Ohio Scene 1975
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produce sounds and moods which make the first space bands sound crude and outdated themselves.  
Pretentious is a word which was introduced into the vocabulary of rock about the time of Sgt. Pepper and
most of the "major" albums which have come out since then have been bestowed with this tag somewhere
along the line, leaving Hawkwind in esteemed company.

So much for criticisms. Warrior..., the band's first album with Atco, introduces some interesting
refinements of their style. The most significant of these is the introduction of British Science Fiction writer
Michael Moorcock into the group as the author of three eerie recitations ("The Wizard Blew His Horn,"
"Standing At The Edge" and "Warriors"), as well as co-writing the band's single effort, the metallic "Kings
Of Speed." Another drummer, Alan Powell, has been added, which will certainly affect their sound live. But
on record, little difference is noted.

The usual Hawkwind mixture of spacey instrumentals and apocalyptical musical statements is heard along
with the spoken tracks. With a general increase in the band's level of musicianship making them more valid
than similar things on past albums. This album shouldn't disappoint their followers, but neither will it win
them many new converts. Possibly some future lineup will explore more of the sizeable number of
possibilities involved in playing space music, but at the moment, no one is doing it as well as Hawkwind.

-Cliff Michalski
The second piece here is a gig review that according to the text byline took place on May 16th 1975.  If
correct, that date would make this Lemmy's penultimate gig with Hawkwind, but the Gig & Set Lists 1975
gives a date a week earlier (May 9th), which I think is correct, based on Lemmy's last US gig with the band
being in Detroit on 10th May 1975, with the infamous drug bust taking place the following day on the
Canadian border...

Hawkwind and Michael Quatro, Allen Theatre, May 16
An evening of celestial rock was presented at the Allen last Friday, opened by Mike Quatro and his group.
Some needed improvements have been made in his set compared with his numerous past appearances here.
Although the flash bombs and dry ice surfaced during "Court Of The Crimson King," Quatro's music was
mostly left to stand on its own merits, with less emphasis on gimmicks.

An improvement was seen musically, as well. His new, set closing opus, "In Collaboration With The Gods,"
exhibited more taste than many of his past works have. His backing band proved themselves capable of
handling the numerous styles thrown their way, with guitarist Ted Hale balancing the keyboards of Quatro
with some fine soloing. This outfit is one of the few in this country playing classically influenced rock, and
a continuing improvement may put Quatro at the level of his English counterparts yet.

Another full theatre of space cadets was waiting for Hawkwind, and the Sonic Assassins didn't disappoint
many of them. Their show contained the expected visuals: geometrical forms, moving waves and winged
horses projected on a screen, flashing colored strobes - the lot. For me, they were a bit too predictable,
many numbers being only slight variations of things the band has done on stage for years. Groups such as
Genesis and Nektar have displayed more imagination and desire for change in their visuals in recent
appearances here.

Their human visual device, dancer Stacia, did her usual hippie chick gig, fluttering around the stage in
various costume changes, inciting psychedelic sexual fantasies. Clearly another area where it seems as
though more could be done.

Hawkwind's music was tightly performed, if not instrumentally outstanding, a cross section of old and new
material. Guitarist Dave Brock and sax player Nik Turner handled the vocals and recitations, some of which
were more effective than others.

It seems that just when Hawkwind has begun to show some improvement on their recorded work (via their
new Warrior On The Edge Of Time release), the quality of their live shows has begun to slide. Hopefully,
some overhauling of the deadwood in their show will revitalize the impact of it next time around.

-Cliff Michalski
This page consists of a couple of scanned clippings
from "Scene", a free Cleveland, Ohio newspaper.  
It's not the first time I've included something on this
site from that particular publication, but what's on
this page is from a very ancient copy, dated May
22nd - 28th, 1975.  The two clippings in question
consist of a gig review, plus (first) a review of the
then newly released album 'Warrior On The Edge Of

Hawkwind - Warrior On The Edge Of Time
Here we have another record from the band which
has moved itself into the number two slot in the field
of space rock behind Pink Floyd, the founders and
continuing rulers of the genre. The enormous
popularity of the Floyd on both sides of the Atlantic
documents the existence of a sizeable audience for
this type of music, an audience willing to ignore the
bad press it often receives.

Much of the negative commentary on space music
seems to have been directed towards Hawkwind.
They've been called simplistic, although the
directness of their style is refreshing to hear after
being exposed to some of the more extreme
ramblings of others in the field (German bands in
particular). Outdated and pretentious are two other
common criticisms of the group, even though
electronic musical advances have enabled them to