Artist: Hawkwind
Genre(s):
Rock
Metal: Heavy
Other
Reggae
Electronic
Rock: Psychedelic
Ambient
ROck: Alternative
Trance: Psychedelic
Discography:
Take Me to Your Leader
Year: 2005
Tracks: 10
Spacebrock
Year: 2005
Tracks: 11
Spaced out in london
Year: 2002
Tracks: 14
Space Ritual CD2
Year: 2002
Tracks: 7
Space Ritual CD1
Year: 2002
Tracks: 12
Hawkwind
Year: 2001
Tracks: 11
1999 Party
Year: 2001
Tracks: 16
Sonic Boom Killers: The Singles
Year: 1998
Tracks: 18
Live In Manchester
Year: 1997
Tracks: 5
Sonic Attack
Year: 1996
Tracks: 11
Best Of and The Rest Of
Year: 1995
Tracks: 8
Alien 4
Year: 1995
Tracks: 14
Zones
Year: 1994
Tracks: 10
The Business Trip
Year: 1994
Tracks: 15
Church of Hawkwind
Year: 1994
Tracks: 15
Electric Tepee
Year: 1993
Tracks: 14
Out and Intake
Year: 1992
Tracks: 13
Live in Concert
Year: 1992
Tracks: 6
Hawkwind - Friday Rock Show Sessions
Year: 1992
Tracks: 9
California Brainstorm
Year: 1990
Tracks: 7
Live Chronicles - Disc 2
Year: 1986
Tracks: 13
Live Chronicles - Disc 1
Year: 1986
Tracks: 16
Live Chronicles
Year: 1986
Tracks: 16
Levitation
Year: 1980
Tracks: 10
Quark, Strangeness And Charm
Year: 1977
Tracks: 8
Astounding Sounds, Amazing Music
Year: 1976
Tracks: 10
Warrior On The Edge Of Time
Year: 1975
Tracks: 12
Space Ritual
Year: 1973
Tracks: 9
Doremi Fasol Latido
Year: 1972
Tracks: 7
In Search of Space
Year: 1971
Tracks: 9
Live '79
Year:
Tracks: 7
Anthology 1967-1982 CD2
Year:
Tracks: 16
Anthology 1967-1982 CD1
Year:
Tracks: 16
Any sci-fi fan with long memories in all likelihood remembers those 1970's DAW softback editions of Michael Moorcock's sword-and-sorcery novels, with their images of heavy panoplied, very mesomorphic warriors, carrying big swords and standing against eerie land and starscapes. Take that imagination, throw in some nomenclature and name calling seemingly upraised from the Marvel Comics of the earned run average (The Watcher, etc.) and particle natural philosophy articles of the menses, translate it into forte only articulate hard rock music, and that's more or less what Hawkwind is about. One of England's longest-enduring heavy metal bands, Hawkwind was formed during the recent '60s, just as progressive rock was approach into its own. They combined bluff guitar, synthesizer, and Mellotron sounds, creating heavy metal euphony that seemed to cross paths with Chuck Berry and the Moody Blues without sounding like either of them. At their charles Herbert Best, their early records sounded like the Beatles of "Yer Blues" combined with the Cream of "I Feel Free." The introduction of lyrics steeped in scientific discipline fiction and drug effects on their second album helped delineate the group and separate them from the competition -- in some shipway they were like Pink Floyd with more of a john Rock & roll beat and a vengeance. They've never charted a record anyplace near the high that Dark Side of the Moon has achieved, merely it's a sign of the dedication of the fans they do get that the group has around 30 CDs out, including archival releases of decades-old unrecorded shows and multiple compilations.
Hawkwind's history has been marked by a series of confusing batting order changes, as members began an well-nigh revolving door relationship with the band virtually from the kickoff. The seeds of the grouping were ingrained when guitarist/singer Dave Brock and guitar player Mick Slattery of the grouping Famous Cure, which was playing a gig in Holland in 1969, met saxman/flautist/singer Nik Turner, a fellow member of Mobile Freakout, on the same tour.
Once back in England, Brock, Slattery, and Turner hooked up once more and, adding John Harrison on bass, Terry Ollis on drums, and DikMik Davies on electronic keyboards, called themselves Group X, afterward changed to Hawkwind Zoo, and eventually to Hawkwind. They secured a condense with United Artists/Liberty Records in England. Before the grouping recorded, all the same, Huw Lloyd Langton replaced Mick Slattery on guitar.
The newbie band dependant up with deuce Pretty Things alumni -- drummer Viv Prince, wHO now and again joined them on leg, and bassist (and sometime Rolling Stones fellow member) Dick Taylor, wHO was recruited as a manufacturer just played on their early records. Their number one unmarried, "Hurry on Sundown" (aka "Haste on a Sundown") b/w "Mirror of Illusion," was released in July of 1970, but in time for Harrison to issue the card, to be replaced by bassist Thomas Crimble. Their number one album, Hawkwind, was released to little public placard in August, but that same calendar month the chemical group made a modest plash by playing outside the fences of the Isle of Wight Festival.
The undermentioned calendar month, Huw Lloyd Langton give up the isthmus along with Thomas Crimble -- the replacing bassist, ex-Amon Duul fellow member Dave Anderson, united in May of 1971, the same calendar month that DikMik Davies give up, to be replaced on keyboards by Del Dettmar. In June of that year, iI more new members came aboard -- poet Robert Calvert, wHO became tether singer, and a social dancer named Stacia, wHO began appearing with the chemical group on leg. Meanwhile, the band likewise drug-addicted up with creative person Barney Bubbles, wHO gave the group a modern image, redesigning their stage interior decoration and equipment decoration, and too fashioning classifiable new album art.
Ex-bassist Crimble helped coif for the group's functioning at the Glastonbury Fayre in Somerset in June of 1971, which gave Hawkwind fresh vulnerability, and brought them to the attention of writer Michael Moorcock, wHO was entrance a vastly popular phase in his career as the writer of many scientific discipline fiction and fantasy novels. Moorcock helped form some of their performances, as well as now and then service as a second-stringer for Calvert.
Equally important, in August of 1971, Dave Anderson gone the group, while DikMik Davies returned to the batting order to join Dettmar on keyboards and brought as Anderson's replacing -- his friend Lemmy (born Ian Kilmister), an ex-roadie for Jimi Hendrix and a fellow member of the yobo mid-'60s Blackpool rock & roll band the Rocking Vicars. Lemmy had united the group just in time to enter on the recording of the band's second gear album, In Search of Space.
Released in October of 1971, it proven a shaping work, cutting out newfangled frontiers of metallic element, drug, and science-fiction-laced music, including one major graeco-Roman song dynasty, "Edgar Lee Masters of the Universe," which became one of the group's most popular concert numbers pool and turned up on numerous studio apartment and live compilations. More batting order changes followed, as Simon King succeeded Terry Ollis on the drums in January of 1972. The grouping played the Greasy Truckers Party -- a show window of underground and alternative music and politics -- at the Roundhouse in London the next calendar month, parts of which later surfaced on a pair of subsequent albums. All of these batting order changes and calling stairs had been compromised by a string of annoyance bad chance and thefts of equipment, which were serious sufficiency to threaten their solvency. Coupled with Bob Calvert's shaky health, the issue of a nervous breakdown, Hawkwind went into 1972 on a selfsame changeable basis.
The group's early sound, characterized by their singles up through this point, was essentially severe rock with reformist trappings. They slotted in perfectly with the collegiate and drug audiences, putt on the kind of demonstrate that acts of the Apostles care King Crimson and ELP were known for, simply with more of a pure rock candy & roll base (not surprising, considering Lemmy's background). Their commercial breakthrough took place when a variation of the driving hard rocker "Ag Machine," song by Lemmy, got to turn three on the British charts in August of 1972. They were unable to follow up on this unexpected flash of mass success, particularly when their follow-up single, "Urban Guerrilla," a surprisingly melodious rocker with gobs of crunchy guitar at the core of multiple layers of metallic heavy, was withdrawn amid a series of terrorist attacks in London, even though it had reached the British Top 40 and seemed self-contained to mimic "Silver medal Machine"'s success.
The British tour that followed "Silver Machine," their number one major circuit of the area, gave them more concert exposure, and their third base album, Doremi Fasol Latido, released in November of 1972, which got to the turn 14 spot on the British charts. This album codified the group's science fiction orientation, presenting an elaborate mythology about the history of the population (or some existence) into which the radical and their music was woven. By this fourth dimension, they had a major reputation as a live act, and blush wine to the occasion with an elaborate concert show called the Space Ritual. Their fourth part album, a double-disc set recorded in concert called Space Ritual, issued in June of 1973, got to turn baseball club.
By the sentence of their adjacent album, In the Hall of the Mountain Grill in 1974, Bob Calvert had departed to work on a planned solo project (Captain Lockheed and the Starfighters), and violinist and keyboard player Simon House had joined the group. This was the efflorescence of progressive bands such as Yes, ELP, and Genesis, and Hawkwind's integrate of dense keyboard textures and big alloy guitar and bass, coupling classical fustian and knockout rock playing, became the sudden recipient of massive international press coverage -- though they'd never charted a record in the United States, they became considerably known to readers in the rock press, and their records were available as imports.
The group toured the United States double during this era, once in late 1973 and once more in the spring of the following class. These tours had their usual ploughshare of problems -- the band and its entire cortege were arrested in Indiana for default of taxes -- simply it was after the liberation of their 1975 album, Warrior on the Edge of Time, that a major membership variety ensued. They were touring the United States behind the release of the album when Lemmy was arrested on drug charges. He was laid-off from the band and went on to phase Motörhead, a successful and influential alloy band. His expiration too took off a bunch of the energy and focus driving Hawkwind's level-headed. There was verbalize about the band career it quits, simply they carried on with Lemmy's alternate, Paul Rudolph, and with Bob Calvert back in the lineup. By this time, their chances for a breakthrough in America had been decreased considerably by the graph success of such groups as Kansas and Blue Oyster Cult, both of which melded proletariat rock with reform-minded sensibilities in just the ripe portions to appeal to kids on this slope of the Atlantic.
Hawkwind's revamped card did press release a fresh album, Astonishing Sounds, which performed reasonably intimately, and followed it a year by and by with Quark cheese Strangeness and Charm (1977), which had a right title sung, among other virtues. Hawkwind was smooth working as a quintet, merely by this fourth dimension their chronic instability was about to reach vital levels -- at the end of their 1978 American duty tour, Calvert drop out the band again, and then the entire grouping virtually disbanded. When the smoke clear, Calvert had put together a conduct outgrowth group, the Hawklords, and derelict an intact finished album to criminal record 25 Years On with a card that included Brock, Martin Griffiths on drums, Steve Swindell on keyboards, and Harvey Bainbridge on drums. That record made a goodly showing at number 48 on the British charts with a encouraging circuit, simply the new group wasn't often more stable than the old one, with drummer Griffiths bygone by December of 1978.
Then Calvert drop out (over again), while Simon King, world Health Organization had been a Hawkwind phallus a couplet of days back, rejoined on drums, replacement Griffiths. The group was leftfield as a four-piece and resumed the function of the name Hawkwind in January of 1979. Huw Lloyd Langton was back in the lineup by May of 1979, while Tim Blake replaced a departing Swindell. This card proven relatively stable and recorded a very successful live album (number 15 in the U.K.), released as part of a unexampled contract with Bronze Records. The one swelled variety took place in September of 1980 when Ginger Baker replaced Simon King, although Baker himself only lasted until March of 1981, when he was permit go from the band and replaced by "Hawklords" drummer Martin Griffiths. This core lineup cut a string of good-selling albums through 1984, which were embraced by the leaden metallic element residential district and ab initio propelled into the Top 30 and Top 20 in England, culminating with another live album. By their 1984 album This Is Hawkwind, Do Not Panic, released under a unexampled contract with Flickknife Records, Turner, Brock, and Langton were back together again.
By this time, the band's seventies recordings were starting to show up in profuseness, in competition with their stream work. Ironically, it was in 1985, just as the electric current group was starting to compete with their possess early history, that they released their nigh challenging record of all, Chronicle of the Black Sword. An adaptation of Michael Moorcock's sci-fi novels, the album was a return to their honest-to-god expressive style as well. It was in this like full stop that Brock, Turner, Langton, Anderson, Crimble, Bainbridge, and Slattery accompanied the first Hawkwind Convention, held in Manchester -- Turner left before long after, merely the leftover members held together for trine years, a track record for the band.
Bobber Calvert, world Health Organization had relinquish the isthmus twice at the end of the '70s, died of a pith attack in 1988. Hawkwind was still together, withal, and the next year even managed its number 1 American circuit since Calvert's first passing from the set. By 1990, their fortunes were on the upswing once again, when their sudden embrace of the spout culture on a fresh album, Blank Bandits, gave them a new chart ledger entry and a distinctly jr. listenership. Their commercial revival meeting was short-lived, however, and by 1991, they were busying themselves re-recording their classical material. They toured America once again in 1992.
They were left as a trio after a falling proscribed among the members at the end of that spell, and in late age, apart from periodical reissues of their authoritative material, the living chemical group has achieved a good following on the metro, drug-driven dance/rave scene in England, ironically reversive to a modern edition of their roots. They've played respective major showcases (including the 12 Hour Technicolor Dream All Nighter at Brixton Academy), as easily as welfare performances. Their intact catalogue has been reissued on CD by several different labels (Griffon, Cleopatra, One Way, Magnum, etc.), in some cases recompiled and retitled (especially the live recordings), including legion compilations and archival explorations, all very perplexing and enumeration in the wads.
