HW: finest moments

[Nick Medford]

In message <memo.20001211083618.1015J at slitchfield.ukonline.co.uk>,
Steve Litchfield <slitchfield at UKONLINE.CO.UK> writes
>Here's a small survey I've wanted to do for a while.
>
>What's your single finest memory of recorded Hawkwind (live or studio)? It
>can be a phrase, a passage or even an entire song or album. i.e. what bit
>of recording encapsulates everything you like about the band most? And
>why?
>
>To kick things off, for me it's the first few minutes of "Born to Go" on
>Hawkwind: Space Rock from London - utterly awesome in its energy and
>driving force (and fun).
>
>Steve Litchfield

Interesting question.

If I had to whittle it down to a single magic moment, it'd be the sudden key
change about 2/3 of the way through Golden Void (studio version).

Other Great Hawkwind Moments:

The superlative jamming on the Space Ritual version of Orgone
Accumulator.

The start of Born To Go as you say- haven't heard that version but Space
Ritual one is pretty damn wonderful

The riff of Treadmill.

Harvey's keyboard solo on the Palace Springs version of 'Void'.

Simon House's violin solo on Robot

Simon House's violin solo on Damnation Alley

and not forgetting Simon House's violin solo on Steppenwolf.

Lemmy's bass solo on Time We Left

Calvert: should possibly have his own section here, some of his vocal
phrasings just get me every time... check out the way he sings "..rip up the
pages of di-rec-tor-ies.." on High Rise for a fine example.

Huw's guitar playing on the live "Assault and Battery/Sleep of a 1000 Tears"
medley on Independent Days 2.

Dave Brock has produced some brilliant guitar solos too- the live versions of
Paradox and Damnation Alley spring to mind.

The more I ponder this, the more things come to mind, but I'll leave it
there.. for now..

--
Nick Medford