until 1984, they gave yearly free concerts at Stonehenge. Their songs cover
everything from The Inner Mind to the Outer Limits: Space Travel, Nuclear War, Drugs, Hallucinations,
Fantasy Characters, Paranoia and Society.

Hawkwind was born in the fading light of the magical 60's. Street musician Dave Brock, along with Mick
Slattery and John Harrison, combined with an idea of forming a band just a bit different. Drummer Terry
Ollis and Saxophonist Nik Turner (who also had a van) came along next. For lack of any other ideas they
called themselves Group X. A gig in All Saints Hall, lasting all of 10 minutes clinched it. They had a manager,
and were soon signed to United Artists. No sooner had they recorded their demo when someone quit, a trait
that has clung to the band. Guitarist Mick Slattery left, and was replace by Huw Lloyd Langton. 1970 saw
Hawkwind gigging constantly, their sound beginning to be defined, a melange of lights, pulsing rhythms and
chant-like vocals.

In 1970, they released "Hawkwind." Upon which bass player John Harrison left, replaced by Thomas
Crimble. "Hawkwind" is blend of Folk, Blues and Rock. Tracks like Be Yourself and Paranoia are true
Hawkwind classics. Hawkwind was a people's band (certainly a lot of people played in it!) They were a
common sight at free festivals, and most notably the Isle of Wight Festival. Hawkwind played outside the
gates, collecting fans and publicity. It was soon after this that guitarist Huw Lloyd Langton quit. Dave Brock
was certainly able to take over the duties of lead guitarist so no replacement was sought, he preferred to let
the instruments all blend into each other, with electronics being the only lead sound.
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Two founding members...Dave Brock (above) and
a despondent Nik Turner (right)
In 1971, they attracted the attention of Poet, Artist and
resident madman, Robert Calvert. Bob liked the idea of
a "Space Rock band," and thought he could add another
element to the show. They released "In Search of
Space" which featured odd packaging and a book, The
Hawkwind Log, written by Bob with artwork by
Barney Bubbles. The log is a Sci-Fi chronicle about a
spaceship, the SS Hawkwind and its star journey. The
album is a hard-core star journey of its own. Building
on the space rock sound they created, it's a psychedelic
mix of electronics and rhythm. Hawkwind staple,
the naked woman. Having no formal dance training,
she too was caught in the sonic assault. Supposedly
she had once asked Nik T. about dancing and he
replied to the effect that she could if she was nude.
This was 1971, and dancing in the nude at a concert
was no big deal. Unfazed by Nik's request (she was
apparently quite proud of her body) and so dance she
did. Drummer Terry Ollis was into downers, and
1971 saw his problems worsen. At times so far gone
he could barely sit on his stool. Hawkwind recruited
Viv Prince to fill in when Terry was out of it.
Eventually Terry quit, and an old mate of Lemmy's,
Simon King got the job. Dik Mik also "quit" the band
for a while in 1971, only to return a few months later.
During his absence soundman Del Dettmar was given
the job of keyboard effects.
With Dik Mik gone the Hawkwind sound was missing
something, his audio generators had created the tones
and subliminals that helped to give Hawkwind their LSD
reputation. So Hawkwind sought out violin/keyboard
player Simon House. Already set to tour the US, there
was no time to obtain a work permit for Simon so he
just went along, managing to jam at a few gigs. Upon
returning to the UK the band went to record "Hall of the
Mountain Grill." Simon's presence really added another
dimension to the band. Songs like Wind of Change and
the title track highlight his violin playing. With Simon on
stage, Del moved his gear to the mixing board, where
he could control the sound better. However in June he
left the band, and emigrated to Canada. This brings an
end to the two keyboard player era of Hawkwind and
starts a brief two drummer period. In July Simon King
broke a few ribs playing football so Alan Powell was
brought in as a replacement. When King returned they
kept them both. With Calvert gone they also had no
poet! So Michael Moorcock joined the band for a time.
In September of '74 they returned to the states for
another tour, however problems arose in Indiana. It
seemed the
band owed $8,000 from the previous tour,
so all their equipment was seized, forcing them to return
home until the situation was resolved. By October they
Del Dettmar, before he left the stage lineup...
During a lull, bassist Alan Davey records a solo album
and likes it, so in '96 he quits Hawkwind (if anyone
can really quit) and forms a band, Bedouin, with
ex-HW drummer Danny Thompson. Dave B. has to look no further than Ron Tree to fill the slot as Tree was
a bass player as well. 1997 has Dave adding another guitar player, Jerry Richards (Tubliah Dog). Mr.
Richards is again well known to the band and has played with them before in a "Hawkdog" gig. Having Jerry
around gives Dave a backup so he can also do the synth parts. Hawkwind is currently preparing for their '97
world tour. Only this time they are asking the fans to organize it, so they can actually break even and maybe
earn a little spare change as well. I see this tour once again changing the sound of Hawkwind. Tree is a
thrashy type of player, so he's a cross between Lemmy and Calvert in many ways. The band has been
rehearsing and it will very interesting to see where the go.

Through the years Hawkwind saw many labels, different management and a huge number of line-up changes.
The count is at 48 members since 1970, and two guys named Twink! Their tale is told in an excellent book
by Kris Tait, This is Hawkwind: Do Not Panic. A funny account of the early years, complete with numerous
drug stories. If you haven't heard EMI has re-mastered the first 5 HW albums. These are brilliant works, the
packaging is incredible, all digipak, with many folds, lots of art, more than the LP's had. And Space Ritual
has been repaired a little, for a better flow. Also all the CD's have bonus tracks, these remasters are highly
recommended. Also to be released is two 1974 concerts, one from Chicago and the other from Edmonton
Sundown. And later in the year a possible reunion of sorts of the 1974 band. For this article I would like to
thank Hawkwind, Dave Brock, Doug Smith, Kris Tait, Mike Holmes, Jill Strobridge, Paul Ward, John Chase
and Brian Tawn.

-Dane Carlson
Master of the Universe appears here. Throughout 1971 Bob Calvert would appear more and more with the
band, performing his poetry and backed by mesmerising electronic sounds. Live, Hawkwind was refining its
sound further, using subliminal sonic frequencies to mess with peoples' heads. Dave told a newspaper, "We
just wanted to freak people out, portray different trips, you know acid trips, because we had been there and
knew how to get through to people."

Before ISoS was released, Dave Anderson quit. Though a fine bassist, he fancied himself a bigger star than
the rest of the band, who by now was set to either beat him up or blow up his car. Again Hawkwind were in
need of a new bass player and Dik Mik had a friend who was just right for the job. Enter Ian Kilminster,
known to all as Lemmy. And though he had no bass, his exuberant stage persona (fuelled by a passion for
uppers) bordered on the manic. He was a perfect fit. Also joining the band was the one and only Stacia. Yes,
Early in 1972, Hawkwind played at the Greasy Truckers party, the concert was recorded and released. For
the gigs Hawkwind debuted a new song, Silver Machine. The live vocals weren't quite right, and Calvert was
unable to do the remix, so Lemmy took the mic. Silver Machine went to Number 2 on the charts. Hawkwind
had a hit, and the hit brought in money. They beefed up their light and sound systems and hit the road. The
tour was called The Space Ritual, and it must have looked like a UFO landing. Or your brain exploding.
Commenting on the upcoming tour, Nik T. said, "Just tell people to come and have their minds ripped apart."
Indeed. Space Ritual was Sound, Music, Light, Dancing, Poetry Reading, Street Artists and a liberal amount
of non-prescription pharmaceuticals I would imagine. The Space Ritual tour was a big success, and the 1973
album released of it still stands as a classic live album. Hawkwind were riding high. The Space Ritual tour
was actually in support of album number 3, Doremi Fasol Latido. DFL and Space Ritual capture many of
Hawkwind's finest moments; 7X7, Down Through the Night, Time We left, Lord of Light, Sonic Attack.
Songs that define the early Hawkwind sound.

In 1974 with the funds made on the Space Ritual tour Hawkwind embarked on a tour of the States. Minus
Calvert who left to record a solo album. And Dik Mik who had finally, really quit. Also missing on the US
tour was much of the elaborate staging. Despite all this the shows were a success. Calvert released "Captain
Lockheed and the Starfighters" with much of the band guesting on it. This album received critical acclaim
and stands as one of the oddest concept albums. It's the story of the Lockheed F-104 Starfigher, a
supersonic jet, shaped like a needle that had a habit of crashing early in its career (until pilots learned how to
fly it.)
Kings of Speed. The b-side was a prophetic little
number by Lemmy called Motorhead. Another classic
album, WotEoT was built around Michael Moorcock's
Eternal Champion themes (It's COLD on the Edge of
Time!) Assault & Battery, Magnu and Spiral Galaxy
28948 (Simon's birthday) are standout tracks. The
band was on a roll, and they embarked on another US
tour, however while crossing the border from Canada
into the US, Lemmy was busted for Cocaine, a felony
(actually, it was in reality Amphetamine Sulfate, a
misdemeanor). In a panic the band fired him, a
decision Dave Brock has regretted and Lemmy has
prospere
d by. Paul Rudolph (Deviants, Pink Fairies)
was flown over to replace Lemmy for the rest of the
tour. He then became a regular member.  Also in 1975 Robert Calvert went to work on his second solo
album, Lucky Lief and the Longships (Produced by Brian Eno) this album was not as well received critically,
though I think Voyaging to Vinland is a pretty great song. In August Hawkwind headlined the Reading
Festival after which Stacia quit and Calvert rejoined.

Hawkwind had been growing and improving steadily for 6 years; this was to end in 1976. For starters
Hawkwind left Doug Smith/Clearwater Productions and UA for Wizard Artists and the Charisma label. To
bring you up to date, Hawkwind is now Dave Brock, Nik Turner, Simon King, Alan Powell, Simon House,
Paul Rudolph and Robert Calvert. They release "Astounding Sounds, Amazing Music," to me the most
inconsistent of all Hawkwind albums. It wasn't so much of a group album, as an individual effort. ASAM has
a few highlights; Steppenwolf, Chronoglide Skyway and Kadu Flyer are particular favorites, and of course
Reefer Madness.

Both the album and the tour began to unravel Hawkwind. The new label maybe wanted to see HW on the
charts more, and a couple of members agreed. After the tour, Hawkwind's "Night of the Long Knives"
occurred. First to fall was Nik Turner, whose playing was beginning to irritate the others as he would just
sort of go off on his own. Then Powell and Rudolph went as they actually wanted to add a disco/funk
groove to the Hawkwind sound. God forbid.

The ensuing couple of years get very complicated as the fall of Hawkwind had only begun. In 1977 Dave
pulled together a band: himself, Calvert, House, King and Adrian Shaw on Bass. In June they released Quark,
Strangeness and Charm. This album is generally considered a classic, I agree. The sound is still Hawkwind,
spacey, rhythmic and many tracks based on Science Fiction books, but also shows the band maturing, using
the quirkyness of the new wave bands to add a pop element that works very well. The band toured the UK
twice with great success and Europe. It was during the second UK tour that the live tracks used on PXR5
were recorded. Feeling bored Dave decided not to do the usual Christmas gigs, instead he formed a band for
a 'one-off' show, The Sonic Assassins. He called upon Robert Calvert, and three members of Arc; Harvey
Bainbridge, Bass; Martin Griffin, Drums; Paul Hayles, Keyboards. Ark had opened for Hawkwind and were
well known to Dave.

Then came the 1977 American tour. I do not know what was clinically wrong with Robert Calvert (Manic
Depressive?), but he was a showman who lived his parts; from his apparent belief that he was a WWI flying
ace to mad cavorting on the stage while wielding a sword. All during the tours of 1977 Robert was in full
swing, I know the tapes I have heard of this era are among the best. 1977 was a great year for the band.
However each American tour had proved worse than the last for the band, so when Hawkwind hits the states
in 1978 it was fatal. Simon House had already been hired by David Bowie to join his "Stage" tour, so Simon
was only doing half the tour. The emotional high Robert Calvert rode in 1977 had crested sometime before
the tour and left him burned out and depressed. Almost paranoid. As the tour progressed tensions got worse.
Paul Hayles was called in to replace Simon House, and Calvert continued his downward spiral and the gigs
were spotty and tense. When the last show (in San Francisco) came, Dave had sold his guitar to a fan and
disappeared into the night.

On the plane ride home Doug Smith met with Brock, and things began to look up. Brock wanted to break
with Wizard and return to Clearwater and he already had the band to do it with, The Sonic Assassins.
Charisma owned the name Hawkwind for a few years still and Sonic Assassins was familiar to hard-core
fans but not the general public, so in the end Hawklords was decided upon. Still contractually under
obligation to Charisma the Hawklords album featured enough Hawkwind members to fulfill that obligation,
but not enough members to step on Wizard Artists' toes. The Hawklords were Brock, Calvert, Bainbridge,
Griffin and Steve Swindells replaced Paul Hayles on Keyboards. Simon House and Simon King guested on the
album, King was not interested in staying on. The Hawklords' album is even more 'new wave' than QSC was.
The songs are all short and very Calvert style pop. The album cover and tour used the Factory Worker/1984
motif. They toured a bit but did not receive their usual support. The music world was changing, and a new
crop of musicians were popping up, many Progressive bands felt the same change.

In 1979 they began work on the second Hawklords album. Calvert wanted Griffin fired or he would quit, so
Griffin was fired but Calvert quit anyway. Simon King rejoins leaving us with Brock, Swindells, Bainbridge
and King. For the first time Hawkwind/lords had no tour booked and none being planned. "PXR5" was
released, an "obligatory" album, some live tracks and some Hawklords type stuff. The title track is a killer.
Then it happened, the bird was rising. They could legally use the name Hawkwind again. Steve Swindells quit
and was replaced by another Clearwater artist, Tim Blake (Gong, Hillage). With Tim came the fantastic laser
show of Patrice Warrener. Huw Lloyd Langton also accepted the offer to rejoin. When this new incarnation
of Hawkwind hit the stage, they kicked ass! For me "Live 79" is a monster album, it is a hard-rocking,
synth-swirling, guitar-wailing kick-ass bit of space-rock. The album only featured two new songs, Shot
Down in the Night (a Hawklords song) and Motorway City. It also featured a Tim Blake song, Lighthouse
(live he did the stellar New Jerusalem as well), and what Hawkwind gig would be complete without Master
of the Universe and Brainstorm, both done with a new vigour. This album is definitely an 11. With the laser
show and the great music Hawkwind were back in force, having to turn away people from the packed halls.

So 1980 saw Hawkwind very much in demand again. Once again personnel shifted. Simon King was having
"problems" that affected his drumming, so much so he quit. In a bind, Hawkwind hired master thudman
Ginger Baker as a session player, however he liked the job and stayed. This band recorded "Levitation,"
another more rocking Hawkwind album, with lots of guitar and synthesizer, and those wonderful drums.
Hawkwind had dropped the new wave pop influence and was now in a heavy metal space rock mode, fitting
as they were on an essentially heavy metal label, Bronze. How long Hawkwind can go without group changes
is unknown as very soon Tim Blake's penchant for long phone conversations with his girlfriend led to him
being left by the band, they drove off without him. In came Keith Hale, not quite the spacey twiddler Tim
was, but a solid player. Also a problem with Doug Smith over money caused Hawkwind to look elsewhere
for management. Throughout it all, the band performed well, having a successful tour.

Ginger Baker was not Hawkwind material, he was a Superstar, in some places he got a photo instead of the
band or maybe getting billed as Ginger Baker's Hawkwind. Hawkwind have always been a people's band, and
a superstar doesn't fit in this environment. To make matters worse Ginger wanted Harvey sacked in favor of
Jack Bruce (an interesting idea in any event.) So Ginger was sacked instead and Keith Hale left with him. The
band was unable to complete some gigs so Ginger and Keith went to Italy and played as Hawkwind. For the
first time Hawkwind was unable to find a new keyboardist, Dave and Harvey were becoming quite good with
the synths, and they decided not to hire anyone. Martin Griffin returned to fill the drummer position.
Hawkwind, now signed to RCA, went into the studio to record "Sonic Attack". Martin caught the measles, so
Dave and Harvey used the time to further their experimentation with keyboards, actually working on a second
album. Martin returned and they completed "Sonic Attack". The album is another rocker, featuring many
solid tracks. Michael Moorcock also guests on one track.

In 1982 the band returned to the studios and finished "Church of Hawkwind", the album Dave and Harvey
had started. This album seems to be more of a Dave Brock solo project than anything else. With Dave going
under his pseudonym, Dr. Technical. The album is good but I find some cheesey keyboard effects on it.
During the summer tour for "Church" Nik Turner begins appearing and, of course, rejoins. In the fall the
band releases "Choose Your Masques". This is another on the RCA Active label. And its' sound is in the same
vein as "Sonic Attack". Huw Lloyd Langton begins to show his songwriting abilities on these two releases.
Some standout tracks for me are Solitary Mind Games, Lost Chances and Rocky Paths. Once again the dice
roll and Griffin quits, he is replaced by Andy Anderson for a few gigs. Hawkwind also leave RCA.

At this time the doors began to open wide. I can recall a wealth of Hawkwind material pouring out. Most was
provided by a new independent label called Flicknife. Flicknife began releasing much rare and Hawkwind
related stuff, they also released 1983's "Zones". This album comprised of some live material from the 1980
tour and several new tracks. My favorite cut on this is Dangerous Visions, a Keith Hale song that is quite
nice. We also began to get numerous early 1970 live albums and best of's, the vultures were feeding on
Hawkwind's foolish record deals. Much of what came out wasn't really getting back to the band, and was of
poor quality at times; Bring Me the Head of Yuri Gagarin, Live 1970/73, among others. Flicknife released
several LP's called Hawkwind: Friends and Relations. These are all worth owning, as there are many great
songs on here. The bands are all either Hawkwind spin-off's or bands they knew. Ex-High Tide Pete Pavli,
Harvey's Alman Mulo Band, Michael Moorcock, Huw Lloyd Langton, Nik's Inner City Unit, and cult favorites
Underground Zero.

Hawkwind waited until 1984 to tour, releasing a EP, "The Earth Ritual Preview", what many hoped was a
new, major project. And another live album, "This is Stonehenge: Do Not Panic". A live album with EP. One
again Hawkwind and Nik Turner part company, permanently it would seem. Kris Tait's book of the same
name came out as well.

In 1985 Hawkwind finally did what Elric fans had wanted for a while. Michael Moorcock's most well known
book series is the saga of Elric of Melnibone, albino warrior, drug addict, the last of the his race. And his soul
thirsty sword, Stormbringer. WotEoT first toyed with this concept, now Chronicle of the Black Sword
finished it. I know I was a bit disappointed by this release as I felt it could have been a lot better. And the
video of the tour too closely resembled Spinal Tap at times. However a strange thing was occurring, since
"Sonic Attack" in '81 the line-up was becoming fairly static. Nik Turner being the only one out. The trio of
Brock, Bainbridge, Langton remained intact, and they were the core writers. Alan Davey would join on Bass,
and Danny Thompson would take over on Drums. For anyone less than satisfied after Chronicle, 1986 gave
us a live album of the tour, a 2 record set called "Live Chronicles". This was more like it.

CotBS could have been a 2 record set as well, as there was a lot missing and most of it is pretty good stuff.
"Live Chronicles" is, in my mind, an essential Hawkwind album. The CD adds extra tracks the LP was
missing. The songs are played with energy and spirit. The CD also has a nice Robert Gould cover and
features a mini-pulp issue of the first Moorcock Elric story, The Dreaming City. LC has a generous amount
of guitar based rock, spacey instrumentals and Hawkwind favourites (and Brainstorm is NOT on it!) A
Hawkwind convention was started this year, Hawkon, and has always done well.

1987 gave us a lesser contribution, "Out and Intake." It features a few covers of old Hawkwind and some
new stuff.

In 1988 Robert Calvert died of a heart attack. He was busy at work on a new album. His contributions to
music are mostly unknown. He was a real character and will be missed. Hawkwind's 1988 release, "Xenon
Codex" is a pretty solid effort. The band was getting into a rocking groove here. Standout tracks to me are
Wastelands of Sleep, Lost Chronicles (a beautiful guitar track) and Sword of the East. They toured the states
in 1989, playing small clubs to many happy fans (ME!), as it had been quite a while. However, one member
did not come. Huw Lloyd Langton called it quits and went solo.

1990's "Space Bandits" brought a big change with the addition of a vocalist, Bridgett Wishart. Bridgett was
known to the band as she sang for a "festival" band, The Hippy Slags. I liked Bridgett quite a lot, and "Space
Bandits" is a great release. It also brought my favorite player back into the fold, Violin/Keyboardist Simon
House. Simon is ripping it up on Images. SB was the first to feature Richard Chadwick on Drums. Again
Hawkwind toured the states, sadly Simon did not come due to a family problem. Two live albums emerged
from this tour, 1991's "Palace Springs" (with Simon) and 1992's "California Brainstorm" recorded live at the
lovely Omni in Oakland, CA. I like Bridgett's take on Golden Void, Reefer Madness and she performed a
couple of unreleased tracks as well this tour, Eons (Snake Dance) and Star Song, both are excellent. She was
a performer as well, wearing several different outfits and managing to bring some class to the dreary little
club I saw them in. 1989 began the downsizing of Hawkwind, first Huw Lloyd Langton left. House bowed
out on the eve of the US tour. Wishart bailed out after the tour finished, then longtime member and
keyboardist Harvey Bainbridge quit to pursue a solo career. And Then There Were Three. Dave Brock, Alan
Davey and Richard Chadwick.

In 1992 the question is what can these 3 guys do? "Electric Tepee" answered with quite a lot really. "Electric
Tepee" shows Hawkwind reclaiming its' turf. ET is an ambient, layered, synth-heavy, sonic wonder. And the
tour of it was pretty awesome as well. Using MIDI, Dave and Alan can create a sound not expected from 3
people. With the recent popularity of Rave and Techno and the emergence of Ozric Tentacles and others,
original space rockers Hawkwind began to be more appreciated. "Mix" style ambient groups sought out
samples to play with. "Electric Tepee" is a continuous Hawkwind sound painting. LSD, Blue Shift, and
Sadness Runs Deep are very good. A year later, "It is the Business of the Future to be Dangerous" tried to
continue on in the same vein, and while not a bad album it isn't a great one either. It goes farther into the
ambient realms. Space is their (Palestine), Tibet is Not China. My favorite is The Camera that Could Lie. It
also features a rather unnecessary cover of Gimme Shelter.

The 1994 tour and subsequent live album, the brilliant "The Business Trip" had Hawkwind still a trio and
performing space rock at its' best. Only now it was more space techno, as it wasn't the guitar laden,
pounding rhythms of space rock. It was all built on layers of synth and guitar synth. This is another must
have in my book. Hawkwind got so into this effect they decided to go all the way and do a more Techno
album. However they felt like separating themselves a little from the Hawkwind banner. In 1995 they released
"The White Zone" under the name, The Psychedelic Warriors. A very tasty blend of synths, more Hawkwind
really than Techno, it still has a few fans glad it was a side project.

Realizing this might wear thin, 1995 had Hawkwind once again adding a dedicated vocalist. Ron Tree came
from more of a punk type of band. And he reminds me of Robert Calvert a little, vocally they are of the same
style and both are true performers. Hawkwind's '95 album was called "Alien 4," I guess in reference to the
Sigourney Weaver movies. The album is a concept of sorts concerning alien abduction. And the full blown
1996 release of the tour, "Love in Space" is a better listen in my opinion. Tree, not a poet, uses narration to
convey some of the story. LiS has the band playing in the more sci-fi style of old, and songs like Alien I Am
are just plain great. The Calvert connection really hit home for me when Tree launches into Death Trap. The
LiS tour also featured more of a stage show than last couple of tours with Ron, Aliens and Flame Swallowers.
were back in the US finishing up the tour.

In 1975 they were back in the studio recording "Warrior on the Edge of Time." An early single was cut,