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Musically, they took as their initial reference the space-rock instrumentals of Syd-era Pink Floyd, from which they rapidly forged the blend of pounding riff-rock, unbridled electronic noise and abstruse science fiction lyrics with which they willingly became stereotyped, as exemplified by the cacophonous hit single.
Hawkwind hit big with their second album. In Search Of Space, in which they gave themselves over totally to the aforementioned formula that would endure for the next several decades. This, I have to say, is not really my cup of tea.
The production is by. Pretty Things mainman Dick Taylor, refreshingly open and uncluttered by later Hawkwind standards, but with plenty of contemporary stereo effects and studio trickery thrown in. The original album really contained only three pieces.
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The electronic wash of The Reason Is? leads into Be Yourself and Seeing It As You Really Are, two lengthy, mainly instrumental confections featuring metronomically repetitive chord riffs, separated by Paranoia (Parts 1 and 2 a thudding six-note unison riff excursion fractured by a deliberate.
Coming out of the late sixties Notting Hill freak culture along with such other proto-prog outfits as Quintessence and the. Pink Fairies, the Hawks became the ultimate stoner community band a bit like the Dead, but with intensity and over-the-top stage visuals taking precedence over.
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After the opening Hurry On Sundown, an engaging acoustic bluesy hangover from founder Dave Brocks street busking days, the main body of the album, while listed as five separate tracks, is the segued suite that comprised their early stage act.
Yet, after forty-two years and innumerable lineup changes, the band endures, with 69-year-old Brock still at the helm. Interestingly, their name has nothing to do with their sci-fi agenda but derives, allegedly, from Nik Turners predilections for coughing and flatulating (figure it out).