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

Hawkwind Band’s Page on Twitter

Hawkwind Band’s Page on Setlist Fm

Hawkwind Band’s Homepage

Hawkwind Band’s Page on Apple Music

Hawkwind Band’s Page on Cherry Red Records

Hawkwind Band’s Page on Bandcamp

Band’s Page on Deezer

Hawkwind Band’s Page on Google Music Store

Hawkwind Band’s Page/Discography/Full Albums/Download Links on Muro Do Classic Rock Blog

Hawkwind Band’s Page on ProgArchives

Hawkwind Nik Turner’s Interview on It’s A Psychedelic Baby Magazine Blog


Progressive Rock Israel 2010s (Tracks) Telegraph – “Remote Control”

Progressive Rock Israel 2010s (Tracks)

Telegraph (Tel Aviv, Israel)

“Remote Control” Closing track (written by Telegraph) included on the album “Mir”

Released on 20th September 2018 (self-released album, not on label)

Line-up/Credits :

Avi Barak: Drums and Flute
Liran Herrnstadt: Bass and Vocalist
Eze Sakson: Organ, Mini Moog, Electric Piano, Piano, Mellotron
Tal Rubinstein: Electric, Acoustic, 12 strings guitars and vocals

Recorded at Jeppeto studios, July 2017
Recording Engineer: Yaron Mashraki
Mix and Mastering: Udi Koomran

Cover Painting: Kathrin Longhurst
Concept art and design by Liran Herrnstadt and Tal Rubinstein
Moog photography by Amit Liber

“Mir” was inspired by the journey of Sergei Krikalev who was left at the Soviet space station after the collapse of the USSR

all titles written and produced by Telegraph

Telegraph  – “Mir” Album cover photo (front)


Telegraph – “Remote Control” Video file link on YouTube

Telegraph Band’s page on Spotify

Telegraph Band’s page on Bandcamp

Telegraph Band’s homepage