My first discovery of the band Hawkwind was when I was in a
\nrecord store. I was with a friend of mine and we were talking about
\nthis band when we noticed a guy looking through the Hawkwind
\nsection, as he was commenting on how “great” Hawkwind was\/is. With
\nobvious curiosity, I started collecting their work, with mixed
\nresults.<\/p>\n
For starters, this band’s early years is easily compared to the
\nvery early Pink Floyd days with Syd Barrett. Hawkwind first formed
\nin 1969. Their 1992 release,
\nOut & Intake<\/i>, has 13 songs that were “Intakes and
\nOuttakes” that didn’t make make it on their original albums. And
\nafter listening to this album, I can easily see why.<\/p>\n
“Turner Point” is a disgrace, where all it is, is just a lot of
\nnoise. “Waiting For Tomorrow” has some potential – it’s progressive
\nrock with a slight psychedlic taste, and it also has a touch of
\ntoday’s alternative, in a darker sense. “Cajun Jinx” is an
\ninstrumental. The beginning of it is almost like U2’s “Where The
\nStreets Have No Name,” so right away, you would think this would be
\nanother song with potential. But, the song changes its beat, and
\nquite frankly, it throws you off. And after awhile, the song does
\nget a bit boring. I think the song would of been a lot better if it
\nhad kept the “U2” effect.<\/p>\n
“Solitary Mind Games” is very eerie. It catches your attention
\nin the beginning. It could pass as a good song, except for the
\nvocals. The vocals here are mediocre. I think this song could of
\nbeen better off as an eerie instrumental.<\/p>\n
The beginning of “Starflight” is similar to material found in
\nPink Floyd’s
\nWish You Were Here<\/i> or
\nMeddle<\/i>. It’s spacey, it’s psychedelic, it has spoken words
\nas if you were watching a space-type movie. It also makes you keep
\nlistening. But then, it takes a 180 turn into a rocking song called
\n“Ejection”. The vocals are faint. I kind of wished that
\n“Starflight” had a better ending, instead of merging into the next
\navailable song. The space\/psychedelic effects in “Starflight” were
\ninteresting.<\/p>\n
“Assassins of Allah” is more of a hardcore rock song, as in
\nMotorhead\/Metallica. This song can be appreciated by the die-hard
\nfans of hardcore rock. (Note that the material on this album does
\nNOT feature former Hawkwind member Lemmy, who would quit Hawkwind
\nto form Motorhead.)<\/p>\n
“Flight To Maputo” is another unusual tune, where this song has
\nan African beat, as it mixes in with rock music. It’s an
\ninstrumental, and this song has to be the only one worth listening
\nto. This song could be used as part of a soundtrack for a movie.
\n(Somehow the movie
\nCongo<\/i> comes to mind, or some other movie with a jungle-type
\natmosphere…) “Confrontation” has music (hardcore) and spoken
\nwords throughout, and it is another song you would like to
\nforget.<\/p>\n
“5\/4” starts out eerie like “Solitary Mind Games,” but then it
\nmerges into another hardcore rock song, as in “Assassins of Allah”
\nand “Confrontation.” It is mostly instrumental, with very little
\nvocals.<\/p>\n
“Ghost Dance” is for those musicians who are drummers. That’s
\nall it is, pretty much continuous drumming with sound effects and
\nweird vocals. This is a song that you wouldn’t want to keep the
\n“repeat” button on. It is pretty bad, no, I take that back: It’s
\nreal bad. And again, we have another hardcore song, “Coded
\nLanguages.” It’s hardcore rock with a punk rock touch. It’s Weird.
\nIt’s Strange. It’s Bad.<\/p>\n
And lastly, “Warrior On The Edge Of Time” must of been an
\nouttake from the original album of the same name. (I don’t know
\nwhere the rest of these songs came from which time period.) The
\nvocals (actually it’s spoken words) are shouts and screams
\nregarding “The Warrior.” Again, the music here is eerie, and should
\nof been an instrumental instead of including vocals.<\/p>\n
After listening to this album, you can see why these songs are
\nouttakes. As different and unique Hawkwind was with their albums,
\nthey recorded these songs and realized that they couldn’t fit for
\nan upcoming album. Yet for the Hawkwind fan, or anyone, it’s
\ncuriosity in hearing material that was left on the shelves, and
\nthat there could be a possibility that this material could of been
\nincluded. (The Beatles’
\nAnthology<\/i> albums come to mind here.) Another good “outtake”
\nalbum was The Who’s
\nOdds And Sods<\/i>, in which all of the songs on that album could
\nof easily been included on any Who album that was currently in the
\nworks. Why they weren’t, I’ll never know. But in Hawkwind’s case,
\nthe songs on
\nOut & Intake<\/i> can easily be revealed that this material
\nshould of been kept on the shelf where it belongs.<\/p>\n
Hawkwind’s work is progressive rock, and is solely for those who
\nenjoy progressive rock. It’s different music as compared to your
\nstandard rock talent favorites.
\nOut & Intake<\/i> are outtakes, and most outtake albums are
\njust a bunch of songs slapped together that were leftovers that
\ndidn’t appear on original releases.<\/p>\n
Hawkwind’s music can be easily liked or disliked, depending on
\nyour tastes in this area of music. But for those who are curious in
\nwhich albums that would be worth listening to (or at least try to),
\nI suggest their debut album
\nHawkwind<\/i>,
\nWarrior On The Edge Of Time<\/i>, and\/or
\nHall Of The Mountain Grill<\/i>.<\/p>\n
Even some of their original albums may have mixed reviews, but
\nHawkwind is an experience. An Experience that is very different
\ncompared to other types of music.<\/p>\n
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