Nosferatu – “Found My Home” 1970

Band : Nosferatu

(formed in 1968,  in Frankfurt am Main, Hessen, Germany. Disbanded in 1971).

Obscure German Krautrock band, notable for its English progressive rock influences. One self-titled album was released in 1970. In their early days they were fronted by guitarist/vocalist Michael Winzkowski (who went on to Orange Peel and Epsilon), and winds player Christian Felke also guested later with Epsilon.

Related Artists/Bands : Epsilon, Orange Peel, Papa Zoot Band

Country Of Origin : Germany

Track ” “Found My Home” (A3 track, written by Michael Thierfelder, Nosferatu)

Album ” “Nosferatu” (The band’s debut and sole studio album)

Label : Vogue Schallplatten (LDVS 17178)

Date/Year Of Release : 1970

Category/Music Genres : Krautrock, Progressive Rock, Germany 1970s (Tracks)

Nosferatu – “Found My Home”

Video on YouTube

The track is included on the album “Nosferatu”, 1970 (A3 track)

“Nosferatu” album (released in a laminated gatefold cover).

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Album cover photo (front)


1. Highway (4:16)
2. Willie The Fox (10:48)
3. Found My Home (8:39)
4. No. 4 (8:47)
5. Work Day (6:59)
6. Vanity Fair (6:44)

Total Time: 46:32


Bass Guitar – Michael “Mike” Kessler

Drums – Byally Braumann

Lead Guitar – Michael “Xner” Meixner

Organ – Reinhard “Tammy” Grohé

Saxophone, Flute – Christian Felke

Vocals – Michael “Mick” Thierfelder


Design [Cover] – J. Kipp

Engineer – Conny Plank

Photography By – G. Bockemühl, Horst-D. Barkow, K.-H. Hoffmann

Producer, Liner Notes – Tony Hendrik

Written-By – M. Thierfelder, Nosferatu (3)

Information about the album/band/track

Contrary to other bands produced by the famous Conny Plank (KRAFTWERK, GURU GURU and many others), NOSFERATU’s musical career was very short and suffered of a lack of recognition by a larger public. Almost nothing is said about their history and the only thing we have from them is a fresh, enthousiastic, atypical jazzy rock album dominated by raw, aggressive guitars and progressive “folk” arrangements. NOSFERATU belongs to this kind of German bands who success to create a deep and trippy atmosphere thanks to fine moments of long instrumental solos, crossing with an original touch guitars to sax, flute and electric organs. The lyrics are sung in English and stay very strong. An enjoyable effort which can be compared with others “cult” German fusion items. Similar bands: DZYAN, XHOL, SAMETI, OUT OF FOCUS (source : “Progarchives”).

Named after the vampire from the early expressionist film, Nosferatu were one of the earliest groups from Germany to explore beyond the conventional beat music and blues into the far more progressive realms of Krautrock in the late 1960s. The group is also one of the most obscure Krautrock bands, with only one record to their name.

The 1968 students riots in Paris were the spark for several groups of musicians, in both France and Germany, and that event marks the starting point of the earliest Krautrock bands, among them Can, Xhol Caravan, and others, including Nosferatu. One early member was guitarist Michael Winzkowski, who later went on to the better-known prog-rock band Epsilon in 1970. The group’s music still owed some debt to more conventional British rock and earlier beat bands, but also saw the group adventuring out on longer compositions and some fusion elements, and their music was imbued with that dark Teutonic angst that often distinguishes Krautrock from other rock music of that era.

In 1970 Nosferatu recorded their one and only self-titled album, which was released by the French label Vogue in both France and Germany. At this time the band consisted of vocalist Michael Thierfelder, sax and flute player Christian Felke, bassist Michael Kessler, organist Reinhard Grohe, guitarist Michael Meixner, and drummer Byally Braumann. Since Vogue wasn’t a label normally associated with Krautrock, record sales languished and the group disbanded the next year when Felke joined Winzkowski in Epsilon. The rare LP has since become one of the more pricey items on the collector’s circuit, with mint copies fetching the equivalent of $500 or more. In 1993 the album was released on CD by Ohrwaschl (source : “All Music”).

External links

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Nosferatu – “Nosferatu” Full Album Audio/Video Playlist on Last Fm

Nosferatu – “Nosferatu” Full Album Download Link on Rock Archeologia 60-70 Blog

Nosferatu – “Nosferatu” Full Album Download Link on Back In Purple Blog


Blues, Psychedelic Rock U.S.A. 1960s (Tracks) The Blues Project – “Flute Thing”

Blues Project – “Flute Thing” Video on YouTube

Category/Music Genres :

Blues, Psychedelic Rock U.S.A. 1960s (Tracks) 

Band :

The Blues Project  (Greenwich Village, New York, U.S.A.)

The Blues Project Band’s Photo

Image result for poster

The Blues Project is a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. Their songs drew from a wide array of musical styles. They are most remembered as one of the most artful practitioners of pop music, influenced as it was by folk, blues, rhythm & blues, jazz and the pop music of the day.

Track :

“Flute Thing” (written by Al Kooper) B3 track included on the album “Projections”

Album :

“Projections” released on Verve Folkways (FT-3008) in 1966

Projections is the second album by American blues rock band The Blues Project. Produced by Tom Wilson and released by Verve/Folkways in November 1966, the album was their first studio release and examined a more rock-based sound. Jim Marshall was credited as the photographer of the album cover.

Soon after the release of this album, Al Kooper left the band in the spring of 1967 to form Blood, Sweat & Tears.

Recording :

Keyboardist and vocalist Al Kooper was the most prominent member of the band, having recently played on Bob Dylan’s seminal album Highway 61 Revisited. However, Projections was very much a group effort, developing the band’s unique style that drew upon blues, jazz, folk, soul, and psychedelic influences.

Kooper’s energetic arrangement of “I Can’t Keep From Crying” incorporated psychedelic and gospel elements. “Steve’s Song”, the first song ever written by guitarist Steve Katz, was intended to be titled “September Fifth”, but a miscommunication between MGM Records and the band’s manager resulted in the generic title used for the release. It features a baroque introduction featuring flute playing from Andy Kulberg. “Two Trains Running” was guitarist Danny Kalb’s tribute to Muddy Waters, one of the band’s biggest influences. This 11-minute rendition is significantly different from the original version and was developed as the band played it live. On the Projections version, one of Kalb’s guitar strings went out of tune and as part of the arrangement he tuned it back up, without the band stopping. “Wake Me, Shake Me” came from a traditional gospel song and was a vehicle for improvisation that the band often used to close their live shows. Kooper’s jazz-rock instrumental “Flute Thing” features a prominent flute lick played by Kulberg, as well as solos from Kooper, Kalb, and drummer Roy Blumenfeld.

According to Danny Kalb, the record company was not interested in the band’s artistic merit and “just wanted to make a few bucks”. The band was disappointed by this lack of creative input and did not see the album cover or hear the mix until the record was released.

The Blues Project – “Projections” Full Album Audio Playlist on Spotify

Line-up/Credits :

Band Members :

Danny Kalb – guitar, vocals

Al Kooper – keyboards, vocals

Steve Katz – guitar, harmonica, vocals, bass (track 7)

Andy Kulberg – bass, flute

Roy Blumenfeld – drums

Companies :

Record Company – MGM Records

Record Company – Metro-Goldwyn-Mayer, Inc.

Published By – Sealark Enterprises

Published By – Blues Projections

Published By – Snapper Music

Published By – Arc Music (2)

Published By – Metric Music

Published By – Conrad Music

Manufactured By – MGM Records Division

Credits :

Design [Cover] – Ken Kendall

Engineer [Director] – Val Valentin

Liner Notes – Sid Bernstein

Photography By [Cover] – Jim Marshall (3)

Producer – Marcus James (2) (tracks: B3, B5), Tom Wilson (2)

Supervised By [Production Supervisor] – Jerry Schoenbaum

Track-list :

1. I Can’t Keep From Crying (Arranged By Al Kooper) – 4:48
2. Steve’s Song (Steve Katz) – 5:20
3. You Can’t Catch Me (Chuck Berry) – 4:35
4. Two Trains Running (Mckinley Morganfield) – 12:19
5. Wake Me, Shake Me (Arranged By Al Kooper) – 5:16
6. Cheryl’s Going Home (Bob Lind) – 2:33
7. Flute Thing (Al Kooper) – 5:59
8. Caress Me Baby (Jimmy Reed) – 7:12
9. Fly Away (Al Kooper) – 3:29
10.Love Will Endure (Patrick Lynch, Patrick Sky) – 2:19

Mono Album :

1. I Can’t Keep From Crying (Arranged By Al Kooper) – 4:26
2. Steve’s Song (Steve Katz) – 4:58
3. You Can’t Catch Me (Chuck Berry) – 4:17
4. Two Trains Running (Mckinley Morganfield) – 11:34
5. Wake Me, Shake Me (Arranged By Al Kooper) – 5:19
6. Cheryl’s Going Home (Bob Lind) – 2:38
7. Flute Thing (Al Kooper) – 6:02
8. Caress Me Baby (Jimmy Reed) – 7:18
9. Fly Away (Al Kooper) – 3:33
10.When There’s Smoke, There’s Fire (A. Kooper, I. Levine, B. Brass) – 2:34
11.No Time Like The Right Time (Al Kooper) – 2:44

The Blues Project – “Projections” Album cover photo (back)/track-list photo

Information about the album/band/track :

“Last Fm”

The Blues Project was a short-lived band from the Greenwich Village neighborhood of New York City that was formed in 1965 and split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world’s first jam bands, along with the Grateful Dead.

In 1964, Elektra Records produced a compilation album of various artists entitled The Blues Project which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album’s release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles’ arrival in America earlier in the year signified the end of the folk and acoustic blues movement that had swept young America in the early 1960s. The ensuing British Invasion was the nail in the coffin. Seeing the writing on the wall, Kalb gave up acoustic blues and switched to rock and roll, as did many other aspiring American musicians during this period.

Danny Kalb’s first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb’s first foray on record. After a brief hiatus in the summer months of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.

The band’s first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he sneaked into the “Like a Rolling Stone” recording session on Bob Dylan’s seminal album Highway 61 Revisited. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately.

Soon thereafter, the Blues Project gained a record contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965. While the band was known for their lengthy interpretations of blues and traditional rock and roll songs (making them, along with the Grateful Dead, rock’s first “jam band”), their first album saw them rein in these tendencies because of record company wariness as well as the time restrictions of the vinyl record.

Entitled simply Live at the Café Au Go Go, the album was finished with another week of live recordings at the cafe in January 1966. By that time, vocalist Tommy Flanders had left the band and was not replaced. As a result, Flanders appears on only a few of the songs on this album.

The album was a moderate success and the band toured America to promote it. While in San Francisco in April 1966, during the height of the city’s Haight-Ashbury culture, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York’s answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.

Returning to New York, the band recorded their second album and first studio album in the fall of 1966, and it was released in November. Arguably better than their first album, Projections was certainly more ambitious than their first album, boasting an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock. The centerpiece of the album was an 11-and-a-half minute version of “Two Trains Running”, which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental, “Flute Thing”, written by Kooper and featuring Kulberg.

Soon after the album was completed, though, the band began to fall apart. Al Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound.

The Blues Project’s last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone and most of their early magic was, too. Al Kooper had formed his own band and played at the festival as well, but no sort of reunion was in the offing. Guitarist Steve Katz left soon thereafter, followed by founder Danny Kalb. A fourth album, 1968’s Planned Obsolescence, featured only drummer Roy Blumenfeld and bassist Andy Kulberg from the original lineup. Upon the album’s completion, the remaining members formed Seatrain.

In 1968, Al Kooper and Steve Katz joined forces once again to fulfill a desire of Al Kooper’s to form a rock band with a horn section. The resulting band was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not stick around for any subsequent releases. Katz, on the other hand, remained with the band into the 1970s.

The Blues Project, with a modified lineup, reformed briefly in the early 1970s, releasing three further albums: 1971’s Lazarus, 1972’s The Blues Project, and 1973’s Original Blues Project Reunion In Central Park (which featured Al Kooper but not Tommy Flanders). These albums did little to excite the public, however. Since then, the group’s activity has been confined to a few sporadic reunion concerts.

“Rockasteria Blog”

The Blues Project can be defined by those who know and understand music in different and interesting ways. I describe it as a work of determination! Take these five young musicians and their struggles of this past year; they made it without the aid of a ‘single on the charts’ and despite the economics of an almost unbroken law that says, “no hit record, you don’t survive.” But with these young men, you find that there is an exception to the rule.
The struggle has not been an easy one, and it is far from over. But— they are going to ‘make it!’ Witness their exciting performances at the Cafe Au Go Go in Greenwich  Village…. the three times they played at Central Park this past summer to SRO crowds. These are the dates that made possible the healthy ‘underground’ movement, the ever-growing grapevine that has led them to dates in San Francisco and concerts in colleges that included Rutgers, Boston U., Kent, Ithaca, Brandeis, Hobart, CCNY, Grinnell, and others. People are subscribing to the music and the originality of the Project.
On a recent trip to Hawaii, I was asked by a number of students, “When will The Blues Project be coming over?” It would not be surprising to find students in Europe and Asia asking the same question. The word is out, it is inevitable that whatever roads the words travel, the group, its music, and its station wagon will be sure to follow. Expect them to appear anywhere.
They have something to say. The world wants to listen to music—wants love and hope…and this is what The Blues Project is projecting— Love, Hope and a determination to make their sounds meaningful and lasting.
by Sid Bernstein (sometime ’round 1966)
“All Music”
One of the first album-oriented, “underground” groups in the United States, the Blues Project offered an electric brew of rock, blues, folk, pop, and even some jazz, classical, and psychedelia during their brief heyday in the mid-’60s. It’s not quite accurate to categorize them as a blues-rock group, although they did plenty of that kind of material; they were more like a Jewish-American equivalent to British bands like the Yardbirds, who used a blues and R&B base to explore any music that interested them. Erratic songwriting talent and a lack of a truly outstanding vocalist prevented them from rising to the front line of ’60s bands, but they recorded plenty of interesting material over the course of their first three albums, before the departure of their most creative members took its toll.

The Blues Project was formed in Greenwich Village in the mid-’60s by guitarist Danny Kalb (who had played sessions for various Elektra folk and folk-rock albums), Steve Katz (a guitarist with Elektra’s Even Dozen Jug Band), flutist/bassist Andy Kulberg, drummer Roy Blumenfeld, and singer Tommy Flanders. Al Kooper, in his early twenties a seasoned vet of rock sessions, joined after sitting in on the band’s Columbia Records audition, although they ended up signing to Verve, an MGM subsidiary. Early member Artie Traum (guitar) dropped out during early rehearsals; Flanders would leave after their first LP, Live at the Cafe Au-Go-Go(1966).The eclectic résumés of the musicians, who came from folk, jazz, blues, and rock backgrounds, was reflected in their choice of material. Blues by Muddy Waters and Chuck Berry tunes ran alongside covers of contemporary folk-rock songs by Eric Anderson and Patrick Sky, as well as the group’s own originals. These were usually penned by Kooper, who had already built songwriting credentials as the co-writer of Gary Lewis’ huge smash “This Diamond Ring,” and established a reputation as a major folk-rock shaker with his contributions to Dylan’s mid-’60s records. Kooper also provided the band’s instrumental highlights with his glowing organ riffs.

The live debut sounds rather tame and derivative; the group truly hit their stride on Projections (late 1966), which was, disappointingly, their only full-length studio recording. While they went through straight blues numbers with respectable energy, they really shone best on the folk and jazz-influenced tracks, like “Fly Away,” Katz’s lilting “Steve’s Song,” Kooper’s jazz instrumental “Flute Thing” (an underground radio standard that’s probably their most famous track), and Kooper’s fierce adaptation of an old Blind Willie Johnson number, “I Can’t Keep from Crying.” A non-LP single from this era, the pop-psychedelic “No Time Like the Right Time,” was their greatest achievement and one of the best “great hit singles that never were” of the decade.

The band’s very eclecticism didn’t augur well for their long-term stability, and in 1967 Kooper left in a dispute over musical direction (he has recalled that Kalb opposed his wishes to add a horn section). Then Kalb mysteriously disappeared for months after a bad acid trip, which effectively finished the original incarnation of the band. A third album, Live at Town Hall, was a particularly half-assed project given the band’s stature, pasted together from live tapes and studio outtakes, some of which were overdubbed with applause to give the impression that they had been recorded in concert.

Kooper got to fulfill his ambitions for soulful horn rock as the leader of the original Blood, Sweat & Tears, although he left that band after their first album; BS&T also included Katz (who stayed onboard for a long time). Blumenfeld and Kulberg kept the Blues Projectgoing for a fourth album before forming Seatrain, and the group re-formed in the early ’70s with various lineups, Kooper rejoining for a live 1973 album, Reunion in Central Park. The first three albums from the Kooper days are the only ones that count, though; the best material from these is on Rhino’s best-of compilation.

“Ultimate Classic Rock”

The classic lineup of the Blues Project came together in 1965 in New York’s Greenwich Village. The band featured Roy Blumenfeld (drums), Danny Kalb (guitar and vocals), Steve Katz (guitar and vocals), Al Kooper (keyboards and vocals) and Andy Kulberg (bass and flute). Projections, released in November 1966, displayed the band’s jazz, blues, folk and rock roots. Produced by Tom Wilson, it was the Blues Project’s first studio album, the follow-up to 1965’s Live at the Café au Go Go.

By 1967, after one more LP, the band began to splinter. Kooper and Katz went on to form Blood, Sweat & Tears. Blumenfeld and Kulberg, who died in 2002, formed Seatrain. Kalb continued with various lineups of the Blues Project until the early ’70s, when he emerged as a solo artist.

In exclusive interviews, the four surviving members of the Blues Project shared the stories behind the original tracks and re-arrangements that became Projections. “From what I remember, the process was, do we have enough songs?” says Katz. “I think we just had enough to do the album.”

“I Can’t Keep From Crying”
Al KOOPER: I didn’t mind “I Can’t Keep From Crying.” I didn’t mind that version. It’s an old blues song and I sort of rearranged it.

DANNY KALB: I just listened to it the other day, and there were different times during the last 40 years when I thought maybe I didn’t like what he did with it. But now I don’t feel that.  Now I feel that he took it somewhere else. And the raw energy of that tune, even though it turned to love lyrics, the love lyrics are unimportant because it’s a psychedelic adventure and a powerful gospel song together. And it makes sense.

“Steve’s Song”
STEVE KATZ: I wrote this song, the first song that I ever wrote. I called it “September Fifth.” It wasn’t even Sept. 5 yet, I just wanted to see what happened on that day. It was like a psychedelic love song. We tagged on a little baroque thing that I had written at the beginning.

AL KOOPER: When we were first putting it together, Steve and Andy came up with the intro. And Andy really wanted to play more flute, so it was a good opportunity for him to play the flute in the intro. And it worked perfectly. And what Roy was playing in the intro was really great too, arrangement-wise. I love that intro.

ROY BLUMENFELD: Andy had turned me on to Dances From Terpsichord and these little medieval drum things and stuff. So I got into that a bit. That one kind of evolved over time as we played, as it should be. We played together, that’s how it changed and developed, the intro to the tune. ‘Cause without that intro, it would have just had that … and the drum roll in. There was that sort of tension-release, what’s gonna happen next. It became an interesting sonic experience.

STEVE KATZ: I’m flat in a couple of places. I tried to do my vocal over again, and Tom Wilson said there wasn’t enough time because Eric Burdon was coming in. We were strictly by three-hour sessions and that was pretty much it. There may have been a couple of sessions that were back-to-back but it was no longer than six. We were kicked out of the studio when our sessions were finished. They didn’t really have too much faith in us, I guess. We were on the road and, of course, there were no cellphones in those days. MGM calls our manager [Jeff Chase], who is like a total idiot, and they said, “We have the artwork, we have the master tapes, but we’re missing the name of the second song on the first side.” So Jeff goes, “Second song, first side? Second song, first side? Oh, that’s Steve’s song.” They said, “Thanks, Jeff” and hung up. We get off the road a week later and I’m looking at proofs and I said, “What the hell is ‘Steve’s Song’?”

“You Can’t Catch Me”
ROY BLUMENFELD: That was a Chuck Berry tune. That one had a really cool kind of groove to it that we got into. Danny did a real sterling job of knockin’ that one out of the park when he would do it. He sung with sincerity and meaning. And that to me really trumps some kind of vocal gymnastics that people do that really don’t have that sense of connective, organic meaning to the lyrics and to the words. So I’ve gotta hand it to Danny on all that, it’s very authentic in that sense.

DANNY KALB: I always loved Chuck Berry, and he was one of my first influences as I started listening to rock ‘n’ roll, which I did early. I had a group in college, two kind of working class Italian guys and two Jewish middle class guys. It was called the Gay Notes – before gay was gay, you know? [Laughs] And we used to play Elvis Presley and Jerry Lee Lewis, the great ’50s rock ‘n’ roll and we weren’t bad, we weren’t bad.

AL KOOPER: Very early in our career we backed up Chuck Berry at Town Hall in New York. It was one of our first big gigs. We opened for him and then we backed him up. It was nerve-wracking because he was very difficult to work with. Fortunately I knew all the songs so he didn’t give me any s—. He was very tough. So the rehearsal was scary. Not for me though. Also I had played rock ‘n’ roll shows in my early career when I was in the Royal Teens. I played a lot of rock ‘n’ roll shows where there were 14 bands on the bill and everybody played a couple of songs. Alan Freed shows, stuff like that. Not only was I raised on that but I also participated in it. You can stand in the wings and watch Jackie Wilson and Buddy Holly. It was unbelievable. I’ll never forget that. I used to go as a spectator in ’56 and ’57 and by ’58 and ’59, I was in the Royal Teens and so I was playing in those shows. It was a head-f— for me. It was unbelievable. It’s like God reached down and touched me.

“Two Trains Running”
STEVE KATZ: It was Danny’s tribute to Muddy Waters. Danny lived for Muddy Waters, which is sort of understandable given how wonderful, how monumental Muddy and some of his songs were. And that was one of his most monumental songs.

AL KOOPER: We started playing it and as we became a better band it became a better arrangement. And there were amazing things in it. It was a really great arrangement. It’s nothing like the Muddy Waters version.

DANNY KALB: It’s one of the great things done by any blues band there is, white or black. And we’re going through it and it’s powerful, it’s like a rock opera but short. And it’s Muddy Waters. But it’s also us. And it’s also showing that America was going down the road through music and a lot of other things of integration. The music was making people take a second look at the hatred.

AL KOOPER: What’s really funny is on the version that’s on the album, Danny’s string went out of tune and as part of the arrangement he tuned it back up. It was fabulous, we didn’t have to stop. Normally you would stop. But he made it part of the arrangement. That was a great moment.

DANNY KALB: We were up there in the studio and there’s magic in the air. We were right before the end and I hit one bad note, but I quickly made the bad note into a good note in a quarter of a second. And the thing comes together and ends right and we’ve got a masterpiece.

STEVE KATZ: There was no creativity on the engineers. They were busy setting up for Eric Burdon. They probably were bringing in microphones while we were doing our take.

DANNY KALB: I’d been playing it for a long time. I was a folk guitarist and a blues guitarist. I studied with the great Dave Van Ronk, he was my teacher. Dave was one of the greatest. A great blues singer, a great teacher and a great soul. He died a few years ago. He changed my life, he changed [Bob] Dylan’s life. We always gave tribute to our mentors. When we played on the same bill as Muddy Waters, who was our hero, a top man, we did “Two Trains Running.” After the show, his band was packing up, the show was over and I was packing up and I saw Muddy leaving the Café au Go Go and I had to find out, in my deepest part, what he thought of our version of this tune that started out in the South many years ago, before he recorded it with any electric band. And these strange white people were doing this song. What was that about? So right before Muddy opened the door to go, I went up to Muddy Waters and I said to him, “Mr. Waters — well, what did you think?” And I knew at that point that he knew what I was asking him. And he said to me, “You really got to me.” If I had died then, it would have been enough.

“Wake Me Shake Me”
AL KOOPER: There used to be a nightclub that the mob owned on 47th between Seventh and Eighth. It was called the Sweet Chariot. And it was a gospel nightclub. So they only had gospel people playing there, and the waitresses were dressed as angels. And when you walked in, they gave you a tambourine to play and then you’d leave it when you left. Now I had picked up on gospel music at a very early age because of people that I went to school with when I was like 13, 14. They turned me on to gospel music. So it was a big part of my life. So this group the Golden Chords that played at the Sweet Chariot floored me with their version of “Wake Me Shake Me.” It was so good that I couldn’t do it with the Blues Project because I knew that we couldn’t do it as good as they did. So I had to come up with my own arrangement. But it worked out very well because the band got into it and everybody played great stuff. So it was really good and it gave us a lot of room to improvise live. So it became our closer. We’d close with it. And it was a big song for us. But that’s where it came from. It’s a traditional gospel song.

DANNY KALB: Al did his own thing with it, and that’s the way it happens in music. Nothing comes from fresh air. You go to what’s useful to you. Dylan does that. Everybody does that.

“Cheryl’s Going Home”
DANNY KALB: That was a song by another composer, Bob Lind, I just listened to recently. The Blues Project version is excellent, Bob Lind’s version is excellent, it’s the best of both worlds.

STEVE KATZ: He had a hit record with “Elusive Butterfly.” I guess I had a Bob Lind album or the single, and I liked the B-side and thought it would be good for us to do. But it was an awful mix.

“Flute Thing”
AL KOOPER: One of the first rehearsals that we had as a band, Andy said to me, “I also play flute and I would like to play some flute with the band if you have anything or if you could write something where we could do that, it would be great for me.” And so I had this lick, a cadenza played by Barney Kessel as the ending lick of a song. I learned it in the late ’50s on guitar and played it more than I should have. And so that lick came to me and I thought, “That would sound great on the flute. Why don’t I just do that [demonstrates first part] and then I just needed [demonstrates second part] and I had a song for Andy.”

ROY BLUMENFELD: The lead-up to the song “Flute Thing,” that became the Muzak to a lot of folks’ acid trips out there on the West Coast. It was, so to speak, their metaphoric elevator. The tune itself started to become more of a featured flute tune. Al had a solo, Danny had a solo, Steve laid down the bass line, he wasn’t really a bass player per se. And I had a solo. My solo came after Al’s. I became inspired by a lot of very cool jazz drummers that I was listening to. I was also listening to a lot of jazz and early on, a year or two before, I’d visit Al at his apartment in New York and he had a wall of albums, long-playing records. He’d go to one, he’d pull one out, like “Salt Peanuts.” He’d play me these different tunes, go, “Check this out.” He was really inspiring me to look into other drum ideas and listen to the players because I was growing rapidly as a player and listening to a lot of stuff.

AL KOOPER: We had to play it a certain way that was more jazzy than rock ‘n’ roll. But it just showed that we can do that. So I didn’t think it was a bad thing. But I mean if you were a good jazz player and you listened to that track, you would probably go vomit. But we did the best we could and it wasn’t so bad. Considering that we were 22 or something.

“Caress Me Baby”
DANNY KALB: I think that was a good version of that Jimmy Reed song. You have to do Jimmy Reed your own way. And the great thing about the Blues Project is that’s what we did. We’re not an imitating-kind of band even though we used other people’s material very often. But just because you write your own songs, unless you’re a great songwriter like Dylan or someone like that, doesn’t mean that all your songs are great just because you wrote them. I believe in that. I believe in writing songs and I encourage it. But we were a great band. That’s all I want to say.

“Fly Away”
AL KOOPER: It’s a song I wrote about my first marriage. And I had a good arrangement for it, which my first marriage could have used. So it was easy for us to do because I just showed everybody what to play. It’s one of those ones where the arrangement was equal if not better than the song. It was a really good arrangement. And so there’s no holes in it. I think it really helped to make it work and we were all really playing together. Everybody’s playing exactly what they should play. There’s no bad parts in it. What was I influenced by? Probably more Dylan in the verses. I would say Dylan in the verses and the chorus was pretty original. I didn’t take that from anybody. Except in the arrangement there’s maybe a little “Down in the Boondocks.”

DANNY KALB: Unfortunately, the record company just wanted to make a few bucks. They were not interested in the artists, and on the back of Projections, one of the great albums of the ’60s, I don’t think our names are on it. That’s criminal.

STEVE KATZ: I have to say that our record company was really awful. There were things like that that were missed. From changing the name of my song, from not giving us enough studio time, not putting our names on it. There were just a lot of mistakes. There always were with Verve Folkways. It was awful.

AL KOOPER: We never saw the cover until it was in the store, and all stuff like that. We had zero control. We never heard the mixes ’till it was in the store.

DANNY KALB: I think that the way the Blues Project has been either forgotten or dissed is disgraceful. We were one of the most exciting bands in the period. We took big chances, spiritually and musically, and this is crap.

Photos related to the album/track :

The Blues Project – “Projections” Album cover photo (front)


The Blues Project – “Projections” Album cover photo (back)


The Blues Project – “Projections” Album photo  (A’ Side)

The Blues Project – “Projections” Album photo  (B’ Side)

Photos related to the band :

Image result for blues project

The Blues Project Matrix Concert Poster, 1966

Staples Concert Event Poster 1967 by Dave Withers


American band The Blues Project in concert at the Cafe Au Go Go, a nightclub in Greenwich Village, New York City, circa 1965. Singer Danny Kalb is in the centre. (Photo by Don Paulsen/Michael Ochs Archives/Getty Images)

The Blues Project : News Photo

Psychedelic blues-rock band The Blues Project (l-r Danny Kalb, Steve Katz, Al Kooper, Roy Blumenfeld, Andy Kulberg) perform at the Cafe Au Go Go in June, 1967 in New York City, New York. (Photo by David Gahr/Getty Images)

Blues Project At The Cafe Au Go Go In NYC  : News Photo

The Blues Project, Monterey, 1967

Image result for al kooper blues project

Image result for the blues project 1966

Links related to the album/track :

The Blues Project – “Projections” Full Album Video Playlist on “YouTube”

The Blues Project – “Projections” Full Album Audio Playlist on “Napster”

The Blues Project – “Projections” Full Album Download Link on “Rockasteria” Blog

The Blues Project – “Projections” Full Album Download Link on “Willie Said”

The Blues Project – “Projections” Article on the album on “The Music Court”

The Blues Project – “Projections” Album’s Review/Article about the band on “Best Classic Bands”


Links related to the band :

The Blues Project Band’s Page on “Spotify”

The Blues Project Band’s Page on “Facebook”

The Blues Project Band’s Page on “Setlist Fm”

The Blues Project Band’s Page on “Apple Music”

The Blues Project Band’s Page on “Google Play”

The Blues Project Band’s Page on “Deezer”

The Blues Project Band’s Page on “Tidal”

Steve Katz (The Blues Project) Interview on “Keep The Blues Alive”

Al Kooper (The Blues Project) Artist’s Interview on “Rock Of Ages”


Fusion/Jazz Rock/Krautrock/Progressive Rock Multinational 1970s Sunbirds – “Spanish Sun”

Fusion/Jazz Rock/Krautrock/Progressive Rock Multinational 1970s

Sunbirds (Multinational, Austria, Germany, Holland, U.K., U.S.A.) Based in München, Bayern, Germany

Instrumental Music

“Spanish Sun” (written by -Ferdinand Povel, Philip Catherine, -Fritz Pauer, Jimmy Woode, Klaus Weiss) A3 track included on the album “Sunbirds”

Released on BASF Records ( 20 21110-2) in 1971

Related Artists :
Also known as :
Klaus Weiss Sextet

Line-up/Credits :


Klaus Weiss – drums, Producer
Philip Catherine – guitar
Ferdinand Povel – flute, alto flute
Fritz Pauer – electra-piano ( Hohner Electra), organ
Jimmy Woode – electric & acoustic bass
Juan Romero – percussion

Recorded At – Union Studios, Munich

Recorded By – Reinhold Mack

Recorded 24 August 71 at Union Studios München, Germany.

Fritz Pauer used Hohner Electra-piano.
Klaus Weiss plays Slingerland drums and Avedis Zildjian Cymbals exclusively.
Track List :
01 Kwaeli (3:43)
02 Sunrise (5:26)
03 Spanish Sun (12:10)
04 Sunshine (6:46)
05 Sunbirds (9:31)
06 Blues For D.S. (7:53)
Bonus Tracks :
07 Dreams (9:42)
08 Fire Dance (6:54)
Sunbirds were a band project formed in 1971 by German drummer Klaus Weiss. (17/02/1942-10/12/2008) Weiss had already twelve years of career as a jazz drummer behind him in 1971 and was appreciated by US jazz men touring in Europe. He had played among others with Bud Powell, Johnny Griffin, Kenny Drew and Don Byas. From 1962 to 1965 he had worked with Klaus Doldinger and in 1966 Weiss won the International Jazz Competition in Vienna.
In 1971 he formed the multinational Klaus Weiss Quartet featuring American bassist Jimmy Woode, Dutch saxophonist Ferdinand Povel and Austrian pianist Fritz Pauer, The same musicians joined by Philip Catherine on guitar and Juan Romero on percussion recorded in august of 1971 the first self titled Sunbirds record. The record presented an interesting form of early jazz rock with an extensive use of electronic keyboards. One year later in august of 1972 the Sunbirds released their second record, Zagara, again the Klaus Weiss Quartet joined this time by Ron Carter on double bass, Leczek Zadlo on flute, Lucas Costa and Rafael Weber on guitar and Norman Tolbert on percussion. This record presented an orientation towards Latin Fusion.The first record is highly recommended.
On paper, The Sunbirds were a band more interesting for what the members did before and after the group’s brief lifetime that what they accomplished while they were together; only after their recordings received a belated release did it become obvious that this was group whose gifts far outstripped their public recognition. In 1986, after 28th Day had broken up following the departure of Barbara Manning, guitarist and singer Cole Marquis and drummer Mike Cloward decided to form a new band, and joined forces with Lawrence Crane, who’d been playing bass with Vomit Launch. Adopting the name The Sunbirds, the band started playing around their hometown of Chico, California and recorded a six-song demo tape. However, the band attracted little notice, and by the end of the year The Sunbirds were history. Marquis and Cloward went on to form The Downsiders, and Marquis later won a cult following with his solo work; Crane continued to perform with Vomit Launch, and later moved into the control room, working as a recording engineer and founding the acclaimed independent recording magazine TapeOp. The Sunbirds briefly reunited in 1997, recording another six-song demo; Paisley Pop Records combined the 1986 and 1997 sessions and released them as a 2003 album entitled No Sun No Shadow. In 2002, Crane reassembled the band to perform at a TapeOp magazine convention, and while all three members continue to make their own music, they have not ruled out working together again in the future.
Sunbirds – “Sunbirds” Album cover photo (front)
Sunbirds Photo

Sunbirds Band’s Page on Discogs

Sunbirds – “Sunbirds” Full Album Download Link on Trippy Jam Blog

Sunbirds Band’s Page on Rate Your Music

The 20 Best Krautrock Records Ever Made on Fact Magazine

Sunbirds Band’s Page on Krautrock Maniac

Sunbirds Band’s Page on Green Brain

Sunbirds Band’s Page on Apple Music

Sunbirds Band’s Page on Spotify

Sunbirds Band’s Interview on It’s A Psychedelic Baby Magazine Blog

Sunbirds – “Sunbirds” Personal Playlist on Spotify

Folk/Fusion/Jazz Rock/Krautrock/Progressive Rock/Space Rock Germany 1970s Personal Playlist on Spotify


Acid/Psychedelic/Space Rock U.K. 1970s (Tracks) Hawkwind – “Magnu”

Acid/Psychedelic/Space Rock U.K. 1970s (Tracks) 

Hawkwind (Ladbroke Grove, London, U.K.)

“Magnu” (written by Dave Brock) B1 track included on the album “Warrior On The Edge Of Music” 

Released on United Artists Records (UAG 29766) on 9th May 1975

Line-up/Credits :

Mike Moorcock / vocals (3,9)

Dave Brock / vocals (1,2,5,6,11), guitar, synth, bass (4)

Simon House / piano, Mellotron, Moog, VCS3 synth, violin

Nik Turner / tenor & soprano saxophones, flute, vocals (7,10)

Ian “Lemmy” Kilmister / bass, vocals (“Motorhead”)

Allan Powell / drums, percussion

Simon King / drums, percussion

Engineer – Dave Charles, Phil Chapman, Steve Owen (4)

Mastered By – Porky (5)

Producer – Hawkwind

Releases information

Artwork: Pierre Tubbs (“Comte Pierre D’Auvergne”) with Eddie Brash

Recorded at Rockfield Studios 03/1975.

Limited edition sleeve, opens into the shape of a shield. Includes inner sleeve with credits and tracklisting.

Track A5 is listed as “The Demented King” on the label but was listed as “The Demented Man” on the inner sleeve.

Lyrics :

Magnu, horse with golden mane
I want your help yet once again
Walk not the earth but fly through space
As lightning flash or thunders race
Swift as the arrow from the bow
Come to me so that no one can know.
Sunbeams are my shafts to kill
All men who dare imagine ill
Deceit that fears the light of day
Fly from the glory of my ray
Good minds open and take new light
Until we diminish by the reign of night
Until we diminish by the reign of night
Until we diminish by the reign of night
Until we diminish by the reign of night
A burning brand was seen to fall
It lit the darkness of the hall
The flying hoofbeats circling in
Come to me and let us spin
Sunbeams are my shafts to kill
All men who dare imagine ill
Deceit that fears the light of day
Fly from the glory of my ray
Good minds open and take new light
Until we diminish by the reign of night
Until we diminish by the reign of night
Until we diminish by the reign of night
Until we diminish by the reign of night
Reign of night
Reign of night
Songwriters: Dave Brock
Track-List :
Side one
No. Title Writing Length
1. “Assault and Battery (Part 1)” Dave Brock 5:35
2. “The Golden Void (Part 2)” Brock 4:35
3. “The Wizard Blew His Horn” Michael Moorcock, Simon House, Alan Powell, Simon King 2:00
4. “Opa-Loka” Powell, King 5:40
5. “The Demented Man” Brock 4:20
Side two
No. Title Writing Length
6. “Magnu” Brock 8:40
7. “Standing at the Edge” Moorcock, House, Powell, King 2:45
8. “Spiral Galaxy 28948” House 3:55
9. “Warriors” Moorcock, House, Powell, King 2:05
10. “Dying Seas” Nik Turner 3:05
11. “Kings of Speed” Moorcock, Brock 3:25
CD bonus track
No. Title Writing Length
12. “Motorhead” Ian Kilmister 3:02
Atomhenge disc 1 bonus tracks
No. Title Length
11. “Motorhead”
12. “Soldiers at the Edge of Time” (Michael Moorcock version)
13. “On the Road””
14. “The Wizard Blew His Horn” (Nik Turner version)
15. “Spiral Galaxy 28948” (demo)
16. “Soldiers at the Edge of Time” (Nik Turner version)
17. “Motorhead” (Dave Brock vocal version)
18. “Kings of Speed” (instrumental version)
Atomhenge disc 2 bonus tracks
No. Title Length
12. “Motorhead” (instrumental demo)
13. “Dawn”
14. “Watchfield Festival Jam” (Watchfield Free Festival on 23 August 1975)
15. “Circles” (Watchfield Free Festival on 23 August 1975)
16. “I Am the Eye” (Watchfield Free Festival on 23 August 1975)


Related Artists :
Amon Düül II, Anubian Lights, Bedouin, The Demented Stoats, Earth Lab, Inner City Unit, The Meads of Asphodel, Michael Moorcock, Opal Butterfly, Pinkwind, Smartpils, Sonic Assassins, Space Ritual, Spirits Burning, Star Nation
Also known as :
Group X, Hawklords [1978-79], Hawkwind Zoo, Psychedelic Warriors

One of England’s most enduring hard rock bands, Hawkwindwere formed in London during the late ’60s, just as art rock was coming into its own. Though lesser known than contemporaries like Pink Floyd, the band is widely hailed as one of space rock’s early pioneers, thanks to seminal albums like 1973’s live opus Space Ritual, and its 1974 studio follow-up In the Hall of the Mountain Grill. Their potent mix of psychedelia, prog, straight-ahead hard rock, and lyrics steeped in science fiction — particularly the themes and imagery of author Michael Moorcock, who also became a member at various points — and drug effects helped define Hawkwindand separate them from the competition. The group’s history has been marked by a series of confusing lineup changes, as members began an almost revolving-door relationship with the band virtually from the outset. Throughout their many decades and incarnations, founding guitarist Dave Brock has remained Hawkwind’s chief steward, while notable players like Lemmy and Ginger Baker have also enjoyed stints with the band. While the ’70s are widely considered to be their heyday, Hawkwind have retained a loyal following and enjoyed periodic surges of popularity, in the ’80s with the Moorcock-inspired concept album The Chronicle of the Black Sword and in the ’90s with their embrace of rave culture and electronica on albums like Space Bandits. The 2000 reunion event Hawkestra saw the coming together of multiple eras of Hawkwind personnel and begat Space Ritual, a spin-off group of former members. Space Ritual competed with Brock’s ongoing versions of Hawkwind, who continued to release both new and archival material throughout the decade. A contract with Eastworld Records in 2010 seemed to renew Hawkwind’s commitment to new material, as they entered another prolific streak that included the 2016 concept album The Machine Stops and its 2017 sequel, Into the Woods.The seeds of the group were planted when guitarist/singer Dave Brock and guitarist Mick Slattery of the group Famous Cure, which was playing a gig in Holland in 1969, met saxman/flutist/singer Nik Turner, a member of Mobile Freakout, on the same tour. Once back in England, Brock, Slattery, and Turnerhooked up again and, adding John Harrison on bass, Terry Ollis on drums, and DikMik Davies on electronic keyboards, called themselves Group X, later changed to Hawkwind Zoo, and finally to Hawkwind. They secured a contract with United Artists/Liberty Records in England. Before the group recorded, however, Huw Lloyd Langton replaced Mick Slattery on guitar.

The fledgling band hooked up with two Pretty Things alumni — drummer Viv Prince, who occasionally joined Hawkwind on-stage, and bassist (and onetime Rolling Stones member) Dick Taylor, who was recruited as a producer but played on their early records. Their first single, “Hurry on Sundown” (aka “Hurry on a Sundown”) b/w “Mirror of Illusion,” was released in July of 1970, just in time for Harrison to exit the lineup, to be replaced by bassist Thomas Crimble. Their first album, Hawkwind, was released to little public notice in August, but that same month the group made a modest splash by playing outside the fences of the Isle of Wight Festival.

The following month, Huw Lloyd Langton quit the band along with Thomas Crimble — the replacement bassist, ex-Amon Düül member Dave Anderson, joined in May of 1971, the same month that DikMik Davies quit, to be replaced on keyboards by Del Dettmar. In June of that year, two more new members came aboard — poet Robert Calvert, who became lead vocalist, and a dancer named Stacia, who began appearing with the group on-stage. Meanwhile, the band also hooked up with artist Barney Bubbles, who gave Hawkwind a new image, redesigning their stage decor and equipment decoration, and devising distinctive new album graphics.

Ex-bassist Crimble helped arrange for the group’s performance at the Glastonbury Fayre in Somerset in June of 1971, which gave Hawkwind fresh exposure and brought them to the attention of writer Michael Moorcock, who was entering a vastly popular phase in his career as the author of many science fiction and fantasy novels. Moorcock helped organize some of their performances, as well as occasionally serving as a substitute for Calvert.

Equally important, in August of 1971, Dave Anderson departed the group, and DikMik Daviesreturned to the lineup to join Dettmar on keyboards, bringing in Anderson’s replacement — his friend Lemmy (born Ian Kilmister), an ex-roadie for Jimi Hendrix and a member of the rowdy mid-’60s Blackpool rock & roll band the Rocking Vicars. Lemmy had joined the group just in time to participate on the recording of the band’s second album, In Search of Space.

Released in October of 1971, it proved a defining work, carving out new frontiers of metal, drug, and science-fiction-laced music, including one major classic song, “Masters of the Universe,” which became one of the group’s most popular concert numbers and turned up on numerous studio and live compilations. More lineup changes followed, as Simon King succeeded Terry Ollis on the drums in January of 1972. The group played the Greasy Truckers Party — a showcase of underground and alternative music and politics — at the Roundhouse in London the next month, parts of which surfaced on a pair of subsequent albums. All of these lineup changes and career steps had been compromised by a string of annoying bad luck and thefts of equipment, which were serious enough to threaten their solvency. Coupled with Bob Calvert’s shaky health, the result of a nervous breakdown, Hawkwind went into 1972 on very uncertain footing.

The group’s early sound, characterized by their singles up through that point, was essentially hard rock with progressive trappings. They slotted in perfectly with the collegiate and drug audiences, putting on the kind of show that acts like King Crimson and ELP were known for, but with more of a pure rock & roll base (not surprising, considering Lemmy’s background). Their commercial breakthrough took place when a version of the hard-driving rocker “Silver Machine,” sung by Lemmy, made it to number three on the British charts in August of 1972. They were unable to maintain this unexpected flash of mass success, particularly when their follow-up single, “Urban Guerrilla,” a surprisingly melodic rocker with lots of crunchy guitar at the core of multiple layers of metallic sound, was withdrawn amid a series of terrorist attacks in London, even though it had reached the British Top 40 and seemed poised to mimic “Silver Machine”‘s success.

The British tour that followed “Silver Machine,” their first major circuit of the country, gave them more concert exposure, and their third album, Doremi Fasol Latido, released in November of 1972, got to the number 14 spot on the British charts. This album codified the group’s science fiction orientation, presenting an elaborate mythology about the history of the universe (or some universe) into which the group and its music were woven. By this time, they had a major reputation as a live act, and rose to the occasion with an elaborate concert show called the Space Ritual. Their fourth album, Space Ritual, was a double-disc set recorded in concert and issued in June of 1973; it got to number nine.

By the time of their next album, In the Hall of the Mountain Grill in 1974, Bob Calvert had departed to work on a planned solo project (Captain Lockheed & the Starfighters), and violinist and keyboard player Simon House had joined the group. This was the heyday of progressive bands such as Yes, ELP, and Genesis, and Hawkwind’s mix of dense keyboard textures and heavy metal guitar and bass, coupling classical bombast and hard rock, became the sudden recipient of massive international press coverage; though they’d never charted a record in the United States, they became well known to readers of the rock press, and their records were available as imports.

The group toured the United States twice during this era, once in late 1973 and again in the spring of the next year. These tours had their usual share of problems — the band and its entire entourage were arrested in Indiana for non-payment of taxes — but it was after the release of their 1975 album, Warrior on the Edge of Time, that a major membership change ensued. They were touring the U.S. behind the release of the album when Lemmy was arrested on drug charges. He was fired from the band and went on to form Motörhead, a successful and influential metal band. His exit also took away a lot of the energy and focus driving the group’s sound. There was talk about Hawkwind calling it quits, but they carried on with Lemmy’s replacement, Paul Rudolph, and with Bob Calvert back in the lineup. By this time, their chances for a breakthrough in America had been reduced considerably by the chart success of such groups as Kansas and Blue Õyster Cult, both of which melded proletarian rock with progressive sensibilities in just the right portions to appeal to kids on the U.S. side of the Atlantic.

Hawkwind’s revamped lineup did release a new album, Astounding Sounds, which performed moderately well, and followed it a year later with Quark Strangeness and Charm(1977), which had a good title song, among other virtues. Hawkwind were still working as a quintet, but by this time their chronic instability was about to reach critical levels: at the end of their 1978 American tour, Calvert quit the band again, and the entire group virtually disbanded. When the smoke cleared, Calvert had put together a direct offshoot group, the Hawklords, and abandoned an entire finished album to record 25 Years On with a lineup that included Brock, Martin Griffiths on drums, Steve Swindells on keyboards, and Harvey Bainbridge on drums. That record made a respectable showing at number 48 on the British charts with a supporting tour, but the new group wasn’t much more stable than the old one, with drummer Griffiths gone by December of 1978.

Then Calvert quit (again), while Simon King, who had been a Hawkwind member a couple of years earlier, rejoined on drums, replacing Griffiths. The group was left as a four-piece and resumed the use 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 Swindells. This lineup proved relatively stable and recorded a very successful live album (number 15 in the U.K.), released as part of a new contract with Bronze Records. One big change took place in September of 1980 when Ginger Baker replaced Simon King, although Baker himself only lasted until March of 1981, when he was let go from the band and replaced by “Hawklords” drummer Martin Griffiths. This core lineup cut a string of decent-selling albums through 1984, which were embraced by the heavy metal community and initially propelled into the Top 30 and Top 20 in England, culminating with another live album. By the time of their 1984 album, This Is Hawkwind, Do Not Panic, released under a new contract with Flickknife Records, Turner, Brock, and Langton were back together again.

y this time, the band’s ’70s recordings were starting to show up in profusion, in competition with their then-current work. Ironically, it was in 1985, just as Hawkwind were starting to compete with their own early history, that they released their most ambitious record yet, The Chronicle of the Black Sword. An adaptation of Michael Moorcock’s sci-fi novels, the album was also a return to their old style. It was in this same period that Brock, Turner, Langton, Anderson, Crimble, Bainbridge, and Slattery attended the first Hawkwind Convention, held in Manchester — Turner left soon after, but the remaining members held together for three years, a record for the band.

Bob Calvert, who had quit the band twice at the end of the ’70s, died of a heart attack in 1988. Hawkwind were still together, however, and the following year even managed their first American tour since Calvert’s first exit from the band. Performance artist Bridget Wishart began singing for the group, becoming Hawkwind’s first and only female frontperson. By 1990, their fortunes were on the upswing again, when their sudden embrace of the rave culture on a new album, Space Bandits, gave them a new chart entry and a distinctly younger listenership. Their commercial revival was short-lived, however, and by 1991, they were busying themselves re-recording their classic material and toured America again the following year.

They were left as a trio after a falling out among the bandmembers at the end of their 1992 American tour, and apart from periodic reissues of Hawkwind’s classic material, the surviving group achieved a serious following on the underground, drug-driven dance/rave scene in England, ironically returning to a modern version of the band’s roots. Subsequent albums featured far more electronics than traditional rock instrumentation. They played various major showcases (including the 12 Hour Technicolor Dream All Nighter at Brixton Academy), as well as benefit performances. At this point in Hawkwind’s career, their entire catalog had been reissued on CD by numerous different labels (Griffin, Cleopatra, One Way, Magnum, etc.), in some cases recompiled and retitled (especially the live recordings), including various compilations and archival explorations numbering in the dozens.

In 1999, Hawkwind celebrated their 30th anniversary with the release of a triple-CD anthology titled Epocheclipse. A reunion concert titled Hawkestra was scheduled to coincide with the release, but was postponed until October 2000. The three-hour set took place at Brixton Academy and included performances by 20 of the group’s members. After the concert, the group toured with a core lineup of Brock, drummer Richard Chadwick, vocalist Ron Tree, guitarist Jerry Richards, and bassist Alan Davey, with guest contributions from several other members. Nik Turner also began gathering former Hawkwind members for a separate lineup, referred to as, but Brock pursued legal action, and Turner’s version became known as Space Ritual.

Official lineups of Hawkwind toured and released live albums, and they organized a festival titled Hawkfest in summer of 2002. A subsequent concert at the Wembley Arena featured guest appearances from Arthur Brown and Lemmy. The studio album Take Me to Your Leader appeared in 2005, including Brown as well as Lene Lovich among its guests. Take Me to Your Future, a DualDisc CD/DVD, followed in 2006. Davey left the band by the end of the year and was replaced by Mr. Dibs. Jon Sevink of the Levellersoccasionally began playing violin during Hawkwind gigs during 2009, as the band celebrated its 40th anniversary.

n 2010, British magazine MOJO honored Hawkwind with the Maverick Award at their annual awards ceremony. The group released studio album Blood of the Earth on Eastworld Records, with a lineup including Brock, Dibs, Chadwick, returning keyboard player Tim Blake, and multi-instrumentalist Niall Hone. Following tours of Australia and Europe, the studio album Onward emerged in 2012. Keyboardist Dead Fredjoined the group during the album’s tour. In November, Brockreleased the solo album Looking for Love in the Lost Land of Dreams, and Hawkwind Light Orchestra (comprising Brock, Chadwick, and Hone) issued Stellar Variations. In 2013, Cherry Red reissued Warrior on the Edge of Time, and Hawkwind performed the entire album during their Warrior 2013 Tour. Brock received the Lifetime Achievement Award at the Prog Rock Awards held in London that September, and the full-length Spacehawks appeared shortly after.


In February of 2014, Hawkwind performed Space Ritual at a benefit concert titled Rock 4 Rescue. English actor Brian Blessed appeared on the song “Sonic Attack,” and a studio recording was subsequently released as a single. The concert was eventually released as a CD/DVD set titled Space Ritual Live in March of 2015. A month later, Hawkwind made their first ever visit to Japan, performing two sold-out concerts in Tokyo. Brock issued the solo album Brockworld in November. In April of 2016, Hawkwind’s The Machine Stops, a studio album based on the similarly titled sci-fi short story by E.M. Forster, was released by Cherry Red. A thematic follow-up album, Into the Woods, followed a year later, continuing the narrative of its predecessor. For 2018’s Road to Utopia, Hawkwind teamed up with composer and conductor Mike Batt to reimagine songs from their catalog with new orchestral arrangements.

Fundamentally, a cosmic hitchhikers guide to the “space-rock” galaxy, the long-standing HAWKWIND had all the elements to survive implosive personnel changes, although one member has been at the helm since their conception – DAVE BROCK. Throughout testing times (a mid-70s legal battle nearly broke them), the revolving-door manifesto has seen the likes of great musicians such as future solo artists ROBERT CALVERT, NIK TURNER, LEMMY, HUW LLOYD-LANGTON, STEVE SWINDELLS, GINGER BAKER et al, exit stage left, while one album in particular, 1973’s quintessential “Space Ritual”, set the bar for self-indulgent concert double-discs; a culmination of their free festival/hippie spirit and wigged-out, sci-fi explorations.
Formed in London way back in 1969 by ex-Famous Cure alumni, Dave Brock (vocals/guitar) and Mick Slattery (guitar), Group X, and, in turn, Hawkwind Zoo were soon joined by Nik Turner (alto sax/flute/vox), Terry Ollis (drums), Dik Mik (synths/keyboards) and John Harrison; Slattery would drop out, opting instead for a gypsy lifestyle in Ireland when the group signed up to United Artists Records as HAWKWIND; guitarist Huw Lloyd-Langton was found almost immediately. Many free concerts later (mostly open-air festivals), the sextet released their eponymous debut the following summer.
Produced by former PRETTY THINGS lead guitarist, Dick Taylor, HAWKWIND (1970) {*7}, was a melange of bluesy, cosmically heavy psychedelic jam-rock; its best remembered for including opening track, `Hurry On Sundown’. While one could be “careful with the axe Eugene” not to pigeonhole them as PINK FLOYD clones (example `The Reason Is’, the 10-minute `Seeing It As You Really Are’ and part 2 of `Paranoia’), the tapestry of delights on their tight, prog-rock, galactic journey slipped through on the hypnotic mantra, `Be Yourself’.
Almost immediately, the band were beset with keeping personnel; Harrison (and his replacement Thomas Crimble) plus Lloyd-Langton making way for AMON DUUL II bassist Dave Anderson and synths man Del Dettmar leading up to the release of their glorious sophomore Top 20 set, IN SEARCH OF SPACE (1971) {*8}. Taking free-form, SUN RA-like jazz improv as its template, the opening 15:45 minutes was afforded to one track, `You Shouldn’t Do That’; main songwriters Brock and Turner were also behind `You Know You’re Only Dreaming’, `Master Of The Universe’ and `Children Of The Sun’.
Instrumental in pushing the group’s sci-fi/fantasy appeal was the subsequent introduction of vocalist/poet, Robert Calvert; his sci-fi musings featured heavily in their stage shows, while the scattered electronic stabs and saxophone honking merged with the driving rhythm section to create their own tripped-out take on space rock. It must be said too, that graphic artist Barney Bubbles, was used to good effect on the band’s image, stage design and album covers. Taking the free-love spirit of the late 60s by employing naked dancer, Stacia, HAWKWIND’s audience had almost tripled in a short space of time. Two upfront reasons at least then for their drive into the UK Top 3 via the classic, `Silver Machine’ single; one-time roadie Lemmy Kilmister’s pile-driving bass and overdubbed vox (preferred to Calvert’s live version), plus Simon King’s drums fuelling the beast with a turbo-charged power. The track previously featured on the live various artists “Greasy Truckers Party” album, as well as appearing on the similar “Glastonbury Fayre” compilation. One should also check out Silver Machine’s flipside, `Seven By Seven’, poet Calvert and Brock’s masterful soundscape; the inspiration to Swiss progsters, BRAINTICKET.
The success of the aforementioned A-side secured the band Top 20 placings on all four of their next albums for United Artists. The first of these, DOREMI FASOL LATIDO (1972) {*7}, was, at times, another explosive, intergalactic heavy-metal barrage of sound – `Lord Of Light’, up there with their most sonic pieces. The 11-minute `Brainstorm’ (penned by Turner alone) was pitted against the digitally-dreamy, `Space Is Deep’, a softer cut that showed Brock, Calvert and Co had more than metal up their sleeve. BLACK SABBATH and URIAH HEEP had already booked that ticket.
Highlighting all that was great and genuine about HAWKWIND, the live at Liverpool and London shows, SPACE RITUAL (1973) {*9} propelled the group beyond stratospheric proportions – well, the UK Top 10 at least. Absorbed and punctuated by Calvert’s coherent astral readings of Michael Moorcock’s `Sonic Attack’ and `The Black Corridor’, alongside his own `The Awakening’ and `10 Seconds Of Forever’, to describe the ‘Ritual as a trippy affair would be an understatement. Pity then it didn’t have room for their hard-rocking follow-up, `Urban Guerrilla’, a surprise Top 40 entry despite being banned from the radio airwaves.
Running up to the release of their fourth studio set, HALL OF THE MOUNTAIN GRILL (1974) {*9}, Dettmar (who’d emigrated to Canada), Dik Mik (aka Michael Davies) and the solo-bound ROBERT CALVERT took off on their own missives; veteran synth-player and violinist Simon House (ex-THIRD EAR BAND, ex-HIGH TIDE) contributing the classically-infused title track. Interspersed with light but grandiose instrumental pieces such as `Wind Of Change’ and the short `Goat Willow’, Brock, Turner and Co’s time away from the studio has revived the vibe to write great tracks; `The Psychedelic Warlords (Disappear In Smoke)’, the melancholy `D-Rider’, `You’d Better Believe It’ and the Lemmy-sung `Lost Johnny’, all gemstones in their own right.
With the addition of second sticksman, Alan Powell (ex-CHICKEN SHACK, etc.), and coming in for a little flak among some critics, WARRIOR ON THE EDGE OF TIME (1975) {*7}, exposed a little of the band’s shortcomings; it was thought that the full-member upgrade introduction of the aforementioned Michael Moorcock on several of the echo-ing cuts (from `The Wizard Blew His Horn’ to `Standing At The Edge’ and `Warriors’) was just a bridge too far for many Hawkfans. That aside, no one could argue with the likes of brain-stormers, `Assault & Battery’, `Magnu’ and Kilmister’s swansong, `Kings Of Speed’; the latter surely one that got away, its B-side `Motorhead’ procured by Lemmy as the name for his subsequent hard-rock band when he was duly fired from the group for his part in an alleged drug bust. Paul Rudolph (a mate of Brock and Turner’s from the PINK FAIRIES) was drafted in to fill the void, alongside the re-instated Calvert.
HAWKWIND then signed to Charisma Records and despite continuing moderate commercial success on arty albums, ASTOUNDING SOUNDS, AMAZING MUSIC (1976) {*5} and the much-improved QUARK, STRANGENESS AND CHARM (1977) {*6}, it seemed their heyday was put to the sword by the sonic sorcery of the emerging punk and new wave. The loss of long-standing NIK TURNER, who’d go on to form Sphynx and Inner City Unit, was almost opaque to the revolving-door process of the band. For the second of these sets, experienced bassist Adrian Shaw showed he was more than capable of keeping up with core members. But by now HAWKWIND were coming across like a poor man’s DOCTORS OF MADNESS or ULTRAVOX (example `Hassan I Sabbah’ and `Spirit Of The Age’), numerous fans unhappy at their newfound pop-rock approach. There were of course exceptions to the rule, the technoid `Forge Of Vulcan’ almost industrial by comparison.
Much of the same could be said for the group’s offshoot act, HAWKLORDS, Calvert’s proposition that shelved a finished album, the “PXR5” project to compensate for 25 YEARS ON (1978) {*7}. Still, it had all the hallmarks of Hawkwind in transition, and even featured Messrs Brock, Simon King, Steve Swindells (keyboards), Harvey Bainbridge (bass) and Martin Griffin (drums), plus good and effective songs such as `(Only) The Dead Dreams Of The Cold War Kid’, `Flying Doctor’ and `25 Years’. When finally released after the lesser-celebrated “Hawklords” venture, PXR5 (1979) {*5} was rounded on by critics and fans alike. When the dust settled and legal wrangles had just about emptied their pockets at the turn of the decade, Brock, Bainbridge, Simon King and Huw Lloyd-Langton (both back from Quasar to replace Griffin and CALVERT respectively), Tim Blake (from GONG to supersede SWINDELLS who also went solo) steadied the ship on the Top 20 LIVE SEVENTY-NINE (1980) {*6} set. Whether the connective MOTORHEAD metal touches on `Master Of The Universe’ and `Brainstorm’, fitted well within the Hawkfan glitterati was anybody’s guess, but no one could doubt the outfit’s prowess and claim to be a hard-rock band.
Bronze Records were also behind HAWKWIND’s studio comeback, LEVITATION (1980) {*6}; veteran drummer GINGER BAKER ensuring its near Top 20 status. Brock had intentionally revised their spacey, sci-fi sources, `Who’s Gonna Win The War’, `Motor Way City’ and the title track, winning the day over their previous and ill-advised sojourn into mainstream new-wave.
Formerly of freak-folk act, COMUS, Keith Hale superseded Blake, while drummer Martin Griffin returned to replace the enigmatic BAKER who continued as a solo artist. The resultant Top 20 set, SONIC ATTACK (1981) {*5} – based on the Michael Moorcock sci-fi contribution to “Space Ritual” – was another harder-edged work in the NWOBHM mould. MOORCOCK would indeed provide a handful of lyrics for Brock’s musical enterprise, although the sword-and-sorcery pomp-rock was hardly stuff of the 80s.
R.C.A. Records were also behind two further Top 30 entries (indeed, their last) in CHURCH OF HAWKWIND(1982) {*5} – featuring the JFK/Oswald shooting-inspired sampling `Some People Never Die’ – and CHOOSE YOUR MASQUES (1982) {*6}, the latter seeing the return of saxophonist extraordinaire, Nik Turner. The fact that Brock let his Utopian crew get more involved (including house composers, MOORCOCK and CALVERT respectively), was certainly effective in their dramatic sound. Lloyd-Langton and wife Marion were behind two of the tracks, `Solitary Mind Games’ and `Waiting For Tomorrow’, while one couldn’t fault Brock re-vamping their greatest hit, `Silver Machine’.
With substantially altered line-ups (no change there then), HAWKWIND continued to release albums on their own Flicknife independent, the first of these ZONES (1983) {*5} was a rather ill-conceived live collection of recent tracks, although three of them were from the BAKER-era. It’d repeatedly confuse Hawkfans and critics alike as to what deemed a new album. In the case of “Zones” and the rather more collective, THIS IS HAWKWIND, DO NOT PANIC (1984) {*5} – recorded mostly live in Lewisham in 1980, with a few fresh “Stonehenge” cuts thrown in to the mix – discographers, at least, were bemused.
Brock, Lloyd-Langton, Bainbridge, Alan Davey (bass), Danny Thompson (drums), Dave Charles (percussion) and writings of “Elric” man MOORCOCK were behind HAWKWIND’s first “proper” album for yonks, THE CHRONICLE OF THE BLACK SWORD (1985) {*6}. While the project had a few melodic rockers in `Needle Gun’ and `Song Of The Swords’, there were TANGERINE DREAM-like soundwaves in `The Pulsing Cavern’.
For once the line-up looked to have survived the three years leading up to THE XENON CODEX (1988) {*6}, although there was one casualty reported when former cohort, ROBERT CALVERT (Bob to his friends), died from a heart attack on the 14th August 1988. Whether one loved the old-style, classic-era HAWKWIND, or the trial-and-error HAWKWIND, ready-and-willing to progress beyond their boundaries (Brock’s `Heads’, Langton’s `Tides’ and Davey’s `Neon Skyline’, three examples), one couldn’t fault the mind-blowing opening salvo, `The War I Survived’.
A large step into the past and the present came through 1990’s SPACE BANDITS {*5}, a record which re-introduced the virtuosity of violinist Simon House and a new voice in Bridget Wishart; Richard Chadwick was installed as their drummer. HAWKWIND would consistently attracted a loyal following of die-hard hippies, while the emergence of the psychedelic/crusty/techno scene had done them no harm, many young stoners citing the group as a prominent influence, even if Brock was the only remaining original member. Although recorded live around the turn of the decade, PALACE SPRINGS (1991) {*4} was a welcome addition to Hawkfans with large pockets.
ELECTRIC TEPEE (1992) {*6}, IT IS THE BUSINESS OF THE FUTURE TO BE DANGEROUS (1993) {*6} and the obligatory THE BUSINESS TRIP – LIVE (1994) {*5}, rounded off a healthy period for the Hawks; their expansive vaults sourcing out old nuggets such as `Quark, Strangeness And Charm’ for inclusion on the latter and a re-vamp CD-single release. After The Hawklords debacle some years ago, the need for a change of moniker (Psychedelic Warriors), and to fit into the niche ambient/trance scene for one-off set, WHITE ZONE (1994) {*4}, was again ill-conceived. A time then to come up with the arty-farty Pinkwind, an amalgamation of PINK FAIRIES’ Larry Wallis, Duncan Sanderson and Russell Hunter and HAWKWIND’s Brock, Turner and Dettmar? Probably not, judging by the results on their pitiful collaboration, “Festival Of The Sun”.
The age-old concept of terrestrial worlds from within, ALIEN 4 (1995) {*7}, saw HAWKWIND and Brock take a back seat on the vocal side: that would go, in part, to Ron Tree. Eerie and intense, the doom-laden instrumentation was effective on the likes of `Death Trap’, `Sputnik Stan’, `Alien (1 AM)’, among others. Of course, the choice to chase it with another double-live batch, LOVE IN SPACE (1996) {*4}, was one strictly for their loyal fans to judge.
The tight quartet of Brock, Tree, Chadwick and Davey’s replacement, Jerry Richards, continued to vary their space-rock-meets-trance-sound on DISTANT HORIZONS (1997) {*6}, while the half-live/half-studio IN YOUR AREA (1999) {*6} contained a concert and tracks from a rather rare “Earth Visitor Passport” Hawkfan collection.
The ostensibly solo HAWKWIND set, SPACEBROCK (2001) {*5}, surfaced from out of the blue, and although players/characters permeated from sources in an anonymous capacity (fans will know who they are!), Brock and his Dr. Technical alter-ego side played out some of his best tracks from solo albums.
The Xmas-cracking double concert set, YULE RITUAL: LONDON ASTORIA 29.12.00 (2001) {*6} – recorded with an expanded cast – and another reunion of sorts in CANTERBURY FAYRE 2001 (2003) {*6}, kept their momentum on a high note; the latter and SPACED OUT IN LONDON (2004) {*6} featured a cameo from flame-helmeted guru, ARTHUR BROWN.
The Crazy World of guest singers Arthur Brown, LEMMY, LENE LOVICH and television presenter, Matthew Wright (the latter on a reprise of Bob Calvert’s `Spirit Of The Age’), were all on board the good ship HAWKWIND for their umpteenth, long-awaited studio album, TAKE ME TO YOUR LEADER (2005) {*6}. The core trio of Brock, Davey and Chadwick combined with ominous angst on the likes of `Greenback Massacre’, `To Love A Machine’, the title track and `Angela Android’. TAKE ME TO YOUR FUTURE (2006) {*6} was virtually a live audio/visual accompaniment to the previous record.
Brock, Chadwick and the returning Tim Blake, plus Jason Stuart (keyboards) and Mr. Dibs (bass), arrived the uncanny idea to release another double-CD batch of old and new tracks, KNIGHTS OF SPACE (2008) {*4}, leaving fans “alien”-ated and penniless once again. If one was an avid fan of HAWKWIND stretching over all the decades, thousands of pounds (or dollars) would’ve been required to buy the lot – they just might’ve been the reason for the impending recession.
Back on a serious note, HAWKWIND acolyte and number one fan, Matthew Wright (he of Channel 5’s “The Wright Stuff” fame) contributed not his voice to the title track of their follow-up studio set, BLOOD OF THE EARTH (2010) {*6}, but also a co-credit with his “Master Of The Universe”, Dave Brock. While one could hear the band’s upbeat live take of SYD BARRETT’s `Long Gone’ on the bonus disc, golden nugget `You’d Better Believe It’ cropped up on the main side; check out the pounding `Seahawks’ or indeed the rather gorgeous ambient piece, `Green Machine’. Sample-delic bassist Niall Hone replaced Stuart.
2012’s metal-to-manic double-set, ONWARD {*6}, was more KILLING JOKE and industrial in shape (if tracks `Seasons’, `The Hills Have Eyes’ and `Death Trap’ were anything to go by), but just like HAWKWIND’s best pieces of the past, there was method to their madness via acoustic number, `Mind Cut’.
Adding to their rather large discography (which now included HAWKWIND LIGHT ORCHESTRA’s STELLAR VARIATIONS (2012) {*6}), was the remixed/re-worked SPACEHAWKS (2013) {*6}, an odds ‘n’ sods set of the sprawling variety taking in both recent and prehistoric gems; Brock, Chadwick and Hone were again joined by Mr. Dibs (aka Jonathan Hulme Derbyshire).
While HAWKWIND were blowing in different directions, generic fans could switch on to the re-formed spinoff, HAWKLORDS; i.e. Swindells, Bainbridge and Shaw, plus singer Ron Tree, guitarist Jerry Richards and drummer Dave Pearce. 2012’s WE ARE ONE {*6} was an interesting interstellar album that had elements of PiL/ALTERNATIVE TV-esque punk on the title track, `Mothership’ and the 8-minute `Even Horizon’
Swindells subsequently dropping out, the psychedelic warriors of the apocalypse captured more of the same on DREAM (2013) {*6} – featuring `Dream A Dream’ and `D.N.A.’, CENSORED (2014) {*6} – roping in MICHAEL MOORCOCK for `Induction’, and R:EVOLUTION (2015) {*7}; the latter with Tom Ashurst in for Shaw. The mission to go where no acid-head had gone before, HAWKLORDS had transported fans back to the mind-fuck 70s a la `Re-Animator’, `Evolver’ and futuristic finale `Shadow Of The Machines’.
Brock’s HAWKWIND alumni, on the other hand, were pressing the DeLorean dials for their “Warriors”-meets-“Silver…”-type trip into the cosmic concepts of THE MACHINE STOPS (2016) {*8}. Based on E.M. Forster’s dystopian sci-fi short story of 1909, rave reviews had placed them (and Cherry Red Records!) back in the Top 30 – their first to do so in 34 of your Earth years; perennial Matthew “Wright Stuff” name-checks ‘n’ all. Interspersed with the odd, spoken-word interlude, one can almost feel the presence of the late LEMMY on cool opener `The Machine’, whilst others such as the single `A Solitary Man’, `King Of The World’ and `Synchronised Blue’, conspired to carry the can for prog/space-rock.
At the risk of competing with the mighty “kings of speed” HAWKWIND, sonic counterparts HAWKLORDS delivered unto the womb of the world: FUSION (2016) {*6}. Nothing conceptual here, just an album “exploring the themes of sex, death, art, time and identity” – as said on their blog. An at times beautiful and glissandonic trip through their intricate minds, the ‘Lords’ most commercial piece `SR-71’ exploded through the acquisition of rejuvenated guest singer, Kim McAuliffe (from GIRLSCHOOL). Keeping their cosmic grooves simple and sweet/sour, `Out Of Phase’, `Split’, `Step Off The Edge’ and the dreamscape “Warrior/Time” of `The Moment’ were its strongest missives.
Captain Brock and Co’s HAWKWIND, meanwhile, were contemplating another assault and battery on the human anatomy, by way of 2017’s INTO THE WOODS {*7}. Despite its Top 30 peak, only hardened disciples managed to give this spooky set top marks. A little lighter and acoustic than its predecessor, the synths still managed to give subliminal songs such as the opening title track, `Cottage In The Woods’, `Have You Seen Them?’, `Space Ship Blues’ (complete with banjo!) and the punk-y `Vegan Lunch’, an almighty leg-up. On a sadder note, Dik Mik’s death on 16 November 2017 was not lost on past and present HAWKWIND acolytes.
Celebrating their return to a certain London venue after 40 years, double-CD/DVD, LIVE AT THE ROUNDHOUSE (2017) {*7} gave younger fans a chance to catch up.
Revisiting their back catalogue again was decidedly ill-advised if their re-workings album, ROAD TO UTOPIA(2018) {*5}, was anything to go by. Split into two “1st and 2nd Innings” sides (once again produced by the orchestral Mike Batt), HAWKWIND did themselves no favours by re-waxing the likes of `Quark, Strangeness And Charm’, `We Took The Wrong Step Years Ago’, `Psychic Power’, `Down Through The Night’ et al.

Hawkwind – “Warrior On The Edge Of Time” Album cover photo (front)


Hawkwind – “Warrior On The Edge Of Time” Album photo (B’ Side)


Hawkwind – “Warrior On The Edge Of Time” Album Artwork photo (insert)


Hawkwind Poster


Hawkwind, Photo

Hawkwind Portrait

Hawkwind – “Magnu” Video file link on YouTube

Hawkwind – “Warrior On The Edge Of Time” Full Album Video file link on YouTube

Hawkwind Band’s Page on Discogs

Hawkwind Bands’ Page on Rate Your Music

Hawkwind Band’s Page on Facebook

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Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s (Tracks) Twenty Sixty Six And Then – “Reflections On The Future”

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s (Tracks)

Twenty Sixty Six And Then (Mannheim, Baden-Württemberg , Germany)

Krautrock/Progressive Rock Band

“Reflections On The Future” (written by Veit Marvos/Geff Harrison) B1 track included on the album “Reflections On The Future”

Released on United Artists Records (UAS 29 314 I) in 1972

Line-up/Credits :

Geff Harrison / lead vocals
Gerhard Mrozeck / acoustic & electric guitars
Steve Robinson / keyboards
Veit Marvos / keyboards
Dieter Bauer / bass
Konstatin Bommarius / drums


Wolfgang Schönbrot / flute
Curt Cress / drums

Arranged By – Twenty Sixty Six And Then

Bass Guitar – Dieter Bauer

Design [Cover-Design] – Günter Karl

Drums – Konstantin Bommarius

Electric Guitar, Acoustic Guitar, Vocals – Gagey Mrozeck

Engineer – Dieter Dierks

Lead Vocals – Geff Harrison

Lyrics By – Harrison

Organ, Electric Piano [E-piano], Piano, Mellotron, Percussion, Vocals – Veit Marvos

Organ, Electric Piano [E-piano], Vibraphone [Vibes], Synthesizer, Mellotron, Vocals  Steve Robinson

Photography By – Gerhard Vormwal

Producer [Produced By (Inside Cover)] – Madaus Sound

Producer [Produced By (On Record Labels)] – Eckhard Madaus

Track-List :

1.  At My Home (Gerhard Mrozeck, Steve Robinson, Geff Harrison) – 05:02
2.  Autumn (Steve Robinson, Geff Harrison) – 09:05
3.  Butterking (Steve Robinson, Geff Harrison) – 07:20
4.  Reflections On The Future (Veit Marvos, Geff Harrison) – 15:47
5.  How Would You Feel (Veit Marvos, Geff Harrison) – 03:22

TWENTY SIXTY SIX AND THEN are: Geff Harrison on lead vocals, Gagey Mrozeck on guitars, Dieter Bauer on bass, Konstatin Bommarius on drums and Steve Robinson with Veit Marvos both sharing duties on organ, electric piano, vibes, synthesizer, mellotron and vocals (the name ‘2066 & THEN’ comes from adding an extra thousand to the number 1066, year of the historical battle of Hastings). Their heavy progressive style has been compared to that of DEEP PURPLE, VANILLA FUDGE and IRON BUTTERFLY. After releasing their first album, individual members got involved in different projects that never really stood the test of time, so ‘Reflections on the Future’ is their only legacy, and a fine one at that.

Their dramatic organ-drenched, complex music sometimes dons symphonic elements, but the band isn’t afraid to dive into some heavy guitar/organ jamming either, featuring elements of jazz, some high-octane rhythmic parts and quick changes, mixed with weird psychedelic electronic effects – the hoarse vocals, however, perhaps better suited to conventional hard rock, may take some getting used to.

Their record company (Second Battle) re-released the album in 1991 under the name ‘Reflections on the Past’. Considered a collectors item, it also contains unreleased masters and some bonus practice sessions from an early rehearsal session in 1991. In 1994, the cd ‘Reflections!’ came out, compiling tracks from both, plus some which had been considered for a second album that never materialized. A combination of poor sales and a ruined German economy at the time sadly forced the premature death of this fine German band, only months after the release of their first album.

Twenty Sixty Six And Then – “Reflections On The Future” Album cover photo (front)


Twenty Sixty Six And Then 


 Twenty Sixty Six And Then – “Reflections On The Future” Video file link on YouTube

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Video file link on YouTube

Twenty Sixty Six And Then Band’s Page on Discogs

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Rockasteria Blog

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Muro Do Classic Rock Blog

Twenty Sixty Six And Then Band’s Page on Apple Music

Twenty Sixty Six And Then Band’s Page on Google Music Store

Twenty Sixty Six And Then Band’s Page on Deezer

Twenty Sixty Six And Then Band’s Page on Napster

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Back In Purple 70 Blog

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s Personal Playlist on Spotify

Progressive Rock Netherlands 1970s (Tracks) Focus – “Janis”

Progressive Rock Netherlands 1970s (Tracks) 

Focus (Amsterdam, Netherlands)

Instrumental Music

“Janis” (written by Thijs Van Leer) A3 track included on the album “Moving Waves” aka “Focus II” (LP Imperial – 5C 054-24385 (1971, Netherlands) Initial edition entitled “Focus II” , later abandoned
LP Sire – SAS-7401 (1971, US) Entitled “Moving Waves” and new cover art (both adopted from then on)
LP Blue Horizon – 2931 002 (1971, UK)

Released on Imperial Records (5C 054-24385) in October 1971

Line-up/Credits :

Thijs van Leer / vocals, Hammond organ, harmonium, Mellotron, soprano & alto flutes, piano
Jan Akkerman / electric & acoustic guitars, bass
Cyril Havermans / bass, vocals Pierre van der Linden / drums, percussion

Releases information

Artwork: Dennis Kloeth with Janos Barendsen (photo) (2)

Focus – “Janis” Video file link on YouTube

Focus – “Moving Waves” Full album Video file link on YouTube

Focus – Band’s Page on Discogs

Focus Band’s Homepage

Focus Band’s Page on Facebook

Focus Band’s Page/Discography/Download links on Muro Do Classic Rock Blog

Focus Band’s Page on Spotify






Folk/Progressive Rock Germany 1970s (Tracks) Gäa – “Gäa”

Folk/Progressive Rock Germany 1970s (Tracks)

Gäa (Saarland, Germany) Krautrock/Progressive Rock

Instrumental Music

“Gäa” B6 (closing track) written by included on the album “Auf Der Bahn Zum Uranus”

Released on Kerston Records (65 014) in 1974

Line-up/Credits :

Werner Frey / guitar, vocals
Stefan Dorr / drums, vocals
Werner Jungmann / vocals, congas
Gunter Lackes / organ, piano, vocals
Peter Bell / bass, flute, vocals

Gäa – “Auf Der Bahn Zum Uranus” Album cover photo (front)

gaa gaa 1 (2)

Gäa – “Gäa” Video file link on YouTube

Gäa – “Auf Der Bahn Zum Uranus” Full album video file link on YouTube

Gäa Band’s Page file link on Discogs

Gäa – ” Auf Der Bahn Zum Uranus” Full album Audio file link on Spotify

Gäa – “Auf Der Bahn Zum Uranus” Full album Download file link on Train To Uranus Blog