Customer Reviews

Astounding Sounds, Amazing Music

5 star:		(2)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I own an earlier CD release, so this reviews the music, not the Cherry Red Records/Atomhenge remastering. Here we find Hawkwind stepping away from a powerful lineup (including Nik Turner and Lemmy Kilmister) that had sadly degenerated (relationship-wise mostly, but arguably musically too - to my ear, Warriors on the Edge of Time, the release just before this one, represented a decline from the standards set by the previous three or four albums) and searching for a new sound, a new identity. The return of Robert Calvert, probably their best lyricist ever and a superb collaborator for band leader Dave Brock, moves them in new directions. The sound sometimes resembles Bowie or Roxy Music as much as Hawkwind blanga: it is more lyrically and melodically complex, less hard-driving for the most part, with fewer skirls of sax or audio generator. So if you only like Hawkwind for Brainstorm or Master of the Universe, it will be a shock at first and you may or may not wind up liking this one. But it is a remarkable achievement. As I understand it, the original idea was to develop a set of songs that would resemble the stories in a pulp SF magazine (hence the title), with perhaps a distinct little stage show for each. Until I picked this one up a year or so ago, I couldn't imagine how the band got from Warriors to Quark, Strangeness, and Charm - this fills in the gap. They aren't yet sounding New Wave, but then, in 1976 nobody else was either!

Anyway, it isn't perfect, but it is very good. Highlights include the lengthy Steppenwolf (Calvert's take on the Herman Hesse novel), Kerb Crawler (another bid for a smash hit single that didn't chart well but probably should've), and Kadu Flyer (Calvert's continuing obsession with piloting has him fantasizing an ultralight flight into the Himalayas). Most of the other numbers are pleasant instrumentals, more background than most earlier Hawkwind.

The older CD release (and there are probably used copies around still) had a raft of live material tacked on at the end, some just okay, but some outstanding - a good live Back on the Streets (yet another failed bid for the singles charts) and a totally berserk Urban Guerilla (with Calvert screaming 'bullets are the only way'). The new one has the key advantage of remastering from the original tapes and a different set of bonus material. It looks like the actual single version of Back on the Streets is there, which is a nice touch, since it was left off the Sonic Boom Killers compilation of singles. I'm curious about the other pieces, though probably not curious enough to buy a second copy of the record.

As a big Hawkwind fan, I was thrilled to see more albums given the reissue treatment, about time! Cherry Red/Atomhenge focus on the albums that came after 'Warrior on the Edge of Time' (when's that one going to be reissued?!) right through 'Sonic Attack' (I think?) and make a damn good argument that there was life after Lemmy. The CD reissue is fantastic, with amazing packaging, bonus tracks, extensive liner notes and photos and of course, excellent sound. The music on the other hand tells another story. It seems that after firing Lemmy (all Hawkwind fans know the whole story), the band were confused what direction to take and it shows. For one thing, the group had seven members, two of whom were drummers, both playing the standard 4/4. For a second thing, the music is just all over the place. Not diverse in a good way but just confused. After "Reefer Madness" and "Steppenwolf" two terrific, although a bit more generic then typically expected rockers, there are several instrumentals that either sound like Roxy Music or incidental background music for a bad 70s sci-fi flick and honestly "Kerbrawler" sounds a bit to heavy metally with its high pitched whales. And probably, one of the most important elements is missing - Lemmy's driving, pulsating bass, the very thing that defined space rock and classics like 'Doremi Faso Latido', 'Space Ritual' and 'Hall of the Mount Grill' ('Hawkwind' and 'In Search of Space' are great too!). With that all said, Robert Calvert's taking over on lead improved the band's lyrics of course, unlike when guitarist/singer Dave Brock's lyrics were the same two lines repeated over and over ("be yourself/see yourself"). And the rockers are great, starting with basic glam rock riffs and expanding with Simon House's keyboard and viola and Nik Turner's sax. The concept is also a treat, designed like a 30s-40s sci fi mags. But the basic point is that this album is more *interesting* from a band historical aspect than outright good. I would not recommend this as a place to start your Hawkwind collection. However, if you are a fan and own the aforementioned classics, it is interesting to see what (mi)steps the group took after firing Lemmy. Incidentally it's no wonder they fired a few more members before they released their next album.

This album is a gem. It is a little different and may take a few listening sessions. Reefer Madness is a swipe at the anti-drug government movie. Steppenwolf is one a Calvert classic. The Aubergine That Ate Rangoon is a masterpiece of space funk. Kadu Flyer, a Nik Turner trip. The other tracks meld together some of the most subtle of SparrowFart's work. If you like Hawkwind for Silver Machine, this is probably not for you. Tracks 8 thru 11 were not on the original and apart from The Dream of Isis, should be left off the CD. Marketers suck.

"Steppenwolf" is the main feature of this program....It's about a man that turns into a wolf....Therefore its the perfect full moon song!...I've only heard this recording on the full moon starting in July 94' when my disc arrived via mail order (Amazon wasn't available back then)....As such my review is from this perspective...It's like watching a movie, I like to be frightened and I love to laugh, this music delivers both consistantly...."Reefer Madness" is funny and creepy at the same time, it opens the gate and is a map or guide to aquaint yourself with before your trip, and to reefer' back to as needed...."City Of Lagoons" and "Chronoglide Skyway" are instrumentals that serve as a break and wind-down respectively. Nothing exciting happens during these songs...watching clouds slowly drift about in the moon-light works for me. Especially "City" which also allows me to catch my breath before the unique and very cool "The Aubergine That Ate Rangoon"...Dismiss totally the comment another reviewer wrote about the keyboard sounding like a 70s game-show (I suspect a depleated oxygen level in the blood-stream may be the culprit). A lil' bita' gas really brings this song to life. Paul Rudolph is actually a lead guitarist slotted in on bass after Lemmy's unfortunate departure,... He wrote "Aubergine" and was cowriter of "Hassan I Sabha" with Robert Calvert...a song that was performed live before it appeared on 1977s "Quark Strangness And Charm". Both songs were written with hash-pipe not far from hand...."Honky Dorky" is a leftover recorded in that same vein. "Kerb Krawler" is another unique song,...I love the bass guitar,...it's more like Roxy Music circa 73-75. A driving song like "Love Is The Drug"....It was mixed by David Gilmour and interestingly the next song "Kadu Flyer" features Nik Turners' lead vocal performance for this album, and his vocal texture is unaffected sonicly at first (i.e. reverb, delay, etc.)...the first time I heard this song I thought...Syd Barret!...It really does sound like him. Barrett was a prolific "Astral-Planer" (though his ways and means may be questioned), I believe he did phenomenal things nearly beyond our perception. So more than a song about a glider, I view this song as a tribute to Syds' genious and persona. "Wish You Were Here" was Floyds' 75' album dedicated to his SHINE....Full circle enough!?....So back to "Steppenwolf"...theres nothing to compare this song to...it's a true classic, certainly not heavy-metal ala Motorhead. Dave Brocks guitar kinda' takes a back seat, while the bass, violin and sax are featured around Calverts' stunning and concise vocal presentation. At one point roughly mid way, there's a strange sound, a high-pitch like ringing in your ears (nearly inaudible), it continues until the drums pick up the beat again....Wolves hear sounds inaudible to humans,...but what do wolf-men hear?...That's just one point as to how thought-out and intriguing this recording is. You have to use your imagination!...and realize that the truth is stranger than fiction! It's easy to understand Dave Brocks mixed feelings over this album, he has a lesser role...no 12 string acoustic gtr. first album without it, and after it's release he was briefly fired, until Calvert protested...then tables were turned, Turner, Rudolph and Alan Powell were cut instead. This should be in most Hawkfans top 5!... and all Hawkfans top 10! Buy "Space Ritual Alive" 73' thru "Quark Strangeness" and you'll have my top 5. (I have roughly 100 Hawkdiscs, not counting solos)....Shape-shifters, Shadow-reepers, Nearly invisible mechanical insects with black-white-eye cloaking devices are all around us!...So if you say you've never had a close-encounter maybe you just don't remember!...Food for thought, A!................................OTHER FULL-MOON TITLES : "Warrior On The Edge Of Time" (Hawks) esp. on eclipse!..."Topografic Oceans" disc two (Yes)..."Moonmadness" (Camel)..."Yeti" (Amon Duul)..."Threshold Of A Dream" (Moodys')... "Court Of The Crimson King"..."Captain Beyond"..."Caravanserai" (Santana)..."From The Witchwood" (Strawbs)..."2112" (Rush)..."Leftoverture" (Kansas)..."Crazy Eyes" (Poco)...All are LUNATIC friendly...Happy Tanning, How'd I forget "Ummagumma" (Floyd)

****************Personnel:

Robert Calvert - vocals
Dave Brock - electric guitar, keyboards, backing vocals
Nik Turner - saxophone, flute, vocals (on "Kadu Flyer")
Paul Rudolph - bass guitar, electric guitar
Simon House - violin, keyboards
Simon King - drums
Alan Powell - drums

Lemmy is ejected from the band and replaced by Paul Rudoph. Robert Calvert returns and takes up full time vocalist duties, also contributing lyrics. Michale Morecock does not contribute to this album.

****************Technical Details:
I have two versions of this album: the 2009 Cherry deluxe remaster and the 1989 Virgin/Charisma master, so I'll compare those two. The 2009 Cherry/Atomhenge release is slightly less dynamic than the Virgin, but it is imperceptable, so for all practical purposes the dynamic ranges are the same. The virgin release has slightly more top end, but the eq of the two releases is very similar. The 2009 release though has more clarity and is less harsh. I suspect that is down to the better DACs we have today.

The recording and mixing are excellent. There is none of the amateurness of the earlier recordings. The vocals are quite forward in the mix and the guitars somewhat buried though, which is not to my taste. The bass is on the verge of being thin, but it is still in the adequate range. All in all, a good sounding record.

*****************The Music
The band had left United Artists and moved to Charisma, and the music reflects this change. This isn't like any previous Hawk album. Many people disparage this record as being an attempt at commerciality and the weak link in the land of 70s Hawkwind. I don't see it that way. I think it is a very fine album, with strong song writing and sharp playing. Each Hawk album was different from the last because the composition of the group always was in flux, and because composing was a collaberative effort the sound naturally changed as the elements changed.

The first big change was the ejection of Lemmy. The self taught heavy chaotic improv style of Lemmy was replaced by the more precise scripted studio session sound of Paul Rudolph. Although Rudolph's sound could be characterized as boring, it did not have the numerous mistakes and attention seeking attitude of Lemmy's basslines. So I don't think the rhythm section was any worse, it was just very different.

The next big change was the return of Robert Calvert, and the enlargement of his role in the band. He became a proper lead vocalist, and many of the lyrics were his compositions. His particular off center humor and singing style are very distinctive, but not everyone is as keen on him as I am. Michael Morecock did not contribute to this album, and I don't think his poetry would have fit with the lighter, pulpy feel of the record.As you can probably surmise from the title and the cover, dime store pulp fiction was the inspiration for the record. And the lyrics do have a wonderful campy playfulness about them. I wouldn't look to hard for deep meanings in the songs. Calvert's return and elevation probably did the most to alter the Hawk sound. Robert was extremely serious about creating a record that had proper songwriting and professional playing. So the sessions were much more disciplined than had previously been the case. For example, he banned weed and demanded the members be clear headed for their playing. I suppose some Hawk fans resent the polish and focused playing and songwriting on this record.

The first track is "Reefer Madness". True to form, the song has a killer riff, but that is augmented by a great psychedelic feel and interesting lyrics. Part of the message is making fun of The Man and his silly war on weed, but it also criticizes the herb and does not glorify it.

"Steppenwolf" is a classic. Calvert was reading Steppenwolf at the time and his lyrics flowed from that. It is highly conceptual, stylistic, and filled with dark humor. follows, and this in a real Hawkwind classic. Long and conceptual, moody, dark, paranoid with great organ and sax work and a memorable guitar riff.

Next comes two instrumental tracks. The first is Simon Houses fantastic Pink Floyd homage, "City of Lagoons". It really does sound like a track from mid 70's Floyd.

Then there is Rudoph's "The Aubergine that Ate Ragoon" is discordant and goofy and the one song that I don't care for. It sounds like each musician is playing a completely different song. And the keyboards sound like a bad early TV synthesizer soundtrack music for a daytime game show that is played when the contestants are thinking about the final jackpot question.

Speaking of Pink Floyd, the next song was produced by David Gilmour. "Kerb Crawler" which is the most radio friendly on the album. It is similar in construction to "Silver Machine", and in some ways is better.

"Kadu Flyer" is a light and smooth song, and lacks the heaviness and jamming that are Hawk trademarks. It almost sounds like you could hear it on a soft rock station. There is a really nice woodwind solo near the end.

The album proper ends with "Chronoglide Skyway". It is another instrumental, and like "City of Lagoons", takes it's cue from mid 70's Floyd. Brock forsakes his crunching fuzz for a David Gilmour-like playing. He is very very good on this track.

The bonus tracks on the 2009 release are forgettable. "Honky Dorky" is a repetative and uninspired track. "Kerb Crawler (single mix)" is inferior to the album version. "Back on the Streets" sounds like a Loverboy song. And this version of "Dream of Isis" is poor.

*****************Summary
The 2009 Atomhenge remaster is the the version to get. It sounds great, and there is not a hint of 'loudness war' about it.

The album is very different from what preceded it, but if you take it on it's own terms and don't compare it to their earlier work, you'll find a very good and very focused Hawkwind album.

I mostly like Hawkwind for their progressive space rock sound. The music on Astounding Sounds Amazing Music doesn't really take advantage of the bands distinctive style and, as a result, feels like a major disappointment.

It's not necessarily a sellout, but it feels like a really weak effort in comparison to previous albums. Even Warrior on the Edge of Time seems significantly different (and better) than the majority of music from this album.

To me it sounds like Hawkwind is attempting to release a more commercial album here. If it's not that, the band definitely feels like they're trying to use some of the popular musical instruments that were popular from the later part of the 70's, such as a heavy emphasis on predictable keyboard work resembling that of Boston or Kansas, and implement those instruments into their music.

The results are unfortunately a watered down and secondrate attempt at the space rock style one moment, and what (to me at least) sounds like a desire to release simple guitar rock the next.

Hawkwind probably should have called it a day after the previous album was released instead of creating a record that doesn't age well at all.

If you go into this album having heard everything Hawkwind did from the late 60's to the mid 70's, the 10-minute song "Steppenwolf" will most likely completely surprise you... and not in a positive way.

The majority of the song is dominated with vocals and a strong emphasis on lyrics related to, well, wolves. It's not particularly interesting to me because the space rock jams of the past are completely abandoned here in favor of mediocre guitar riffs and songwriting. Hawkwind had more talent than to release KISS-style rockers and attempt to dazzle them up into a 10-minute ride of unmemorable and overbearing songwriting.

"Reefer Madness" is clearly the best song here. Even though the synths and guitar playing resemble absolutely nothing the band did from the past, and the saxophone is significantly more upfront than it was before, it's mostly an instrumental jam with its share of interesting moments, ant it captures the space rock vibe that's sorely missing from the rest of the album. It's an easy highlight for me.

I can't really find a whole lot to enjoy about Astounding Sounds Amazing Music, but maybe other people will get more out of it than I can. Give it a chance at least. Maybe you'll like it.

i picked this up the other day as it's one of the only early releases i don't own. i was really disappointed in it. musically, it's one of hawkwind's weaker releases. the extra tracks are all bad. honky dory is a instrumental which is a deleted musical section from "reefer madness". it's vey muddy. the other tracks (kerb crawler, back on the streets, dream is isis) are all single mixes and are not very good. i guess if you like this release, buy it. it does have a good, informative booklet inside. if you don't have this or looking for some good hawkwind, pass on it. i might play this one more time and sell it someplace.