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HAWKWIND

Psychedelic/Space Rock • United Kingdom


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Hawkwind biography
Formed in London, UK in 1969 - Still active as of 2018

Over their 30-odd year history, HAWKWIND were probably the most famous underground rock band in the world. The group was formed in the late '60s by guitarist/singer Dave BROCK, guitarist Mick SLATTERY and saxman/flautist/singer Nik TURNER. Dave BROCK was the leader of HAWKWIND and he was the captain, as it were. The band never would have made it for 30 years without Dave.

HAWKWIND's history has been marked by a series of confusing line-ups through 40 or so personnel changes. Their sound has continued to metamorphose and evolve: an almost jazz feel ("Hawkwind"), the "experimental" & acoustic sounds of early releases ("In Search of Space"), changing to the metal sound of their days (mid 70's), and a modern electronic feel on the latest ("Electric Teepee"). Yes, one can detect definite evolutions. With the primary use of the synthesizer, heavy and delay with the touch of techno, HAWKWIND practically created a genre of music that be called: psychedelic space-rock. Their creativity seems to be in the use of the synths to add to the intense moods of their songs. They were the master of the acid-space rock genre.

There are at least 100 total albums that are either compilations, EP's, bootlegs of live performances, etc. You can't go wrong with any of the 70's releases in my opinion.
"Doremi Fasol Latido" ('72) - A great album with a heavy metal space rock a-la lan Lemmy KILMISTER, who later founded MOTORHEAD.
"A Space Ritual" ('73) - The essential live album combining Space-rock music, and poetry. The GREATEST album in the world!
"Hall of the Mountain Grill" ('74) - A great album for FLOYD fans - very heavy, psychedelic music with lots of effects.
"Warrior at the Edge of Time" ('75) - In my opinion, THE classic album.
"Quark, Strangeness and Charm" ('77) - A return to a more traditional HAWKWIND sound.
"The Hawklords - 25 Years On" ('78)
"PXR 5" ('79) - This album really started the HAWKWIND tradition of semi-live, semi-studio albums.

Then you should consider the following efforts which I would recommend to the "Hawkfan":
"Levitation" ('80) - The last truly great HAWKWIND studio album.
"The Church of Hawkwind" ('82) - Really a Dave BROCK solo album. Very spacey and electronic.
"Chronicle of the Black...
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Buy HAWKWIND Music


Space Ritual (2LP 180 Gram Vinyl)Space Ritual (2LP 180 Gram Vinyl)
Rhino/Parlophone 2016
$27.29
$37.92 (used)
Warrior on the Edge of TimeWarrior on the Edge of Time
Atomhenge 2013
$10.17
$17.93 (used)
Hall of the Mountain GrillHall of the Mountain Grill
Extra tracks · Remastered
Emd Int'L 2001
$5.04
$8.49 (used)
Palace SpringsPalace Springs
Remastered
Atomhenge 2012
$13.98
$18.04 (used)
All Aboard The SkylarkAll Aboard The Skylark
Cherry Red 2019
$19.99
Space BanditsSpace Bandits
Extra tracks
Atomhenge 2016
$18.38
$11.99 (used)
This Is Your Captain SpeakingThis Is Your Captain Speaking
Imports 2015
$249.97
$94.84 (used)
Dream Goes on: From Black Sword to Distant HorizonDream Goes on: From Black Sword to Distant Horizon
Box set · Remastered
Atomhenge 2009
$16.86
$12.83 (used)
At The RoundhouseAt The Roundhouse
Box set
Cherry Red 2017
$35.37
$40.43 (used)
Into The WoodsInto The Woods
Cherry Red 2017
$10.56
$8.69 (used)
Right Now on Ebay (logo)
ROBERT CALVERT At The Queen Elizabeth Hall 1986 Hawkwind USD $34.99 Buy It Now
Hawkwind Self Titled LP Music on Vinyl Audiophile 180 gram issue USD $30.99 Buy It Now
HAWKWIND - ON SUNDOWN NEW CD USD $10.74 Buy It Now 6m 17s
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Valued at 8-10-Excellent Condition-Hawkwind-Angles of Death 7 inch Vinyl USD $6.74 Buy It Now 33m 29s
Hawkwind Choose Your Masques RCA Rare Prog Metal NM Orig UK Motorhead '82 brock! USD $52.00 Buy It Now 1h 5m
'HAWKWIND' - 'LEAVE NO STAR UNTURNED: LIVE 1972 (180GR BLACK)' NEW VINYL RECORD USD $36.89 Buy It Now 1h 30m
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Hawkwind Back on the sreets NEW & SEALED 7" vinyl RSD 2015 USD $9.99 Buy It Now 2h
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Unknown Artist : The Hawkwind Collection Volume One CD FREE Shipping, Save s USD $4.85 Buy It Now 2h 44m
Hawkwind - 77 (CD Used Very Good) USD $8.24 Buy It Now 3h 20m
HAWKWIND LIVE CHRONICLES GWR PAL 1237 PROMO 1986 SPACE ROCK Double LP USD $29.99 [0 bids]
4h 7m
Hawkwind - X In Search Of Space GER LP 1971 FOC /4* USD $58.90 Buy It Now 4h 47m
Hawkwind - Astounding Sounds; Amazing Music [CD] USD $14.16 Buy It Now 5h 27m
HAWKWIND-DOREMI FASOL LATIDO-JAPAN MINI LP HQCD BONUS TRACK H40 USD $28.79 [0 bids]
6h 6m
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HAWKWIND-IN SEARCH OF SPACE-JAPAN MINI LP HQCD BONUS TRACK H40 USD $28.79 [0 bids]
7h 18m
Hawkwind - Master of the Universe - CD. USD $4.80 Buy It Now 9h 24m
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HAWKWIND - The Collection ~ GATEFOLD 2 x LP USD $30.35 Buy It Now 10h 25m
Hawkwind - Welcome To The Future BEL LP 1985 Space Rock Psych /2* USD $35.99 Buy It Now 10h 44m
Living on the Edge - Hawkwind, Blossom Toes, Soft Machine, VDGG, Chaos UK USD $1.20 [0 bids]
10h 44m
HAWKWIND - Complete '79: Collectors Series, Vol. 1 - 2 CD - Import - SEALED/NEW USD $48.49 Buy It Now 10h 58m
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HAWKWIND MAN MAGMA 'Dijon,France gig review' 1975 2 page UK ARTICLE / clipping USD $14.51 Buy It Now 11h 34m
VENOM DEMON SAVAGE HAWKWIND AVENGER NIGHTWING LP 12" VINY LAXE ATTACK '86 BRAZIL USD $25.56 Buy It Now 12h 13m
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Hawkwind - The Collection - CD - 2006 - UK FREEPOST USD $5.89 Buy It Now 13h 2m
Hawkwind - Best Of Live - Live Hits (NEW VINYL LP) USD $20.63 Buy It Now 14h 23m
Hawkwind - Chronicle Of The Black Sword (NEW CD) USD $13.65 Buy It Now 14h 28m
HAWKWIND - WARRIOR ON THE EDGE OF TIME [BONUS CD/DVD] USED - VERY GOOD CD USD $29.74 Buy It Now 14h 42m
Hawkwind - Live Chronicles NL 2LP 1986 /4* USD $31.99 Buy It Now 14h 53m
Hawkwind - Hawkwind (Vinyl) USD $36.42 Buy It Now 14h 54m
HAWKWIND Decide Your Future EP limited edition 1993 UK CD single USD $13.00 Buy It Now 15h 9m
HAWKWIND Astounding Sounds, Amazing Music (Class UK vinyl LP EXCELLENT CONDITION USD $18.20 Buy It Now 15h 17m
Hawkwind - Masters Of The Universe (Vinyl) USD $23.67 Buy It Now 15h 27m
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15h 58m
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Hawkwind - Anthology [Remastered] (CD 1998) USD $12.08 Buy It Now 16h 13m
Hawkwind - Palace Springs [Remastered/Expanded Edition] USD $23.72 Buy It Now 16h 13m
Hawkwind - Hall Of The Mountain Grill Cassette Tape FA4131334 Album USD $6.07 [0 bids]
16h 15m
Hawkwind - Palace Springs USD $13.55 Buy It Now 16h 16m
HAWKWIND: Doremi Fasol Latido vinyl Lp is NM- United Artists USD $16.88 [0 bids]
16h 20m
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HAWKWIND Earth Ritual 1984 TOUR PROGRAMME ~ AUTOGRAPHED! USD $72.86 Buy It Now 16h 45m
HAWKWIND Earth Ritual 1984 TOUR PROGRAMME! USD $30.36 Buy It Now 16h 47m
HAWKWIND 'warriors in extra time' 1980 2 page UK ARTICLE / clipping USD $14.51 Buy It Now 16h 52m
Hawkwind concert Photo Pass Shepherds Bush London England 31st October 1997 USD $6.01 [1 bids]
17h 8m
Silver Machine 7" (YUG 1975) : Hawkwind USD $18.21 Buy It Now 17h 16m
MONSTERS OF ROCK CONCERT PROGRAMME SAXON SCORPIONS QUO HAWKWIND USD $21.86 Buy It Now 17h 24m
Hawkwind - Astounding Sounds, Amazing Music (Vinyl) USD $35.20 Buy It Now 17h 30m
HAWKWIND Hawkwind Debut 1970 UK Vinyl LP EXCELLENT CONDITION original USD $60.70 Buy It Now 17h 43m
HUW LLOYD LANGTON (Hawkwind) Tour T-Shirt - XL Space Rocker Psychedelic Warlord USD $15.99 Buy It Now 18h 10m
monsters of rock t shirt 1982 Saxon Status Quo Hawkwind Anvil Festival Vintage USD $48.57 Buy It Now 18h 12m
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HAWKWIND - ROAD TO UTOPIA USED - VERY GOOD CD USD $14.08 Buy It Now 18h 43m
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HAWKWIND Space Ritual DCD SEALED 2013 EMI 3 BONUS TRACKS LEMMY MOTORHEAD STRAY USD $0.99 [0 bids]
19h
Hawkwind - Hawklords 25 Years 1979 UK 12" Limited Edition Grey Vinyl Excellent! USD $9.99 Buy It Now 19h 4m
Hawkwind - The Psychedelic Warlords (Disappear In Smoke) UK 1974 7" UA Recs USD $6.06 [0 bids]
19h 17m
Stonehenge 1984 (VHS) - Roy Harper Hawkwind The Enid USD $2.43 [0 bids]
19h 22m
HAWKWIND SILVER MACHINE 7"VINYL USD $2.42 [0 bids]
19h 35m
HAWKWIND (UK Concert Tour Flyer (2019) 50 yrs USD $1.81 [0 bids]
19h 38m
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NME newspaper May 12th 1973 Jethro Tull Maggie Bell David Bowie Hawkwind split USD $7.29 [0 bids]
19h 49m
Hawkwind-Angels of Death.RCA 137 USD $1.20 [1 bids]
19h 52m
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19h 57m
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20h 30m
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Hawkwind - Friends And Relations RARE OOP Original 1982 Flicknife LP Replica CD USD $21.80 Buy It Now 21h 6m
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Hawkwind - Hall of the Mountain Grill (2001) USD $4.68 [0 bids]
21h 49m
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Hawkwind - Masters of the Universe [UA/Magnum] (1989) USD $3.64 [0 bids]
21h 55m
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HAWKWIND discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.37 | 273 ratings
Hawkwind
1970
3.62 | 364 ratings
X In Search Of Space
1971
3.71 | 328 ratings
Doremi Fasol Latido
1972
3.98 | 434 ratings
Hall Of The Mountain Grill
1974
4.12 | 637 ratings
Warrior On The Edge Of Time
1975
3.45 | 169 ratings
Astounding Sounds, Amazing Music
1976
3.68 | 215 ratings
Quark, Strangeness And Charm
1977
3.25 | 115 ratings
Hawklords: 25 Years On
1978
2.91 | 116 ratings
PXR 5
1979
3.98 | 242 ratings
Levitation
1980
3.18 | 94 ratings
Sonic Attack
1981
2.80 | 90 ratings
Church Of Hawkwind
1982
2.72 | 83 ratings
Choose Your Masques
1982
3.43 | 115 ratings
The Chronicle Of The Black Sword
1985
3.23 | 96 ratings
The Xenon Codex
1988
3.05 | 98 ratings
Space Bandits
1990
3.81 | 117 ratings
Electric Tepee
1992
2.85 | 77 ratings
It Is The Business Of The Future To Be Dangerous
1993
3.25 | 75 ratings
Alien 4
1995
3.19 | 56 ratings
Distant Horizons
1997
2.43 | 43 ratings
In Your Area
1998
2.88 | 42 ratings
Spacebrock
2000
2.60 | 72 ratings
Take Me To Your Leader
2005
3.20 | 36 ratings
Take Me To Your Future
2006
3.67 | 120 ratings
Blood Of The Earth
2010
3.59 | 91 ratings
Onward
2012
3.78 | 21 ratings
Hawkwind Light Orchestra: Stellar Variations
2012
3.42 | 41 ratings
The Machine Stops
2016
3.58 | 38 ratings
Into The Woods
2017
2.96 | 14 ratings
Road To Utopia
2018
0.00 | 0 ratings
All Aboard The Skylark
2019

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

4.20 | 280 ratings
Space Ritual
1973
3.82 | 65 ratings
Live Seventy Nine
1980
3.38 | 22 ratings
The Text of Festival - Hawkwind Live 1970-1972
1983
2.32 | 34 ratings
Zones
1983
3.32 | 30 ratings
This is Hawkwind - Do Not Panic
1984
1.89 | 30 ratings
Bring Me the Head of Yuri Gagarin
1985
1.77 | 13 ratings
Hawkwind Live '70/'73
1985
2.80 | 34 ratings
Space Ritual Vol. 2
1985
3.73 | 67 ratings
Live Chronicles
1986
3.74 | 58 ratings
Palace Springs
1991
3.20 | 28 ratings
BBC Radio 1 Live
1991
3.23 | 24 ratings
The Friday Rock Show Sessions Live at Reading '86
1992
3.29 | 28 ratings
California Brainstorm
1992
3.86 | 27 ratings
The Hawklords Live
1992
2.05 | 10 ratings
Live - ST.Albans U.K. Winter Tour 1979
1993
4.23 | 37 ratings
The Business Trip
1994
2.70 | 19 ratings
Undisclosed Files - Addendum
1995
4.32 | 45 ratings
Love in Space
1996
3.67 | 40 ratings
The 1999 Party
1997
2.17 | 16 ratings
Live & Rare: Onward Flies The Bird
1997
2.17 | 6 ratings
Welcome to The Future
1997
3.78 | 9 ratings
Hawkwind 1997
1997
1.67 | 14 ratings
Live at Glastonbury 90
1999
2.38 | 8 ratings
The Collectors Serise Vol. 2: Live 1982 (Choose Your Masques)
1999
2.25 | 4 ratings
Live - 1970-72
1999
2.47 | 10 ratings
Thrilling Hawkwind Adventures
2000
1.65 | 11 ratings
Live from The Darkside
2000
3.60 | 16 ratings
The Weird Tapes Vol. 1 : Dave Brock, Sonic Assassins
2000
2.87 | 15 ratings
The Weird Tapes Vol. 2 : Hawkwind Live / Hawklords Studio
2000
3.41 | 18 ratings
The Weird Tapes Vol. 3 : Free Festivals
2000
2.77 | 17 ratings
The Weird Tapes Vol. 4 : Live '78
2000
2.80 | 15 ratings
The Weird Tapes Vol. 5 : Live '76 & '77
2000
2.67 | 12 ratings
The Weird Tapes Vol. 6 : Live 1970-1973
2001
2.85 | 13 ratings
The Weird Tapes Vol. 7 : Dave Brock, The Demos
2001
2.78 | 26 ratings
Atomhenge 76
2001
3.58 | 22 ratings
Yule Ritual
2001
3.58 | 14 ratings
Live 1990
2002
3.87 | 34 ratings
Canterbury Fayre 2001
2002
3.83 | 11 ratings
Live in Nottingham (2002)
2002
4.58 | 15 ratings
Spaced Out In London
2002
2.43 | 7 ratings
Cosmic Overdirve
2002
2.59 | 13 ratings
Live 74 The Chicago Auditorium 21 March 1974
2006
3.45 | 22 ratings
Space Ritual (2CD+DVD)
2007
1.89 | 8 ratings
Winter Solstice 2005
2009
1.50 | 5 ratings
Minneapolis 1989
2009
1.28 | 8 ratings
Shot Down in the Night
2009
3.62 | 18 ratings
Leave No Star Unturned
2011
4.00 | 10 ratings
Space Ritual Live
2015
4.00 | 2 ratings
At The Roundhouse
2017

HAWKWIND Videos (DVD, Blu-ray, VHS etc)

3.92 | 8 ratings
Chaos
1996
2.96 | 5 ratings
Classic Rock Legends (DVD)
2001
3.40 | 16 ratings
Out Of The Shadows (DVD)
2004
3.05 | 11 ratings
Knights Of Space
2008
1.38 | 4 ratings
Winter Solstice - Live at the Astoria 2005
2009
1.22 | 5 ratings
USA Tour 1989-1990
2009
3.86 | 7 ratings
Live 1984 - 1995
2009
1.43 | 5 ratings
Treworgey 29th July 1989
2009

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

3.94 | 27 ratings
Roadhawks
1976
3.03 | 43 ratings
Masters of the Universe
1977
3.42 | 15 ratings
Friends and Relations
1982
3.15 | 13 ratings
Friends & Relations..... Twice Upon a Time
1983
2.20 | 5 ratings
Utopia 1984
1985
3.47 | 10 ratings
Friends & Relations Vol. 3
1985
2.06 | 11 ratings
In The Beginning...
1985
1.78 | 9 ratings
Ridicule
1985
3.56 | 8 ratings
Anthology Vol 1
1985
1.78 | 22 ratings
Out & Intake
1987
1.80 | 5 ratings
Early Daze [Best of...]
1987
3.29 | 12 ratings
Spirit of The Age
1988
3.67 | 12 ratings
Acid Daze The History of Hawkwind
1990
3.96 | 15 ratings
Stasis The U.A. Years 1971-1975
1990
3.00 | 7 ratings
The Best of & The Rest of Hawkwind
1990
3.94 | 7 ratings
Anthology
1991
3.89 | 7 ratings
Masters Of The Universe (1991/ Castle)
1991
3.89 | 10 ratings
Psychedelic Warlords
1992
3.00 | 5 ratings
Mighty Hawkwind Classics 1980-1985
1992
2.25 | 4 ratings
Lord of Light
1993
2.08 | 6 ratings
The Best of Hawkwind
1994
1.22 | 4 ratings
Silver Machine
1994
3.93 | 5 ratings
25 Years on 1970-1973
1994
3.93 | 5 ratings
25 Years on 1973-1977
1994
2.08 | 6 ratings
Independent Days Volume 1 & 2
1995
3.75 | 3 ratings
Silver Machine
1995
2.00 | 2 ratings
Space Is Deep
1995
3.48 | 13 ratings
The Ambient Anarchists
1997
3.75 | 12 ratings
Sonic Boom Killers Best of Singles A's and B's from 1970 to 1980
1998
2.69 | 7 ratings
Anthology 1967-1982
1998
2.09 | 4 ratings
The Master
1998
3.45 | 11 ratings
Golden Void 1969-1979
1999
3.50 | 4 ratings
Year 2000: Codename Hawkwind Volume One
1999
3.25 | 7 ratings
Complete '79 Collector Series Vol. 1
1999
2.86 | 18 ratings
Epocheclipse: The Ultimate Best Of
1999
4.17 | 29 ratings
Epoche-Eclipse / 30 Year Anthology
1999
3.33 | 3 ratings
Family Box 4CD SET Limited Edition Collector's Set
2000
3.67 | 3 ratings
The Stonehenge Collection (Zones / This is Hawkwind - Do Not Panic)
2000
2.25 | 4 ratings
The Hawkwind Collection - The Legends Collection
2001
2.67 | 6 ratings
Masters Of The Universe
2001
1.96 | 6 ratings
Family Tree
2001
3.91 | 4 ratings
Masters of Rock
2002
3.00 | 6 ratings
Welcome to The Future
2003
3.60 | 5 ratings
Oscillations
2003
4.15 | 11 ratings
The Dream Goes On - An Anthology 1985 - 1997
2008
4.14 | 12 ratings
Spirit Of The Age - An Anthology - 1976 - 1984
2008
4.75 | 4 ratings
Parallel Universe: A Liberty/U.A. Years Anthology 1970-1974
2011
4.38 | 4 ratings
5 Album Set
2013
3.36 | 19 ratings
Spacehawks
2013

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

2.83 | 9 ratings
Hurry on a Sundown
1970
4.62 | 18 ratings
Silver Machine
1972
2.90 | 12 ratings
Urban Guerrilla
1973
3.80 | 10 ratings
The Psychedelic Warlords (Disappear In Smoke)
1974
3.56 | 9 ratings
Kings Of Speed
1975
3.78 | 9 ratings
25 Years EP
1978
2.74 | 10 ratings
Who's Gonna Win The War?
1980
3.20 | 10 ratings
Shot Down In The Night (live)
1980
3.90 | 10 ratings
Sonic Assassins (ep)
1981
3.25 | 8 ratings
Angels Of Death
1981
2.59 | 8 ratings
Motorhead
1982
2.67 | 6 ratings
Motorway City
1983
3.43 | 7 ratings
Your Last Chance EP
1983
3.59 | 12 ratings
Night of the Hawks (ep)
1983
3.75 | 8 ratings
Independent Days EP
1984
3.88 | 7 ratings
Needle Gun
1985
4.00 | 2 ratings
Zarozinia
1986
3.29 | 7 ratings
Decide Your Future EP
1993
3.00 | 5 ratings
Area 54 EP
1995
3.25 | 4 ratings
Love In Space
1997
3.17 | 6 ratings
Spirit Of The Age
2005
3.00 | 3 ratings
Silver Machine
2007

HAWKWIND Reviews


Showing last 10 reviews only
 Live 1990 by HAWKWIND album cover Live, 2002
3.58 | 14 ratings

BUY
Live 1990
Hawkwind Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars Solid Voiceprint release of two Hawkwind gigs from the Bridgette Wishart era - the same that brought us such delights as Palace Springs, California Brainstorm, and Space Bandits. You get two live sets here - Karnac Intro to Images comprises a set from the Winter 1990 tour, and has somewhat better sound quality, whilst the remainder of CD 2 from Lives of Great Men onwards is the same January 1990 set from Nottingham which has been put out as a single CD release. Both concerts, whilst not essential, are pretty good if you enjoy this era of the band - jump on it if you thought that Palace Springs or Space Bandits were your jam.
 Doremi Fasol Latido by HAWKWIND album cover Studio Album, 1972
3.71 | 328 ratings

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Doremi Fasol Latido
Hawkwind Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars As one of the very first space rock bands to emerge in the late 60s, HAWKWIND had been experiencing a slow but steady rise in popularity with the band's 1971's "In Search of Space" hitting #18 on the UK album charts and introducing the galactic cosmic rocker's sound to an ever expanding audience but the band founded by guitarist / vocalist Dave Brock didn't really find its true happy space until the exit of the rhythm section duality of bassist Dave Anderson and drummer Terry Ollis who were replaced by future Motorhead madman Ian Kilmister aka Lemmy and percussionist Simon King formerly of Opal Butterfly. While Lemmy believed he was signing on as the new guitarist, he learned at the last minute that it was the role of bassist that was open and like a pro he learned how to play bass on the fly but without giving up any of his guitar god bravado.

DOREMI FASOL LATIDO, a cute little title derived from the musical scale song displayed the strongest era of HAWKWIND's 70s run with a noticeably heavier sound than the previous albums no doubt due to Lemmy's ferocious string attack as well as King's rock sensibilities. The album focuses more on heavy chugging riffs leaving Del Dittmer's whirling sputtering synthesizer tricks to take a back seat but they are hardly relegated to second tier status and instead create the needed contrast to expand HAWKWIND's sound into an even larger inter-dimensional grasp taking them one notch closer to true lords of the space rock throne. While the entire band complained that the production was crap since it was recorded in a barn, the truth is that the less than perfect final product adds a distinct charm that allows the treble parts to soar high and the bass chugs to ferociously mimic the guitar parts that Lemmy erroneously assumed he would be handling. The remastered versions have performed miracles.

The change of characters was a great move as DOREMI FASOL LATIDO hits all the right notes in perfect proportions. While the opening "Brainstorm" displays a new harder rocking version of the space rock launched like a missile with the self-titled debut album, it immediately casts a hypnotic spell with Lemmy's bombastic bass groove augmented by Brock's sizzling guitar antics. After establishing firm control the track sputters off into true space rock turf. This was saxist / flautist Nik Turner's first stab at songwriting and cranks out an excellent space rock groove that allows his breath blowing skills to display mind-blowing freakery during the track's major freakout toward the middle. The following track allows a time-out from the frenetic pace set by the opener. "Space Is Deep" which mined lyrics from Michael Moorcok's poem "Black Corrider" finds a dual acoustic guitar performance by Brock and Lemmy with extensive layers of electronic wizardry and introduces the hard song / soft song pattern of the album's forty minute run.

After the tiny piano intro of "One Change," the "Lord of Light" breaks into a sputtering mess of sounds which chaotically coalesce until one of the most melodic and energetic tracks burst into heavy metal mode with some of Lemmy's most badass bass playing along with Brock's power chords bantering with the usual space swirls of electronic whizzing around like solar storms colliding with planetary magnetic shields. "Down Through The Night" provides another softer respite from the orotundity but doesn't simply copy and past "Space Is Deep" but rather creates a frenetic angular mix of an acoustic guitar strumathon with space whispering flute sounds echoing from the heaven's above. The heavily fortified electronic winds emulate a hurricane with some of the most echoey vocals on the entire album. Once again these tracks find the perfect way to cede into a new reality without losing the overall mood setting of what preceded.

"Time We Left This World Today" is yet another completely different methodology with heavy bluesy guitar riffs and call and response vocals from the various members. While the electronic sound effects are present they are subdued in the backdrop. The guitars sound slightly out of tune adding a touch of avant-garde dissonance which allows the track to develop into more bizarre progressive movements that despite a steady power stomp through the track finds the instrumental interplay becoming more experimental and free form. The syncopated beats and the vocals fall into a psychedelic haze of a repetitive groove with subtle changes that evolve into new variations. The final track "The Watcher" has been called the very first Motorhead song and was Lemmy's first contribution as songwriter to the HAWKWIND project. Despite performed only on an acoustic guitar with a fuzzed out bass, this psychedelic track that narrates the destruction of the Earth from human greed from the vantage point of space, has Lemmy's style stamped all over it and would actually reappear on the first Motorhead album many years later.

HAWKWIND were on the top of their game after DOREMI FASOL LATIDO hit the scene. With the non-album single "Silver Machine" hitting the top 40 and the tour proving successful, the popularity of the material on this album would be the main musical ingredients for the band's lauded 1973 live album "Space Ritual" which featured every track from DOREMI with the sole exception of the Lemmy penned closer "The Watcher." It's hard to say which album i prefer from HAWKWIND's earliest gems but this one has long been a top contender with its stellar songwriting that took on the task of melding hard rock with psychedelia along with soft acoustic guitar driven anthems that made Bowie's "Space Oddity" sound like Simon & Garfunkel in comparison. Lemmy's bombastic rock energy was exactly what HAWKWIND was missing in their earliest years and would drive them through the best period of their career until a restless Lemmy found that the heavier metal music was his true calling.

4.5 rounded down

 Take Me To Your Leader by HAWKWIND album cover Studio Album, 2005
2.60 | 72 ratings

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Take Me To Your Leader
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

1 stars After a five year lapse in releasing studio albums, the hope was that Hawkwind would come back to the studio with better songs and a better album. After all, the core group at this time consisted of Dave Brock who was with the band from the beginning, Alan Davey who had worked on and off with the band for several years now, and Richard Chadwick who had been with the band since 1988. Things were in Hawkwind's favor, but the last two decades saw them releasing average material and swinging away from their space rock sound that made them legends. "Take Me to Your Leader' had a lot of fans hoping for a real comeback. Unfortunately, the time was still not right.

The album starts out with a re-make of "Spirit of the Age", originally co-written by Dave Brock and Robert Calvert who passed away in 1988. This new recording features vocals by journalist Matthew Wright. The track is great, of course, with its broiling guitar and spacey effects, but not enough has changed in it to merit a re-make, other than a slightly cleaner sound. I suppose it was quite an attraction to Hawkwind fans however, to get them curious about the new album. The next two tracks are written by Alan Davey. "Out Here We Are" fades in from the previous track and goes right to a mid-tempo, synth-washed track that sounds too safe and mellow, almost like one of the more commercial Moody Blues songs from their own later commercial music. There is some sax thrown in, but it sounds completely out of place here. It was put there to give this boring instrumental some life, but it doesn't. In fact, it sounds a bit like new age drivel, you almost expect to see Yanni step out of the spaceship. "Greenback Massacre" tries to factor in some stoner rock sounds and the vocals are gruff, almost sounding like Lemmy who left the band and formed "Motorhead" long ago, but it only comes off as weak, like they are trying to mimic their own sound.

"To Love a Machine" is written by Brock, but that doesn't mean it is any better. In fact, it is also surprisingly weak even if it does venture towards the space rock sound again, it is just poorly executed and rough sounding. The programmed percussion doesn't help either. The track keeps building and then losing its momentum each time it softens, trading space rock power for acoustic softness in an alternating pattern. Then there is this long section that is supposed to sound jazzy underneath crowd noises. The title track "Take Me to Your Leader" is credited to all three core band members. It is mostly instrumental with some spoken word. It is mostly just automatic music, a heartless track with no direction past the first minute or so.

"Digital Nation" is credited to Chadwick. It starts accapella with minimal spacey effects, then a percussive pattern kicks in with some guitar, synth and flute that joins in later, but they just seem to float off in their own directions. It's quite lifeless even when the sax comes in later. Arthur Brown worked with Hawkwind quite extensively during this time period and wrote the next track called "Sunray". Simon House, who also worked with the band previously, lends his needed help with keyboards and violin while Brown provides the vocals, and it actually sounds a bit more interesting and believable. You can almost hear echoes of the band's glory days in there, and a bit of a Bowie sound, especially with the guitars and Brown's flamboyant singing. The album could have used more tracks like this.

"Sighs" is a short track written by both Brock and Davey. It's a bit more experimental, but really too short to go anywhere. "Angela Android" comes next, co-written by Brock and Chadwick and some vocals provided by new wave singer Lene Lovich and her high pitched singing and annoying partly spoken vocals. Lene actually toured with Hawkwind for a few years. The style is in the vein of rock and roll with space rock leanings, but it just doesn't have enough life in it to make you want to shake & shimmy or even stumble & trip. Corniness incarnate. The last track is "A Letter to Robert" co written by Brock and Chadwick again, but this time joined one more time by Arthur Brown. Simon House is also there again, so maybe this will be a better track like "Sunray" was. It's not. Brown is reading a letter he wrote to Robert Calvert with spacey synth effects going on around his reading. I suppose it is supposed to be there for nostalgic purposes or something, but it really doesn't do anything for me.

There was a bonus DVD that came with the first 2000 copies of the album sold which has interviews from the three core members, a promo video of "Spirit of the Age" and a live performance in 2004 of the same song, a live version of "Silver Machine" done at the Ruisrock Festival in Finland in 2004 and apparently includes Lemmy in the performance, and also a live 1992 performance of "The Right to Decide" and a 2004 performance of "Psychedelic Warriors". I haven't seen the DVD so I don't know what it's like, but I doubt it changes this lackluster album much.

So, unfortunately, the long waiting period between studio albums didn't improve the quality of this album, and only lengthened the time span of the sub-par albums released in the '90s and 2000s. This is a period of Hawkwind material that is best to be avoided and I'm happy to give you the low down on these weaker albums so you can see if you want to waste your time with them or not. Only hard core completionists should look for this album. That's all.

 Church Of Hawkwind by HAWKWIND album cover Studio Album, 1982
2.80 | 90 ratings

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Church Of Hawkwind
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

2 stars 'Church of Hawkwind' was the 12th studio album released by Hawkwind. Being released in 1982, it was influenced by the sounds of the time and was centered around being a bit more experimental and more electronic. In actuality, the original intent was that the band name was to be 'Church of Hawkwind' because of the differing sound on the album, and also because it was more of a Dave Brock centered album, and could almost be considered a solo album. Most of Hawkwind's other albums featured contributions from all of the band, but this time, Brock was the main songwritier. Everyone of the tracks are attributed, or co-attributed to Brock.

There are 3 different versions of the album. The original was divided into two sides, with the 1st side being called 'Space' and the 2nd side called 'Fate'. There were 12 tracks total on the album. In 1994, Greffin released the CD reissue which contained 15 tracks. The first 6 tracks followed the same order, but then some bonus tracks were added in disrupting the flow of the album, especially since the bonus tracks were not similar to the others. All of the tracks were taken out of sequence with bonus tracks popping up between original tracks. In 2010, Atomhenge released a new CD with the 12 original tracks restored to their proper sequence and then 6 more bonus tracks added to the end.

'Angel Voices' acts as a short introduction to the album and features processed vocal effects with low spoken vocals and fast spoken vocals in a call and answer style with spacey sounds building to the next track 'Nuclear Drive'. The full band fades in playing a fast paced space rock style track. The guitars are pretty much taking a back seat to the new wave sounding synths. Otherwise, the same basic Hawkwind formula is there, but in a more condensed, shorter form, and it ends just as things get interesting. 'Star Cannibal' is the longest track on here at just over 5 minutes. The synth is noticeably more prominent here, and the vocals are in a spoken and rhythmic style. The whole thing comes off sounding cheap and outdated, and they even sounded like that back when this was released. The layers of synths bury everything that should have made this track interesting. The band was definitely out of their element here. Things to get intense at the end, but it fades out just as it seems to be ready for it's payoff.

'The Phenomenon of Luminosity' returns to the short tracks which take up the rest of the original album. This track is a series of spacey effects with a sample of John Glenn transmitting from the Friendship Seven spacecraft. Electronic effects and synths play loops and sound effects. 'Fall of Earth City' has more annoying, spoken vocals and electronic and guitar loops. There is some guitar improvisation mixed low underneath the vocals and synths. 'The Church' ends the less than mediocre first half with another short track with more boring synth loops and stuff.

Another short track starts up the second part of the alum with 'Joker at the Gate'. More synths bore into your soul, but at least this time there is some semblance of a melody. Echoing vocals sound out but don't add anything. 'Some People Never Die' was attributed to Brock, but in reality it takes a lot of material from another band called On the Seventh Day'. Even the field recordings from Robert F. Kennedy's and Lee Harvey Oswald's shootings were in the original recording and are retained on this track. All this track consists of are these copied field recordings and drone-like synthesizers. Alternate versions of this same track are on Brock's solo album also. 'Light Specific Data' has a looped riff from the guitar and more synth layers. Not much happens here except for some free flowing improvisation and repetitive loops.

'Experiment with Destiny' is only an alternate version of a previously released track with a different title, 'Virgin of the World' from the album 'Sonic Attack'. It's a more atmospheric track that breaks away from the rhythm loops for a short while. 'The Last Messiah' is yet again another short track of electronic loops and textures. 'Looking in the Future' end the original album at least with a longer 4 minute track, but by this time most listeners have probably given up on this album. The copying of the new wave style continues here, so nothing is really gained from this track either.

This is one of Hawkwind's most embarrassing albums, but unfortunately they got caught up in trying to make their sound relevant for the time. This would go on for the most part, for the next few albums. After that, the band would have a hard time returning to the sound of their glory days in the 70s. But at least they would keep trying.

 The Chronicle Of The Black Sword by HAWKWIND album cover Studio Album, 1985
3.43 | 115 ratings

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The Chronicle Of The Black Sword
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

4 stars After some sub-par albums that pretty much missed the space rock bar that Hawkwind had set in the 70's, the band returned with their 14th album "The Chronicle of the Black Sword". Returning to the Michael Moorcock themed concept, the band decided to center the album around his fictional sci-fi characters, this time telling the story (musically) about Elrich. This time, Dave Brock, Huw Lloyd Langton and Harvey Bainbridge (joined 1977), who had been in the band on the previous album "Choose Your Masques" would be joined by newcomers Alan Davey on bass and Danny Thompson, Jr. on drums. Thompson would only remain with the band until 1988.

"Song of the Swords" starts off with a lively number that echoes the sound of the Hawkwind of the 70s, which was totally missing from the last few albums. A track by Brock, this one brings back in a more solid guitar sound and shows the promise of a better album than the last few. The track is too short, however, and ends just as you think it is going to go into a jam section. "Shade Gate" is written by Bainbridge and is an instrumental with electronics, synths and effects with a guitar fading in to the synth layers later on and then a sudden abrupt ending. The last of the 3 main members, Langton, wrote the next track "The Sea King". This has a nice mix of spacey effects and a guitar riff that gives it the appealing space rock sound, but again, this is too short. Bainbridge and Davey co-wrote "The Pulsing Cavern" which is a nice, atmospheric instrumental with the bass having a more central part while effects and keys swirl around and percussive pulsing sound. "Elric the Enchanter" is again written by Davey. It begins with a hard, steady beat and vocals. The band kicks in soon after for a heavier sound than what you usually expect from Hawkwind. As the track continues, you finally get the jam that you have been craving for as the track goes into the middle section and actually changes tempo and meter part way through. So far, this album is much better than the last few which were more keyboard centered and new wave sounding. This time things are more guitar centered.

The 2nd side starts with "Needle Gun" by Brock. With this track, the sound moves to a hard rock style and further from the trademark space rock sound. It's an okay track, but more standard sounding with silly lyrics. "Zarozinia" is also written by Brock (co-written by Kris Tait). This is a more ambient sounding track with synth layers and vocals only. It has a surprisingly lovely melody with no percussion. This would have been a stellar track with more development. "The Demise" is a short intermediary track co-written by Bainbridge and Brock which utilizes spoken words and spooky sounds. "Sleep of a Thousand Tears" is the only track on the album written by Michael Moorcock, the author of the sci-fi series the album is based on. Moorcock has collaborated with Hawkwind many times in the past and returns for this album. Brock also shares writing credit here. The sound continues with the heavier sound of the album, but thankfully keeps the space rock vibe even with the heavier riffs and pounding bass. The band once again allows time for a guitar centered jam. "Chaos Army" is another short track of sound effects. The last track is the longest at just over 6 minutes, called "Horn of Destiny" written by Brock. More guitar riffs and an up tempo, steady beat promised another heavy space rock track. Surprisingly dynamic (for Hawkwind), this track has some great percussive effects and generates a lot of expectation and drama.

This album is definitely an improvement over the direction the band had been going in for the past few albums. It is true that the music is more dynamic and heavier than normal, and that the vocals are more up front than previously, but that works to the albums benefit. The authentic and trademark space rock sound had returned. The biggest problem that still remained was that the songs were still shorter than in the previous decade and some tracks were just too short and things could seem choppy, especially on the first side of the album. However, the band really seemed to gel much better than they had for a while, much to the pleasant surprise of the fans. The question everyone asked back then however, was would it continue? Unfortunately, things were inconsistent with albums, some better than others throughout the rest of the band's career. But, for now, the band they loved was back.

 Choose Your Masques by HAWKWIND album cover Studio Album, 1982
2.72 | 83 ratings

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Choose Your Masques
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

2 stars Hawkwind's 13th studio album "Choose Your Masques" was released in 1982, and unfortunately saw the use of drum loops and drum machines growing, which was not the direction that drummer Martin Griffen wanted to go in. Griffen was reduced to a non-live drummer and his participation in this album was only some half hearted attempts to make the drums electronic, which is the direction that Dave Brock wanted to go in at the time. Griffen stayed on for the tour to support the album, but left the band afterwards.

Immediately in the first track "Choose Your Masks", we can hear the difference that is made with the increased used of drum loops. The track seems like it should be a great space rock sound that Hawkwind was famous for, but instead we get a flat sounding and almost lifeless track, with the electronic drums sound off-beat, the timing isn't quite as crisp as it should be, and the space effects are overused and sounding quite tiresome. This first track slides right into "Dream Worker" which is a psychedelic and somewhat experimental track with some spoken vocals from Ian Holm taken from a BBC serial broadcast of Lord of the Rings. It's okay, but almost seems like filler. Following this is "Arrival in Utopia" which is a bit better, but still lacks that dynamic that gets lost in the electronic sound. "Utopia" follows, and is just a throw away track that repeats itself ad nauseum.

The 2nd half of the album starts with "Silver Machine" which continues with the forced and washed out feel of the album, again you get the annoying drum machine and space effects galore. The instrumental break would have been promising, but it ends up coming off canned. "Void City" sounds like someone playing one of those Wurlitzer organs with automatic rhythm, again with an over-abundance of space effects and a boring synth melody that is hard to pick out amongst the hazy feeling. Later, robotic vocals come in sounding like a bad impression of Devo. "Solitary Mind Games" is a nice track, but again it loses its dynamic in the automatic percussion which is poorly done. "Fahrenheit 451" is probably the strongest track on the album, but even then, it sounds like a foray into the new wave movement that was going on at the time. Fortunately, they at least managed to sneak in a decent guitar solo. "The Scan" is a short electronic track. "Waiting for Tomorrow" ends with a heavier sound with a great hook, and strong vocals, but it's too short and doesn't develop into a space jam like you would like it to.

This is mostly a flat sounding album by Hawkwind that feels like it was done in a hurry. The songs seem to be thrown together quickly and the members of the band are just going through the motions. This is easily one of the albums that should be missed, or at least left for the fans that have to have all of the albums. Whatever you do, don't start with this one, as it is mostly embarrassing.

 The Xenon Codex by HAWKWIND album cover Studio Album, 1988
3.23 | 96 ratings

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The Xenon Codex
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

2 stars For their 15th album, 'The Xenon Codex', released in 1988 , Hawkwind had the same line up that they had for three years. It would seem that the band line-up would finally settle down, but after the release of this album, Danny Thompson Jr, drummer, would leave the band. The quality of Hawkwind's music was suffering at this time, but they still managed to peak at # 79 on the UK charts.

The album starts out with the track 'The War I Survived' which featured lyrics written by a Hawkwind fan by the name of Roger Neville-Neil, who also wrote the lyrics for 'Heads' also on this album. The song starts with the ticking of several clocks and a spacey build which intensifies until the band establishes the rhythm and foundation. The song is your basic space-rock rocker with a nice guitar solo and serves as a great opener. 'Wastelands of Sleep' doesn't follow up to the opener like it should however. The promise of greatness from the previous track ends up getting washed out by this mellow track that just sort of sits there and meanders along.

'Neon Skyline' really doesn't deliver either as it is quite substandard. It is actually the first part of a trilogy that continues into the following track 'Lost Chronicles', which begins with piano effect and synths. This actually makes for a nice slower tempo instrumental section that comes across as a spacey ballad. A guitar solo improvises on the melody. At the 4 minute mark, the last part of the trilogy starts with a return to the 'Neon Skyline' theme.

'Tides' is written by Huw Lloyd-Langton, on of the band's long time guitarists. The track is another slow instrumental ballad which features, well, nothing really. The track is quite bland and the most exciting thing about it really, is the sound of sea gulls. 'Heads' is the 2nd track with the lyrics written by fan Neville-Neil. This time the vocals are in a more spoken style, eerily similar to a bad imitation of the band 'Current 93'. There are a lot of atmospheric synthesizers here that don't really do much, and not much else until a lackluster guitar solo comes in for a short time before the vocals start again.

'Mutation Zone' starts with sound effects and terrible processed vocals. At this point, it is obvious that the band's songwriting skills are suffering horribly as it is obvious that they have run out of fresh or interesting ideas. If you make it through this track which ends sounding like someone drowning in a bathtub, you might continue on to the next track 'E.M.C.' A keyboard drone begins with various field recordings in the background, then what sounds like a foundation increases in volume. The only thing is that the only other thing you get are goofy effects and another track that fails to deliver anything interesting. Atmospheric boredom in the form of cheap sound effects ensues.

'Sword of the East' written by Alan Davey, another long time band member and bassist, is the only other good track on this album. Returning to the formula the band is best know for, you get out of the stale effects of the previous tracks and back to a real space rock tune that actually feels like it could have belonged on one of their better albums from the 70s. The middle section breaks down into a psychedelic style before returning to the main theme from the song. Unfortunately, the lack of a long instrumental section is really felt here. 'Good Evening' closes the original album with a song credited to the entire band. Using the old radio tuner trick, it starts with someone searching for something to listen to, a phone rings, and someone answers and says 'Good Evening'. Then the music tries for a rock n roll vibe followed by stupid sound effects again. By the end of this track, you get the feeling that they were just pasting things together to take up time on the album.

Definitely one of their worst albums, the only real saving grace is the opening track and 'Sword of the East' but even with those tracks, you yearn for something better. It is obvious that the 80s were not the best of times for Hawkwind and the ideas had run dry. The bands songwriting skills were suffering badly, and this album is an embarrassing reminder that even the best bands can be really stinky at times.

 Warrior On The Edge Of Time by HAWKWIND album cover Studio Album, 1975
4.12 | 637 ratings

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Warrior On The Edge Of Time
Hawkwind Psychedelic/Space Rock

Review by mariorockprog

5 stars 4.5: The fifth studio album by Hawkwind and the most commercially successful. almost all the lyrics are written by Michael Moorcok and is mostly based in his novel The Eternal Champion. The recordings were plagued with a lot of problems between the members of the band. The dynamic used for writing the lyrics is that Dave Brock comes with an idea of a concept and Moorcock see if he can improve and develop the idea. The history talks about a legendary warrior that in the past won a war versus an Alien Eldren and then he is reincarnated in a ordinary person that needs to remember all the past life of this warrior in order to win the battle again. Musically is a typical space rock album, it is most focus in guitar riffs and keyboard passages without doing nothing spectacular, however it set really good the mood and thematic of the album, it is a very good structured album, you are not going to find random jams like other band tends to do, it has really good moment without exaggerating in putting a lot of noise. The vocals do a really good job singing and portraying the legendary history, although sometimes it feels repetitive singing some parts of the lyrics repeatedly. Some song are just only poems recited with some space synths at the background, but they help us to get inside the history. In conclusion, I considered it a excellent addition to any prog collection, and a really good album of Space Rock, almost a masterpiece, but a few moments are not good as the majority.
 Blood Of The Earth by HAWKWIND album cover Studio Album, 2010
3.67 | 120 ratings

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Blood Of The Earth
Hawkwind Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

3 stars After a 4 year hiatus, Hawkwind finally released their 26th full length studio album in 2010. After a few line-up shifts, the space rock kings come back with a more synthesizer heavy album.

This one starts off with a mostly instrumental track "Seahawks". There are some vocals here, but they are intermittent and dominated by a synth washed track with a lot of spacey effects, a drum loop and a mostly subdued guitar. For most of the track, we get an upbeat, two chord space jam, but the last few minutes is a psychedelic and ambient soundscape. This flows almost seamlessly into "Blood of the Earth" with heavily processed spoken vocals by British TV personality Matthew Wright. The entire track is quite psychedelic.

A sudden burst of energy kicks off the next track "Wraith". This one carries more of the heavier sound of Hawkwind of the past. The guitar is solid in this one, but so is the synthesizer. In the middle of the track, we lose the percussion for a short period, but effects and psychedelia continue. A subdued base is played as more layers are built upon this. This one proves to be more improvised having a more organic and rocked-out sound than the first track.

"Green Machine" is a more ballad-like track, with a sustained-note synth repeated chord sequence and some nice occasional guitar. Effects are going off all around this. It is somewhat reminiscent of Tangerine Dream electronica, but with more effects. "Inner Vision" is written by Tim Blake, the keyboardist for Hawkwind and who also worked with "Gong". It is a very heavy keyboard/synth track with a kaleidoscopic feel, dark vocals and a slightly funky undercurrent.

"Sweet Obsession" seems a big disjointed to me and feels a bit weaker and somewhat corny. This is supposed to be an updated re-recording of a song from Dave Brock's 1984 solo album "Earthed to Ground". I haven't heard the original, but surely it must be better than this, and probably better left alone because this track is awful and a definite low point of the album. Next is "Comfey Chair" also penned by Brock, but original to this album this time. This is a slower track and quite psychedelic feeling. There is a nice build to the music on the second half of the track which is where the track gets interesting, but prior to this it is rather lackluster.

"Prometheus" is much more solid as it starts with a mid-eastern sitar style flair and comes in with a guitar establishing a melody before the vocals and a mid tempo rhythm starts. The feel is somewhat heavy, but with lightweight vocals. More sitar appears at the instrumental break along with a great guitar/synth solo. "You'd Better Believe It" is another new recording of an old track, this time one of Hawkwind's that appeared originally on "Hall of the Mountain Grill", one of the band's better albums. It starts out in a normal space rock mode, sounding much like the original, but at 3 minutes, it quiets down to a walking tempo with a keyboard and effects. There is a bit of guitar there too, but it's pretty much atmospheric. This goes on until 5:30, when things suddenly spring back into space rock mode again. Not bad, much better than the previous re-make.

"Sentinel" was the original album closer. It starts with sustained keyboard chord with shimmering synths, a mid tempo beat starts and a guitar melody. Harmonized vocals start soon after.

The vinyl edtion had 2 bonus tracks following this. The first of these is "Starshine"which features a different synth player, Jason Stuart. It is a 7-minute instrumental that sounds more like electronica than it does space rock as no real beat is established, it feels a bit meandering. The 2nd bonus track is a short, 2-minute "Sunship", featuring echo-y vocals and light instrumentation.

Overall, it's not a bad album, but it is nothing really ground breaking either. It is hard to compare this with their past efforts, since this is pretty much a different band than what they were in their heyday in the 70s, but the feel of the music is a lot the same. There are some weak tracks here, and the better tracks don't really pull the weight of the weaker ones, so you end up with a decent 3 star album. It's still a lot of fun to hear the band create the same style of music, but there really hasn't been a lot of progress over the years. The guitar is present in the album, but it seems to be somewhat pushed to the back, even during the solos. There is nothing wrong with it being a more synth-heavy affair, but I wish they would have emphasized the guitar solos that are here a little bit better because with them being pushed to the back, they seem a bit lack luster. It's nice but nothing really special.

 Church Of Hawkwind by HAWKWIND album cover Studio Album, 1982
2.80 | 90 ratings

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Church Of Hawkwind
Hawkwind Psychedelic/Space Rock

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars Hawkwind has become a matter of the heart for me. I have come to love them. Well, maybe not all of it but that's hardly to expect since their existence stretches over of half a century. Their output is on top of that vary varied in terms of musical direction. As most people I came in by way of "Space ritual" and proceded exploring their albums of the first half of the 70's. Eventually I ventured into the latter half and found alot to cherish, more so than I found on the records made between 1970-1975. My favorite era of the mighty Hawkwind is the 80's. This is such a vibrant and exciting part of their career. Opening the new decade with "Levitation" (a 5-star album in my book) they proceded to explore and really pull it off big time throughout the decade. To me this was Hawkwind in their most exciting and fulfilling era. The six albums made, from "Levitation" in 1980 to "Xenon Codex" in 1988, are all very magnificent, though they all come in somewhat different flavors.

"Church of Hawkwind" was released in 1982 and was a very ambient affair. There are tons of synthesized sounds, blips and boinks throughout. One could argue that it sounds dated or that the sound effects are designed to disguise the lack of proper material but that is not the case. One could also argue that some of the tracks (like "Angel voices") really aren't songs but you have to listen to the album as a whole to get the picture. These are not simply sound effects created by some guy that just bought the latest synthesizer and played around with it. This is serious music with a concept. The album is at it's best when digested as a whole. The ambiance and moods are perfectly augmented by the sounds. Ominous, spacey and out of this world. It forms a whole that is thrilling, exciting and not to be taken lightly.

Now, it might sound as though Hawkwind had dropped all metallic punch from "Levitation" but they hadn't. There are several pieces of evidence of this not being so. "Nuclear drive" is a typical hard edged Hawkwind tune from the 80's. It packs quite a punch. The same could be said of "Looking in the future" or "Fall of Earth city", songs that include quite a bit af the hard rock of "Levitation" but with a very ambient atmosphere. Another one of these songs are one of my real favorites, "Star cannibal". Brocks narrative vocals over a hypnotic and spacey groove is just an amazing listen. Totally brilliant.

Whilst every track is good or brilliant there are those that stand out more than others. As I said "Star cannibal" is one of those brilliant compositions but another is the magnificent "Some people never die" which has a real hard rock attack but augmented by ambient sound effects and holds the actual sounds from the killing of Lee Harvey Oswald and Robert Kennedy. This is dramatic music that sucks me in every time. Words cannot truly say what I am feeling when listening to this track. Brutal intensity and drama.

Another one of these brilliant songs are tucked away at the very end of the album. Preceded by a sombre and spacey prelude (of sorts) "Looking in the future" unleashes a great guitar and one of the highlights have begun. To end an album with one of its finest compositions is genius.

I find "Church of Hawkwind" to be an album of absolute cohesiveness. Everything is held together in a glorious fashion. From the opening effects of "Angel voices" to the last distorted chord of "Looking in the future" you're in for a ride. The music is very intense, emotive, ambient, harsh, aggressive, soothing and enthralling in a way that only Hawkwind manages to pull off. Not all their albums are as cohesive and entertaining affairs as "Levitation" or "Church of Hawkwind" but both of these are perfectly shaped pieces of art that really are worth a listen. This is dazzling, mindblowing music perfect for any and all situation.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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