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ALAN DAVEY

Psychedelic/Space Rock • United Kingdom


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Alan Davey biography
Born 11 September 1963 (Ipswich, UK)

ALAN DAVEY is a UK-based musician, first and foremost known for being the bass-player in legendary space rock outfit HAWKWIND in two periods, at first from 1984 - 1996, and then from 2000 - 2007.

When Davey left Hawkwind in 1996 it was du to musical constraints he felt he had in the band at that time. He started creating solo albums where he could follow his own muse to a greater extent, the first of these being "Captured Rotation" which was issued first time in 1996.

While working with his second solo production he also assembled a band of his own; and when "Bedouin" was issued as a solo album in 1997 it was also the tentative start of a career with the band of the same name; an outfit that eventually folded in 2003.

For his next creative venture outside of a band environment, Davey cooperated with long time associate Nigel Potter, Davey's cousin. They had formed an outfit called Gunslinger back in 1979, a project which was put on hold after Davey joined Hawkwind. The long time associates issued "Alien Heart" in 1998 as a one-off creation.

In 2000 Davey hooked up with Hawkwind again, but continued making solo albums as well. In 2000 this resulted in the release of "Chaos Delight", and in 2001 two more solo albums were released, "Al Chemical's Lysergic Orchestra" and "The Final Call".

The solo productions from Davey slowed down after this, partially due to joining Hawkwind again, but mostly because he got involved in two additional band projects from 2003. At this point in time his childhood band Gunslinger was revived; and he also joined black metal outfit Meads of Asphodel around this time.

It wasn't until 2007 that solo productions from Davey saw the light of day again, first with the release of the album "Human on the Outside", and in a flurry of releases from 2007 into 2008 four compilation albums with various demos he had recorded over the years was issued too, named "Four-Track Mind" Volumes 1-4 respectively.

In 2007 Davey left Hawkwind again, focusing his band activities with aforementioned outfits Gunslinger and Meads of Asphodel as well as Pre-Med, a more recent venture who issued their debut album in 2008. Davey's also involved in several other projects. The most tangible of these is the multi-national project Thunor, who mix space rock with jazz and metal and have an album set fo...
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ALAN DAVEY discography


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ALAN DAVEY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.67 | 6 ratings
Captured Rotation
1996
3.31 | 4 ratings
Bedouin
1997
4.00 | 2 ratings
Alan Davey & Nigel Potter: Alien Heart
1998
3.17 | 5 ratings
Chaos Delight
2000
4.00 | 1 ratings
Al Chemical's Lysergic Orchestra
2001
4.00 | 2 ratings
The Final Call
2001
4.00 | 1 ratings
Human On The Outside
2007
5.00 | 1 ratings
Eclectic Devils
2009
3.00 | 1 ratings
Cyber Tooth
2012
4.00 | 1 ratings
Alan Davey's Bedouin: Time Is Made Of Gold
2019
4.91 | 3 ratings
The Future Is Us (as Hawkestrel)
2019

ALAN DAVEY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Alan Davey's Psychedelic Warlords: Hall Of The Mountain Grill
2019
4.00 | 1 ratings
Alan Davey's Psychedelic Warlords: Captain Lockheed & The Starfighters
2019

ALAN DAVEY Videos (DVD, Blu-ray, VHS etc)

ALAN DAVEY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Four-Track Mind - Volume 1
2007
5.00 | 1 ratings
Four-Track Mind - Volume 2
2008
3.00 | 1 ratings
Four-Track Mind - Volume 3
2008
4.00 | 1 ratings
Four-Track Mind - Volume 4
2008
0.00 | 0 ratings
Hawkestrel: Presents Pre-Med
2020
0.00 | 0 ratings
Four Track Mind
2020

ALAN DAVEY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

ALAN DAVEY Reviews


Showing last 10 reviews only
 Alan Davey's Psychedelic Warlords: Hall Of The Mountain Grill by DAVEY, ALAN album cover Live, 2019
4.00 | 1 ratings

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Alan Davey's Psychedelic Warlords: Hall Of The Mountain Grill
Alan Davey Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
4 stars The first paragraph of this review is the same as that for 'Captain Lockheed & The Starfighters Live' but is worth repeating in case you haven't seen the other one. The Psychedelic Warlords were formed by ex-Hawkind bassist Alan Davey and named after the lead off track from Hawkwind's fifth album, 1974's 'Hall Of The Mountain Grill'. The band comprised singer Craig High, keyboard player Zoie Green, guitarist Simon Wilkins and drummer Billy Fleming (who worked as Motörhead's drum tech for 12 years). Apparently Lemmy told Davey that 'Hall of the Mountain Grill' was his favourite Hawkwind album, and as 2014 was seeing the fortieth anniversary Davey thought it would be a great idea to perform the album in its entirety as a tribute. Given that Robert Calvert's seminal 'Captain Lockheed and the Starfighters' was also released in 1974, and was a Hawkwind album in all but name, he decided to hold a concert where both albums would be performed in their entirety. The concert was recorded, and some five years later, was finally made available, and this section of the gig has now been released as 'Hall of the Mountain Grill Live (London 2014)'.

Every Hawkwind fan has the original album in their collection, battered from many years of being played to death. It is the classic album from the classic line-up of Dave Brock, Del Dettmar, Nik Turner, Simon House, Simon King and the one and only Lemmy. During his tenures with both Hawkwind (twice) and Hawklords, Davey would have played most of not all of these songs, some of them every night yet here he is able to provide us with his take on the full album. From the first notes of the songs from which this band have taken their name to the closing rumble of "Motorhead" (which wasn't on the album but is a fitting closer to the other nine), here we have a band who are determined to bring back those classic days. As always, the bass is front and centre, with the chords being riffed as if it was a rhythm guitar in trademark Lemmy style (strange to realise that Davey was in Hawkwind far longer than Lemmy himself).

"D-Rider" crunches, but it is when they really let rip on songs such as "You'd Better Believe It" that everyone comes to life. The sequencers are joined by the bass, then the hi hat, then the guitar, and all of a sudden, we are off, and it sounds like the rumble being created really is an engine going at full bore. This is a classic album being treated with respect and being blasted out to fans who are eagerly awaiting to be pummelled into submission. I remember seeing Hawkwind at an outdoor festival in 1982, and being amazed I had hearing problems afterwards given it was in a stadium (okay, so I was pinned against the railings at the front) and if I had been in London that night in 2014 I am sure I would have been deafened again and drenched in sweat. As with the other album, this is essential to any Hawkwind fans and all power to Davey and the label for them finally becoming available.

 Alan Davey's Psychedelic Warlords: Captain Lockheed & The Starfighters by DAVEY, ALAN album cover Live, 2019
4.00 | 1 ratings

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Alan Davey's Psychedelic Warlords: Captain Lockheed & The Starfighters
Alan Davey Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
4 stars The Psychedelic Warlords were formed by ex-Hawkind bassist Alan Davey and named after the lead off track from Hawkwind's fifth album, 1974's 'Hall Of The Mountain Grill'. The band comprised singer Craig High, keyboard player Zoie Green, guitarist Simon Wilkins and drummer Billy Fleming (who worked as Motörhead's drum tech for 12 years). Apparently Lemmy told Davey that 'Hall of the Mountain Grill' was his favourite Hawkwind album, and as 2014 was seeing the fortieth anniversary Davey thought it would be a great idea to perform the album in its entirety as a tribute. Given that Robert Calvert's seminal 'Captain Lockheed and the Starfighters' was also released in 1974, and was a Hawkwind album in all but name, he decided to hold a concert where both albums would be performed in their entirety. The concert was recorded, and some five years later, was finally made available.

Although Davey didn't play on the original album, he spent many years in the mighty Hawkwind (and Hawklords) having to mimic Lemmy's bass playing (as well as also forming a Motörhead tribute band himself at one point), so perhaps it shouldn't be surprising that he knows exactly how to capture Lemmy's sound and approach. There are times when it seems like the man himself is there on the stage, and with that bass underpinning the songs this seems as if Hawkwind are back in their heyday. For any fan of the band this is essential listening, especially as so few of these songs have ever really bene played in concert, and I doubt if the album was ever played live in its entirety. It sounds like the original comic interludes have been retained, and it is a very English performance of a very English album (yes, I do know Davey is Welsh).

This album was originally way ahead of its time, combining the space rock of Hawkwind with garage and early punk, along with Python-esque humour which could only come from the brain of a warped genius. Here Davey has done his best to capture all of that, and for any Hawkwind fan this is absolutely essential. It is heavy, it is surreal, and the people who were there last night had a blast as can be heard during their reaction to "I Resign".

An essential album for anyone who loves the classic Hawkwind sound, whether they know the original album or not (what do you mean you haven't heard it? Rectify that now!). Robert Calvert may be a name only known to a few these days, while the name Hawkwind will go on forever, but Davey has done a great job of restoring him to centre stage. This is an album which made me smile from beginning to end and isn't that what music is all about?

 The Future Is Us (as Hawkestrel) by DAVEY, ALAN album cover Studio Album, 2019
4.91 | 3 ratings

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The Future Is Us (as Hawkestrel)
Alan Davey Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars Hello Hawkwind fans. Alan Davey was the bassist for Hawkwind from 1985 to 1996 and then again from 2000 to 2007. He is the brains behind this band called Hawkestrel, where he provides most of the vocals and instrumentals of the project. Of course, it stands to reason that, since the name of the project is a definite hint to the Hawkwind name, there would be more in common than this to merit a handle that reflect this relationship. Of course there is. Alan has recruited several past musicians that have worked with Hawkwind through the years and scores of line up changes to participate in some of the tracks on this album called "The Future is Us", released in August of 2019. This album, which lasts a little over an hour, has 13 tracks and plenty of opportunities to bring in these special guests. Two major players that show up several times on this album are Ginger Baker (who is famous in his own right, but also played drums on the album "Levitation" (1980)) and Paul Rudolph (who played bass on "Astounding Sounds, Amazing Music" (1976)).

Starting with "Do What You Need to Do" (8:16), Simon House guest stars on violin. House played violin, synthesizer and other keys sporadically for the band, from 1973 ? 1978, 1989 ? 1991, and again as a guest from 2000 ? 2002). House's violin comes in quite early, giving the space rock track that middle-Eastern sound. The track is built upon a heavy guitar and bass riff with moderately fast rhythm and airy space effects. Davey's vocals don't come in until well into the 2nd minute, and the sound is definitely Hawkwind, not a cheap imitation at all. This is the Hawkwind sound we have been craving. Plenty of rocking and plenty of jamming, you would swear this was a track from the 70s. "World for Fear" (4:41) brings in Paul Rudolph on guitar and original member Nik Turner (1969 ? 1976, 1982 ? 1984) on sax. More layers of space rock joy continue here with swirling guitar and sax standing out in the mix. The track is a bit noisier than the first with heavy synths tying it all together. "Sea of Sand" (4:59) retains Paul Rudolph on guitar who doubles with Ginger Baker, who also plays percussion here. This track has a moderate sound, and less noise. Heavy bass and dissonant sax play together in a long introduction, then guest vocalist Bridget Wishart (Hawkwind's only female lead vocalist from 1989 ? 1991) brings in a psychedelic, mysterious sound as the full band sound kicks in along with a faster tempo. The track has a ore experimental feel to it which is really quite appealing. Tempo's change in various places, and a riff from a violin comes in on the last part of the track that turns the music into a swirling dance.

"Nyx of Khaos" (3:45) brings back Ginger Baker on drums and Nik Turner on sax. The beat is quite heavy and the sax has plenty to say here too. Guest Mick Slattery (one of the original guitarists from 1969) also helps out on guitar. A nice synth loop creates a tonal percussion effect. It's a great instrumental with a progressive feel and tricky drum patterns. Baker also plays drums on the title track "The Future is Us" (4:38) and Rudolph once again helps out on guitar. Turner's sax is also back for this one. Davey's vocals are up front on this psychedelic track, which starts off in a hesitant way, but a moderate rhythm is finally established as it moves on and the sax continues doing a sort of call and answer with the vocals. It's a nice, mostly atmospheric and pensive track, but don't be surprised when things explode into action a few times.

"Sonic Attack" is an old spoken word track from Hawkwind, but this time the vocals are done by none other than William Shatner. It actually sounds natural to have him there, like you almost expected it. His voice is heavily echoed and effects are added to help dramatize everything, and of course, you get some contrasting vocals and plenty of space effects. The track is strangely cool, but weird and campy. "12 String Shuffle" (3:47) brings in Hawkwinds founder Huw Lloyd-Langton (1969 ? 1971, 1979 ? 1988 and as a guest from 2002 ? 2005, died in 2012) on acoustic guitar and harp, recorded from sessions from years before. Sound effects surround his performance and harmonica and drums by Baker are also added in. The track has a really nice western/psych feel to it. "May Sun" (6:10) returns to the heavy space rock sound. The keys, bass and guitar are solid against a heavy and moderate beat by Baker. Simon House provides violin on this track again, and again he gets plenty of time to shine even with the many layers of synth noise and loud bass. Davey's vocals are mysterious and somewhat monotone.

Paul Rudolph returns on guitar for "Goodbye Death Valley" (4:45), which starts off after a short synth introduction. The track is a fast space rock song with an extended jam that easily would fit comfortably on any Hawkwind album. Alan does his best calling on his inner Lemmy-style vocals. "Free Like Us" (5:04) also features Rudolph on guitar and brings back Bridget Wishart as guest vocalist. This is another fast space rock jam style song, but with the refreshing female vocals. It makes you wonder why she wasn't utilized more in the Hawkwind days. "Old Dinah" (4:21) brings back Baker one more time with a solid moderate tempo, and a very psychedelic sounding track about the train. Mick Slattery also returns on guitar, and Kevin M. Sommers (who has worked with Alan Davey in the past) lends his off-key, but appropriate vocals. "Hawkestrel" (4:59) is the only track completely performed by Davey. Not a bad track, but it's interesting how the thick track allows nothing to really stand out here as everything except the vocals are buried in layers of instruments, at least until the 2 minute mark, when everything breaks down and gets atmospheric, and then a nice soft guitar solo plays against meandering space effects and synth loops. The last track ends the album with a loud and rocking remake of "Bad Boys for Life (2019 AD Version)" (3:26) sung by Lemmy Kilmister (bass and vocals from 1971 ? 1975, well-known for being Motorhead's frontman, who died in 2015). This is a very appropriate way to end the album with a bang, and this remake is quite good, with a nice synth solo at the end that plays well against the heavy guitar.

If there are any Hawkwind or Hawkwind tribute albums out there that successfully brings back the glory days and sound of Hawkwind, then this is it. The sound is great, the atmosphere and performances are perfect, and somehow, everything ties together into one excellent cohesive package. This is the best Hawkwind album that Hawkwind never released in any of their incarnations. It is totally enjoyable and brings back the most faithful rendition of their sound that I have heard. Hawkwind fans definitely need to hear this one, and it would easily fit in their repertoire. The addition of guests that have had a chance to work with the band in this tribute only makes it that much more enjoyable and authentic. The work of all of these guests is very well balanced also, so that their distinctive work can easily be heard and not drowned out by layers of guest work on only a few tracks, instead, spreading the performances out evenly, only make this album that much better. This is definitely a five star album that I will return to often.

 Bedouin by DAVEY, ALAN album cover Studio Album, 1997
3.31 | 4 ratings

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Bedouin
Alan Davey Psychedelic/Space Rock

Review by davidsporle

3 stars Now if your a hawkwind fan especially if you like the album chronicles of the black sword and albums after that [the ones with alan davey on bass and synths,keyboards etc] you will probably love this as i do,i do like actually most of alans music hes done anyway to this album,the first track Rock Palace (4:30)starts with a good bass riff and then the guitar comes in and drums also[this track is also on bedouins as above so below album],this is an enjoyable track the guitar is a good bit of playing with the bass just riffing away and in parts the synth really sounds great and i love it when the synth plays high a brilliant start.Wadi Dhar (11:19) is such a joy to hear with wave sequencer sound which alan to me is brilliant and so mellow and so relaxing and floating ive allways and allways will know that i will love this sound,this is slow like but its just such a nice feeling hearing this,and then after awhile drums come in and bass and guitar and synths to and they play a great track to with the synths being more of lead role and the track just sounds great i just love how the synth plays lead here[it,ll get stuck in ya head for awhile and thats a good thing to,and the bass drums guitar playing after a while as the synth stops and a nice bit of guitar then the synth starts again and thats the track basicly and the last minute is really mellow to brilliant track.Passion Is An Animal (5:25)been the first vocal track starts with bass drums guitar playing a good riff with alans vocals it really fits well together with his bass playing good here as with everything else to,no synths here really attall just rock music with a riff thats good sounding another great track great ending.Alhadan (5:48) starts very mellow as the last track goes into this[meaning the end of last track ends mellow and goes into this track] and this is just great with an instrument [stringed] sounding like something from india or eastern sounding and it just sounds great with the wave sequencer sound playing mellow in background and then an indian or eastern vocal comes in and this sounds great and thats the track basicly a nice track to.Space Rock Café (4:55)[ i like the name of this track] starts with drums and a riff and guitar playing and when the synth plays it really makes the track more and some nice bass playing here to alan plays well here and the synths playing is great to.One Moon Circles (5:05) starts with a sound like someone banging a gong [i think]lightly,and the track gets slightly louder as it gets going and with nice sounding drums[like african sound a bit] and the synths wavey sound playing just how i like sounding mellow and then its more the drums play for a bit,then the synth[wavey] sound plays again i just love this a great track.Queen Of The Nights (5:14) is the second vocal track and with a great track playing and drums and bass and guitar playing and after awhile when alans bass plays it just sounds great[ not that it sounded bad ] and is an addictive sound with guitar playing great then it gets quieter with a nice sound for few seconds then the track plays again with vocals and goes till end.Eyes In The Dark (7:12) starts very fx and wavey sound and this just reminds me of stars shining this is just great to hear it gets mellower after a bit,and abit more in a drum n bas kind of sound comes in which sounds good not hard drums and bass though,with fx with alan playing bass in background which really goes well with the track and the synth fx sound sounding great to and themn the track ends.Sand Devil (2:37) a track from alans collection from 1987 and has a riff and isnt that a bad track not best on here though but its good when the synth comes in as it is addictive then the album ends,this is an album definatly worth having especially if you like hawkwind with alan davey its a definatly get,but to be fair i,ll give it 3 stars,i would 4 but i reckon most people would think 3,so 3 stars.
 Chaos Delight by DAVEY, ALAN album cover Studio Album, 2000
3.17 | 5 ratings

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Chaos Delight
Alan Davey Psychedelic/Space Rock

Review by Tom Ozric
Prog Reviewer

3 stars Let's meet Alan Davey, the (little) man behind the BIG sound in HAWKWIND (from the mid-80's on, off, on, off....). He plays one mean Rickenbacker bass, also he possesses great knowledge on synths and sequencing etc. Ever since Alan heard Lemmy's bass solo in the song 'Time We Left This World Today' (from Hawkwind's DoReMi album of 1972) he was blown out and destined to rumble the cosmos with his hyper-active chunky bass-lines. And I'm glad he did. 'Chaos Delight' is a totally D.I.Y. album from Alan, released on Black Widow records in 2000. The style of composition doesn't change much from that of the Hawks, but being a one-man effort gives the songs a more personal vibe. Kicking off in true Space-Rock fashion, the thumping 'Sci-Fi-Delic' could easily be Hawkwind ; a basic riff full of churning rhythm guitars, dizzying synths and his rumbling Ricky bass. The drums are programmed and are the weakest facet of this work. 'Vulcan Ritual' is an ambient, electronic excursion featuring some sampled quotes and a pulsating synth arrangement which reminds of atmospheres from ELOY's early 80's albums. 'Interceptor 1' returns to the driving and heavy space music of the first track, but this one sounds somewhat 'poppier'. The near-7min 'Holosuite Program' is an intensely mesmerising synth piece formed around repeating electronics with random lead- synth lines. All the while, the sounds of jingling bells and hand drums are present. Incredibly trance-inducing, and if I had to pick a similar track by the mothership, it would have to be 'Going to Hawaii' (off the Electric Tepee album). Side 2 of the record starts with 'Theme From U.F.O.', a throwback tribute to some 50's/60's Space show. The opening and end section's main riff is really retro and psych sounding, bookending an astonishing mid-section with amazing Bass, keys and cool lead- guitaring. 'Eagle Alfa' and 'Assimilation' are again hard rock tunes lost in space. Album closer 'S.I.D.' approaches near the 7-min mark again, and is a lighter, repetitious groove which never fails to satisfy, although doesn't dazzle either. Some nice Bass motifs can be heard in this one. Chaos Delight is a very good album that allowed Davey to get some of his own ideas off his chest, done in his way, with no outside interferences and an enjoyable off-shoot of Hawkwind- styled Sci-Fi music to boot. 3.5 stars.
Thanks to windhawk for the artist addition. and to Quinino for the last updates

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