Space Gypsy Overview
Hedersleben's genesis owes a lot to
the Nik Turner project. The embryonic
band backed Nik Turner on this retro
sounding album. Post Space Gypsy
Shelton, Bean, and Moon joined the
band to form Hedersleben 1.
The single, Fallen Angel STS-51-L,
written by Willer and five tracks
written by Garratt, (One, Something's
Not Right, was included on the bonus
7") show Hedersleben were a lot more
than merely studio session musicians.
No expense was spared on the packaging
or Space Gypsy. The Gatefold album
comes with free 7" and inner bag with
graphics while the CD is available in
a deluxe box set format.
Nik Turner - Vocals/Sax/Flute
Nicky Garratt - Guitars
Jason Willer - Drums/Percussion
Jürgen Engler - Guitar/Keyboards
Jeff Piccinini - Bass
The Reviews for Space Gypsy
Forty years on from the epochal Space
Ritual, thirty on from Inner City Unit,
and almost twenty since his last visit
to these shores, one-time Hawkwind
mainstay Nik Turner is back on the road
in the United States, and promoting a
brand new album as well.
Space Gypsy, recorded with a band that
includes former UK Subs guitarist Nicky
Garratt, Die Krupps’ Jurgen Engler,
bassist Jeff Piccinini and drummer Jason
Willer, hits the stores this week. And,
for anyone remembering the days when a
new Hawkwind album was as visceral an
experience as it was a sonic attack,
Space Gypsy is so broad, bold and
bristling-bright that it makes the last
few Hawkwind albums sound like they were
recorded in a barn.
No computers, no short cuts. No
revivals, no rehashes. No instrumental
interludes that meander for no reason. A
vinyl incarnation that sprawls across a
magnificent gatefold sleeve and bonus 7″
single. And a soundscape that makes you
wonder whether Turner hasn’t simply been
sitting on these tapes since 1972, the
album Hawkwind should (and could) have
made after Doremi Faso Latido, but which
they never quite got around to.
The brainstorming riff that bludgeons
through the opening “Falling Angel
STS-51-L”… the assaultive battery of the
succeeding “Joker’s Song”… elsewhere,
fellow ex-Hawk Simon House and
once-upon-a-Gong-er Steve Hillage pop up
to layer their own trademark
distinctions across an album that
remembers the day when the recording
studio was a palace of wonder and a
playground for the brilliant, and not
just a room full of machines that you
got into and out of as swiftly as
possible.
So, the Sgt Pepper of Space Rock?
Could be.
All of which is all the more heartening
when one considers the state of Hawkwind
themselves, these days. A US tour that
was also scheduled for this month was
cancelled at very short notice,
prompting a wild flurry of rumors and
misinformation, but apparently settling
down to a choice of two. One, that
Hawkwind frontman Dave Brock succumbed
to a stress-related illness serious
enough to scupper a coast-to-coast
American tour (but not, thankfully, the
UK dates scheduled to kick off
immediately after the US dates would
have ended); and another that the gigs
were booked (in early summer) before all
the band members’ visas and work permits
were in place.
Right now, Hawkwind are promising to
make up the lost dates in March 2014.
But if there is any bad taste left in
the mouth, it is from the original
insistence (since taken up as a gospel
truth by the more volatile members of
the fan club) that Turner was ultimately
responsible for both Brock’s illness and
the cancellation because….
Because the last time he toured this
country under the Hawks banner, back in
1994, a number of his gigs ran up
against a series of legal objections
(emanating from the Hawkwind camp) to
him actually utilizing the band’s name
in any connection with his activities.
A founding member of the band in 1969;
the only original member beyond
guitarist Dave Brock to have remained
onboard for more than the first few
albums (he finally departed in 1976,
only to return briefly in the early
1980s), Turner was also responsible for
some of the band’s most storied classic
lyrics, including the epochal “Master of
the Universe” and “You Shouldn’t Do
That,” and the sole author of the epic
“Brainstorm.” Three songs which,
alongside the hit “Silver Machine,” are
probably singlehandedly responsible for
Hawkwind even lasting out his original
membership, let alone marching on for
another forty years.
Moving to pre-empt any repetition of
the 1990s legalities, Turner prepared
this go-round by applying for trademark
protection that would at least permit
American promoters and venues to mention
that he was ex-Hawkwind in their own
advertising (“Nik Turner’s Hawkwind” was
the chosen tag, following the lead of a
number of other heritage acts – Martin
Turner’s Wishbone Ash, for example). A
right, incidentally, that he has
publicly declared will be extended to
any other former band members who wish
to use it, but who have hitherto been
struck down by the mothership’s
possessiveness.
Contrary to what a lot of fans seem to
believe (at least if the postings on
sundry related Facebook/social media
pages are to be believed), Turner’s
action is not intended to prevent
Hawkwind from touring as Hawkwind, or
even disputing the current line-up’s
right to call themselves Hawkwind. It is
geared towards allowing the band’s other
members to let prospective audiences
know what kind of show they might
expect, by referencing where they played
in the past.
All this, of course, is a distinction
that the more excitable contributors to
sundry Internet forums have been
unwilling (or maybe even unable) to wrap
their heads around, leaving Turner in
the very strange position of having
possibly alienated one half of his tour
and album’s potential market, at the
same time as alerting an even vaster
audience to the fact that something very
interesting is making its way around the
country, and they need to check it out
now.
Just a few west coast dates into the
tour, gigs are already packed out with
acolytes and curiosity-seekers alike,
with the merchandise stand testifying to
the fact that the latter are as
impressed (and hungry for more) as the
old fans. Suddenly, the mothership’s
attempts to suppress and denigrate
Turner have actually had the opposite
effect, and raised his profile even
higher than an uncontested “Nik Turner’s
Hawkwind” tag could ever have done.
Thankfully, both the album and the live
show more than merit the increased
attention; indeed, line Space Gypsy up
alongside any of its estranged parent
band’s last thirty years worth of
albums, and you might even find yourself
wondering who really offers Hawkwind
fans the thrills that they originally
got into the band in search of.
Turner, who is still enacting a space
ritual of his own, in thought and word
and deed? Or Hawkwind – whose manifold
(and, it must be said, often admirable)
stylistic changes over the years have
rendered them a very different musical
experience to that which so many of us
grew up with.
Dave Thompson - Goldmine UK
It's hard to resist the old gag, but
'Space Gypsy' is probably the best album
Hawkwind never recorded.
Here is the latest solo album from
former Hawkwind stalwart and founder
member Nik Turner. He may not always
have seen eye-to-eye with Dave Brock,
but 'Space Gypsy' provides ample
demonstration, should it be needed, of
Turner's invaluable contribution to the
classic Hawkwind sound.
'Space Gypsy' is an album that does
exactly what you'd expect it to do. It's
a bit folky here, a bit punky there –
but essentially what you get from start
to finish is 100% proof psychedelic
space rock with lashes of characteristic
Turner sax and flute.
On this occasion, the old psychedelic
wanderer is joined on the edge of town
by Nicky Garratt and Jason Willer of UK
Subs fame (guitar and drums
respectively), Jürgen Engler of Die
Krupps (guitar, moog synths and
mellotron) and Jeff Piccinini from punk
icons Chelsea (bass). All contribute to
the songwriting. Former Hawkwind
bandmate Simon House (violin), Gong
guitar great Steve Hillage and Chris
Leitz (mellotron) also guest.
Alright, it does drone on a bit at times
(the trippy 'Coming Of The Maya' is a
case in point), but elsewhere there are
some great swirling, uplifting grooves,
including 'Time Crypt', for which,
incidentally, Turner has filmed a new
video. Opening track and lead single
'Fallen Angel STS-51-L' has been
described by Turner as "the epitome of
epiphanic, orgasmic, cathartic
embodiment of my space dreams." Make of
that what you will. For me, it's a touch
'Paranoid' (in a good way).
"So welcome to those aliens from
space/Valkuries from the rainbow/Not
just a pretty face," sings Turner on
'Joker's Song'. If anyone has met them
and lived to tell the tale, then it's
probably him, and his career long
commitment to the cause (whatever that
is) is admirable.
Most Hawkwind fans and completists
will, I imagine, be delighted with this
offering. Even the album artwork echoes
that of 'Space Ritual'. It's hard to
resist the old gag – you know, that
'Space Gypsy' is the best album Hawkwind
never recorded. It probably is though.
Michael Anthony - Rocktopia UK
Surprise, surprise! After a bewildering
number of recent projects, Hawkwind
founder member Nik Turner has gone back
to his space rocking best. He may
currently be busy touring the US with
his ‘Space Ritual’ show, but ‘Space
Gypsy’ suggests he’s still got a lot of
exciting new space rock music to
contribute to his own enduring musical
heritage.
‘Space Gypsy is a lot better than
anyone probably expected, after all not
many rockers in the autumn of their
career come up with anything fresh and
original, but clearly this bristling
space rock album is an exception.
Look no further than the killer lead
single ‘Fallen Angel STS-51-L’. Written
about the doomed space shuttle
Challenger STS-51-L by drummer Jason
Willer – who adds extravagant drum rolls
– it’s given a clever dispassionate
robotic vocal by Turner and is easily
the best Hawkwind related single for
years. Nick is never too far removed
from the essential heart of what used to
be Hawkwind, whether it’s with space
themed poetry, twinkling synths, moody
moogs or jammed out riffs. This is
evidenced by the honking sax and space
rock wall of sound that makes ‘Jokers
Song’ a timeless glance over his
shoulder at the band’s early career.
Interwoven keyboards, sax and a pounding
rhythm track beaver away as Nick’s
monotone vocal enunciates some spiky
lyrics: ‘They’re putting a means test on
having a child, if you too mean you
don’t get one , Gee that’s pretty wild’.
Wow, this is such a great start to the
album that it begs the question why on
earth he didn’t do this before? And the
answer is almost certainly that it took
this inspired current line-up to make it
all work. ‘Space Gypsy’ is a project
rooted in Turner’s hippie space-rock
antecedents (represented by his guests,
the former Hawkwind violinist Simon
House and Gong guitarist Steve Hillage)
and it is given a fresh injection of
energy by his core punk influenced band,
which comprises Chelsea’s Jeff
Piccinini, UK Subs bass player Nicky
Garratt and American (!) UK Subs drummer
Jason Willer. More importantly perhaps,
the impressive keyboard parts are
handled by producer and Die Krupps
leader Jurgen Engler who brings his
trademark synths and moog sound to give
the material a brooding presence.
And it is this refreshing spirit of
collaboration – with every member
involved in some of the song writing
process – that makes this such a vibrant
album. Jeff penned the heavy ‘Time
Crypt’ which owes a lot to Iron
Butterfly, while Nicky’s meditative
‘Galaxy Rise’ is the polar opposite,
bringing a lightness of touch as Nik
adds delightful flute and vocals over an
acoustic and synth wash.
Much like the later echo laden vocals
and moog of ‘Eternity’ it has an early
Hawkwind feel, right down to the tablas
and distant seagulls as the vocals hover
over a track imbued with a feel good
spirit of light and optimism.
‘Space Gypsy’ work so well because Nik
has somehow drawn together the right
team of people to update his musical
vision, while producer Jurgen Engler
brings out all the sonic colours of a
vibrant album
Engineer Chris Lietz also scores three
co-writes including ‘Coming Of The
Maya’, which is an archetypal piece of
stoner rocker with echoes of Floyd’s
‘Set Your Controls To The Heart of the
Sun’ and Turner’s own ‘Brainstorm’ riff.
The mélange of broody instrumentation
featuring Simon House on violin and Nik
on free form sax is anchored by a
muscular bass drum pattern and acts like
a linear link piece, leading to Nicky’s
up tempo space-rock thrash ‘We Ride the
Timewinds’
‘Anti-Matter’ finds special guest Steve
Hillage on some trademark space-rock
guitar alongside Nik’s grainy sax and
spacey vocal rap, which warms to his
intergalactic space themes: ‘Cross
-galactic fertilization, for new growth
and rebirth, intersexuality, is the
glory of evolution, Cosmological love,
Is the name of the game’
You may struggle to understand the
lyrical meaning but it’s a slice of
essential space-rock that takes us into
the stars.
‘The Visitor’ is a Turner /Garratt
co-write, full of acoustic rhythms,
uplifting flute, synth and moog washes
and an effective vocal, before an abrupt
tempo change and a belated meandering
bass line pulls the track back into the
opening groove and onwards.
‘Something’s Not Right’ is a worthy
bonus track that fuses a manic vocal
with enveloping space-rock and is
probably destined to become a live
favourite.
‘Space Gypsy’ is a real return to from
and if your appreciation of Hawkwind is
rooted in the early days of the band,
this is the perfect update! ****
Pete Feenstra - Get Ready To
Rock UK
Nik Turner versammelte für "Space
Gypsy" eine Mannschaft um sich, die aus
erfahrenen Musikern besteht: Jürgen
Engler (Die Krupps), Nicky Garrett (UK
Subs), Jeff Piccinini (früher bei der
Punk-Formation Chelsea) und Jason WIller
(u. A. ex-Enemies und ex-UK Subs). Diese
erfahrenen Musiker zeigen
glücklicherweise keinerlei Ambitionen
die in ihren vorigen Bands ausgelebten
Einflüsse hörbar machen zu wollen. Nein,
stattdessen beteiligen sie sich alle
aktiv am Stückeschreiben, was in frisch
wirkenden Space-Rockern in guter
Hawkwind-Tradition resultiert. Darüber
hinaus hat Turner seine alten Kumpels
Simon House (Geige) und Steve Hillage
(Gitarre) eingeladen, sich an einigen
wenigen Stücken zu beteiligen.
Und auch sonst macht der vor allem
durch seine Hawkwind-Mitgliedschaft
bekannte Saxophonist, Flötist (und
nebenbei auch Sänger) Turner auf seinem
2013 aktuellen Soloalbum alles richtig.
Zumindest aus der Sicht eines
Space-Rock-Fans, der die bis 1975
erschienenen Hawkwind-Alben zu schätzen
weiß. Für diese Hörergruppe bietet
"Space Gypsy" so ziemlich alles, was das
Herz begehrt. Damit meine ich vor allem
die treibenden Space-Rock-Nummern mit
solierendem Sax, blubbernden
Synthesizern und symphonischen
Mellotron-Klängen.
Bereits das eröffnende "Fallen Angel
STS-51-L" klingt wie eine neue Version
des Space-Rock-Klassikers "Master of the
Universe" und das ist auch gut so. Da
wird unvermittelt der in mir
schlummernde Space-Rock-Fan mal wieder
wach. Auf drei rockige Kompositionen
folgt mit "Galaxy Rise" eine mit langen
Flötensolos aufwartende
spacig-psychedelische Ballade. Das bis
aufs gesprochene Wort instrumentale
"Coming of the Maya" offenbart eine
gewisse Ähnlichkeit mit Pink Floyds "Set
the controls for the heart of the sun",
auch wenn Teile davon aus feurigen
Dialogen zwischen Geige und Flöte
bestehen. Der simple Aufbau des
Space-Rockers "We ride the timewinds"
beweist mal wieder, woher eine wichtige
Inspiration für die Punk-Bewegung
gekommen sein muss. Als wollte Nik
Turner eine solche Behauptung sofort
wiederlegen, garniert er "We ride the
timewinds" mit einem eher free-jazzigen
Saxsolo. Die Space-Ballade "Eternity"
könnte direkt von einem Album wie
Hawkwinds "Warrior on the Edge of Time"
stammen. Das unter Beteiligung von Steve
Hillage aufgenommene instrumentale (wenn
man gesprochene und geflüsterte Texte
mal außer acht lässt) "Anti-Matter"
bietet einige unverkennbare
Gitarrenbeiträge, die sich aber erst
gegen Saxsolos behaupten müssen. Das
eher brave Space-Rock-Lied "The Visitor"
überrascht am Ende mit einem weit
weniger braven Instrumentalteil.
Möglicherweise wollte ein Besucher, dass
sich die Erdlinge erst einmal in
Sicherheit wiegen, um dann seine weit
weniger gemütliche Seite zu offenbaren.
Selbst wenn Nik Turner auf "Space
Gypsy" nichts Neues erfinden will und
vielmehr das Bekannte neu auflegt, so
hat die CD als eine sehr gut gemachte
Space-Rock-Scheibe meine vollste
Sympathie
Siggy Zielinski - Baby Blue,
Germany
Nik Turner is one of the founding
members of Hawkwind. He was a member
from 1969 to 1976 and rejoined the band
from 1982 to 1984. Turner played
saxophone and flute and he occasionally
sang. He was also involved with Inner
City Unit, Sphynx and guested on works
by the late Robert Calvert (Hawkwind),
Psychic TV, Mother Gong, Sham 69 , Sting
and The Stranglers, to name but a few.
Currently Turner plays in Space Ritual,
a band named after the live album by
Hawkwind (see review) from 1973. With
this band he tries to recapture the
sound and spirit of that Hawkwind era.
On his new solo album, Turner is
accompanied by a remarkable group of
musicians. Producer Jürgen Engler plays
the guitars, Moog synthesizers and
Mellotron. Engler is the musical
mastermind of the German band Die Krupps
, a band that was founded in the early
eighties. They blended the industrial
sound of Einstürzende Neubauten and the
electronic sound of
Deutsch-Amerikanische Freundshaft (DAF),
both representatives of the so-called
Neue Deutsche Welle. Engler also
recorded the album Other Places (1996),
together with Dieter Moebius (Cluster)
and Mani Neumeier (Guru Guru). He was
also involved with the Space Explosion
project (1998) that featured Engler,
Moebius, Neumeier, Chris Karrer (Amon
Düül II), Zappi Diermaier and Jean-Hervé
Peron (both Faust).
Besides Engler Nicky Garratt from the
punk band UK Subs plays the guitars,
while Jeff Piccinini of the punk band
Chelsea plays the bass guitar and Jason
Willer the drums. Furthermore there are
contributions from Steve Hillage (Gong,
System 7) on guitar, Chris Leitz on the
Mellotron and the typical violin sound
of former Hawkwind member Simon House.
Just like Space Ritual this album also
returns to the early Hawkwind as far as
the sound, the artwork and the lyrics
are concerned, although the track Coming
Of The Maya sounds a lot like Set The
Controls For The Heart Of The Sun by
Pink Floyd. Singing has never been
Turner's strongest point and this album
is no exception. However, his flute
playing is still outstanding and the
contributions from the other band
members are substantial. Musically Space
Gypsy doesn't add new elements, but it
does take the sound of the early
Hawkwind into the 21st century. For
Hawkwind fans this album is a required
purchase. For devotees of psychedelic
music, space rock and other cosmic music
this album is recommended as well.
Space Gypsy has been released as a
regular digipack CD, as a limited
edition gatefold vinyl with a 7-inch
bonus single and as a special limited
deluxe box version which includes a
bonus CD with rough mixes, instrumental
versions and additional flute and
saxophone improvisations.
Erik Gibbels - Background
Magazine
Hawkwind has always been one of those
bands for many people that you either
get, or you don't. More often than not,
space rock/prog rock/hard rock fans do
indeed GET this legendary band, which
kind of explains their longevity and
loyal devotion from their fans since the
early 1970s. Founding member but now
ex-Hawkwind vocalist, flute, & sax
player Nik Turner is returning to his
space rock roots with his latest solo
release titled Space Gypsy. I mean, come
on, one look at that cover and CD title
and you know what you are in store for
right? Break out the strobe lights, lava
lamps, and incense folks (well, and
whatever other 'recreational' materials
you desire), cause Mr. Turner is putting
on a clinic here!
Joining Turner on this excursion are
Jurgen Engler (guitar, Moog synths,
Mellotron), Jeff Piccinini (bass), Jason
Willer (drums), and Nicky Garratt
(guitars), and each one plays an import
part in the trippy, psychedelic mayhem
contained on Space Gypsy. Turner's
haunting vocals and soaring sax &
flute lines permeate these aggressive
yet spacey songs, each one brimming with
bubbling synths courtesy of Engler and
plenty of guitar firepower. "Time Crypt"
rocks pretty hard, and both "Joker's
Song" and "Fallen Angel STS-51-L" play
the Hawkwind styled space rock card
quite well. "Galaxy Rise" is a lush,
proggy piece featuring wonderful flute,
Mellotron, acoustic guitars, and Moog
(what's not to love about that
combination!), while "Coming of the
Maya" is as creepy as it gets, with
alluring tribal percussion from Willer,
melodic lead bass, and layers of synths
to go alongside Turner's almost spoken
word vocals. "We Ride the Timewinds" is
more of a heavy rocker, but also
features some great jazzy sax, mounds of
Mellotron, and spooky synths for good
measure. Speaking of Mellotron, there's
loads of it on the enchanting, almost
folky "Eternity", and Gong legend Steve
Hillage lends his guitar talents to the
bubbling, boiling, rhythmic
"Anti-Matter", a fun, upbeat track that
will certainly push you to get your
groove on. Flute and Mellotron are all
the rage on the psychedelic pop of "The
Visitor", and the bonus track
"Something's Not Right" is an electronic
music lovers delight, with blipping
synths fluttering all over the mix,
effects laden vocals, and heavy guitar
riffs. Turner's very British sounding
vocals are the perfect fit here amongst
all the cacophony.
The press sheet for Space Gypsy claims
that Nik Turner has returned to his
'Intergalactic Roots' on this new CD,
and that's as good a claim as I've heard
all year. This is loads of fun and very
addicting, and even if you've never
discovered the wonders (as bizarre as
they may be) of Hawkwind before, I think
if you appreciate space rock in general
with some folk, jazz, hard rock, and
prog elements, as well as loads of
keyboards, chances are you might just
really fall in love with this album. Mr.
Turner has shown here that he doesn't
need his old band to reproduce the
'feel' of their classic era.
Recommended.
Peter Pardo - Sea Of Tranquility
Let it never be said that Nik Turner is
mellowing with old age. From his
relentless touring, to his dozens of
guest appearances on other people’s
albums, to this, his latest solo album,
the 73 year old shows no signs of
slowing down.
Space Gypsy is simply just brimming
over with a remarkable vitality, and
Nik’s dynamism can be heard coming
through, on every track. But a good part
of this amazing energy can also be
attributed to Nik’s choice of members
for his band. Rather than drawing on the
spacerock collective as he’s done
before, this time out Nik hand-picked
musicians from the punk and industrial
scene. Along for the ride are UK Subs
co-founder Nicky Garratt on guitar and
his Subs band mate Jason Willer on
drums. On bass is Jeff Pitchinini, (AKA
Geoff Myles), from early punk rock band
Chelsea. Rounding out the group is
Jürgen Engler, front man of the
excellent German industrial band Die
Krupps, on guitar, Moog synths and
Mellotron. Engler also produces the
album. But despite the backgrounds of
the band members, make no mistake, Space
Gypsy is not a punk or industrial album,
it is pure SPACEROCK, but highly infused
with the energy of those genres.
Nik is in fine form whether squonking
away on his sax on the rockers, or
taking some lovely melodic turns on both
sax and flute on the mellower cuts. It’s
great to hear all those crazy and
wonderful sounds he developed in his
Hawkwind days again, but Nik is a much
better player now than he was back then.
After years of honing his skills on his
own solo works and on collaborations
with others, the Nik Turner of today has
an amazing range, from heavy rock n’
roll sax blowing to wild free jazz
freakouts (check out the final minute of
We Ride the Timewinds) to deliciously
melodic pop-style sax hooks like those
on the track Anti-Matter. He also does
some absolutely gorgeous flute playing
on some of the mellower tracks like the
softer Galaxy Rise (reminding me a bit
of The Demented Man with its seagull
cries, acoustic guitar picking and
stately Mellotron) and especially on the
almost album closer, the epic The
Visitor. Vocally he’s also in fine form,
whether he’s playing the detached, lost
astronaut of the superbly rocking
opening cut Fallen Angel STS-SI-L or the
paranoid punk of the bonus track
Something’s Not Right or story-telling
on the darkly psychedelic epic The
Coming of the Maya.
The rest of his band is a knockout too.
One time punker Nicky Garrett is just as
comfortable pummelling out the heavy
electric riffs as he is strumming and
picking the acoustic guitar. Willer and
Pitchinini make for a top notch rhythm
section that are as tight or as loose as
Nik needs them to be, and Engler piles
on the sweeping Mellotron chords and
cosmic swathes of Moog electronics with
reckless abandon, upping the cosmic
quotient considerably. Nik’s former
Hawkmate Simon House also contributes
stunning violin to a couple of the
tracks and erstwhile (and perhaps
future) spacerocker Steve Hillage makes
an appearance as well.
Of course, all the great playing in the
world wouldn’t make any difference if
the songs weren’t good. Are they? You
bet they are! Everyone in the band has
at least one writing credit, with many
of the members, including Nik himself,
with several credits. It’s clear that
Nik has tapped into a great pool of
talent here as these are some of the
best spacerock songs to come out from
any former or current member of Hawkwind
in quite some time. They are just
bubbling over with memorable riffs,
catchy melodic hooks, and stunning
psychedelic explorations. Engler’s
production is also superb, giving the
album just the right amount of sheen
without overdoing it, letting all the
instruments breathe and come alive.
There is no doubt in my mind that Space
Gypsy will be high on my top 10 albums
of 2013. Highly recommended for
spacerock fans everywhere!
Jeff Fitzgerald -
Aural-Innovations
Nik Turner is a renowned artist who
has had a spellbind music course over the
years. Now, that he’s 73 years old, he has
nothing to prove to anyone and plays the
music he fancies the most. I’m also glad
that Nik named the band after him and
didn’t name it “Nik Turner’s Hawkwind”…
that would cause several issues and would
have given the right to the other Hawkwind
founding members to go that way. Can you
imagine having at least 3-4 bands under
each founding member’s name including the
original Hawkwind who are still active?!
“Space Gypsy” is the album which could
have been released by Hawkwind at some
point – or even today. Nik Turner returns
to his roots. What else do you need?!
Space rock, psychedelic, classic rock
& progressive rock… all blended
together like the old times. If you happen
to be a youngster and have never heard of
Hawkwind (is that even possible?) or you
do not know what space rock is all about
then Nik can initiate you into the space
rock secrets. The 70s atmosphere is all
over the album. The “wind effects” are
present every once in a while (at times
they have overdone it!), Nik’s amazing sax
& flute are still hot and his
“mystified” vocals will put you into the
space game for sure.
Nik’s space companions are: Steve Hillage
(Gong) on electric guitar, vocals &
synthesizers, Simon House (Hawkwind) on
violin, keyboards, electric violin &
violin effects, Nicky Garratt (UK Subs) on
bass, Jurgen Engler (Die Krupps) on synth,
talk-box, guitar & keys and Jeff
Piccinini (Chelsea) on bass & vocals.
Moreover, the vintage 70s sound of the
album is also warm & wonderful.
Some may argue that there’s nothing new
here. But hey, what do you mean by saying
“new”? Is it possible for a guy like Nik
Turner who (along with the other founding
Hawkwind members) crafted the specific
space/psychedelic rock sound of the 70s to
play “anything new” or different?! What
the heck?!! It is like asking from a
bluesman not to play the blues… or Sabbath
& Priest not to play metal… or Journey
not to play AOR and so on. Let’s be honest
and reasonable. “Space Gypsy” is way more
“Hawkwind” and better than the latest
Hawkwind albums. Does that hurt anyone’s
feelings? It shouldn’t especially if you
are an actual music lover.
It’s true that Nik’s sax & flute
create beautiful soundscapes along the way
and that’s the strongest point on this
album. Tracks like: “Fallen Angel
Sts-51-L”, “Joker’s Song” & “Time
Crypt” are the epitome of
space/psychedelic rock music. Simply
magnificent. There are also smoother &
mellower tracks like: “Coming of the
Maya”, “Galaxy Ride” & “Eternity”
which have a more obscure & enigmatic
atmosphere. All things considered, “Space
Gypsy” is a refined space/psychedelic rock
album which will please the fans of the
genre and especially the 70s generation.
God bless Nik for all that he has offered
to our beloved rock music through the
years.
Thanos - Grande Rock
Space Gypsy is not merely the name of
Nik Turner's latest solo album, but
likely a good pseudonym for this pioneer
of psychedelic space rock. Turner, now
in his Seventies, was a founder and
lynchpin of English space rock legends
Hawkwind for many years, composing many
songs and playing saxophone and flute.
Nik Turner: space cowboy.
Space Gypsy strays little from Turner's
roots. Most of the music is marked by
moog, synth, and mellotron layers
sounding wispy and eerie like the
soundtrack to Forbidden Planet part two.
The rhythm section exists to create an
insistent and pulsing forward motion.
Then there's Turner's subdued vocals,
singing about space, aliens, ancient
Mayans, and more otherworldly visions
with bizarre, often nonsensical, lyrics.
Of course, every song has one of
Turner's famous saxophone solos which
will range from twisted and scurrying
pyschedelia to improvisational jazz
fusion. Other times he'll add the
lightness of flute as within Galaxy
Rise. When all these elements are
gathered together a song like Coming of
the Maya or The Visitor gives you a
feeling of weightlessness, like your
drifting in space with Turner. Others,
like Fallen Angel STS-51-L, about the
space shuttle Challenger tragedy, and
Joker's Song, rush headlong at a brisk
pace as if you were trying to fly from
the Earth to Andromeda at warp speed.
For genuine psychedelic space rock, in a
modern context, Space Gypsy is the real
thing, and pure bliss for fans of Turner
and the genre.
Craig Hartranft - Dangerdog
A scandal caused by the concurrent
touring plans by Dave Brock’s band, who
retained the name coined back in the day
in Ladbroke Grove, and Nik Turner’s
ensemble, who decided to use it on
American soil as well, wouldn’t burn as
hot if the music on the hornblower’s
first album in almost two decades wasn’t
so good. Surrounded by the HAWKS
aficionados – DIE KRUPPS’ keyboardist
Jurgen Engler sharing guitar duties with
UK SUBS’ Nicky Garratt while another
British punk, CHELSEA’s Jeff Piccinini,
locks in his bass with Jason Willer’s
drums, all of them songwriters here –
the 73-year-young Nik delivers a record
every inch of the Milky Way in the mold
of his old band. The past gets stitch to
the future via riffs echoed from the
edge of time which carry the jazzy likes
of “Joker’s Song” while the purely
progressive “We Ride The Timewinds” and
“Time Crypt” pick up familiar lyrical
themes, the latter featuring Turner’s
erstwhile compadre Simon House on
lysergic violin and “Anti-Matter”
getting sliced with Steve Hillage’s axe.
Not a journey into the unknown, then,
yet the spirit of things is admirable.
Motorik groove raves in place from the
opener “Fallen Angel STS-51-L” on, but
the flight gains real pace once the sax
kicks in, although it’s “Coming Of The
Maya” that lies in the record’s much
calmer heart, it’s trance-inducing
recital drowning in the Eastern drone
and outlandish electronica off which
Nik’s flute bounces to the stars. The
drift gets elegiac there, as “Eternity”
floats on an acoustic strum that’s still
wrapped in subtle FX, so suitable for
such a folk flow unfolding fully in the
epic “The Visitor” – the earthiest piece
on offer and, quite possibly, the most
catchy in its throbbing and tremulous
respite from the interstellar overdrive
– with the time-signature shift
amounting to a gentle trip in a cosmic
caravan. Perhaps, sensing that it might
be too delicate a finale for a nomadic
tribalism inherent to the HAWKWIND’s
oeuvre, the veteran tags “Something’s
Not Right” to the end of the album, a
bonus track to marry spiked energy to
the glacial fire of his music perpetual
engine. Competition is a good thing
after all.
Dmitry M Epstein - Let it Rock
Nik Turner (woodwinds, vocals) was a
member of the seminal British space-rock
band, Hawkwind. Here, he rekindles the
days of yore with a splendid new
offering that proffers a fresh
perspective. To a certain extent, Space
Gypsy generates a contrast of how
current and perhaps cleaner digital
technology contrasts the warmer,
full-bodied sound of analog, when
considering Hawkwind's 70s albums, for
example. Regardless, Turner's tuneful
works are standalone entries,
paralleling his roots. Coupled with his
popping and serrated sax lines, often
skirting free-jazz, the artist's wistful
flute phrasings add harmonious overtones
during the transcendent ballads,
complete with mellotron backwashes and a
few nods to early pop-based East Indian
influences on "Galaxy Rise." Otherwise,
Space Gypsy could loom as one of the
best Hawkwind albums that never came to
fruition.
The streaming synth patterns, pulsating
rock grooves and cosmological sine waves
are mixed evenly with Turner's
reverberating vocals. Amped by Nicky
Garratt's crunch chords and fluent
psycho guitar licks, the dark ambience
of the mellotron performed by
keyboardist Jurgen Engler complements
the largely thrusting grooves and pieces
that spin out of the ozone into a
terminal void. At times, the leader's
vocals spark imagery of a pagan god
foretelling the fate of humanity.
Turner's lyricism spans interstellar
topics such as eternity and
cross-galactic fertilization; therefore,
the phantasmagorical themes are neatly
wrapped into a moveable feast of
oscillating soundscapes. However,
"Coming of the Maya" draws similes to
Pink Floyd's 1968 space-rock tome "Set
the Controls for the Heart of the Sun,"
where drummer Jason Willer's rumbling
African toms patterns lay the foundation
for a wavy dreamscape. Consequently,
legendary British progressive rock
guitarist Steve Hillage (Gong, System 7)
imparts his signature style, shimmering
with psychedelic speed licks and
distortion-laced voicings amid Turner's
steely sax lines on "Anti-Matter."
Generally speaking, not many rock
artists or bands can jump back onto the
bandwagon and make a noticeable impact,
following decades of productive output,
leading to creative burnout. But Space
Gypsy defies the odds. Turner packs a
wallop here, as he forges a crystalline
production with artsy panache and
memorably melodic choruses for an album
that refutes all semblances of time and
space.
Glenn Astarita - All About Jazz
Now in his mid-seventies, Nik
Turner has spent a lifetime exploring the
fringes of spaced-out, psychedelic rock as
a member of Hawkwind (in two different
periods), with Sphynx, and eventually as a
solo artist and bandleader. Space Gypsy
features Turner's vocals, and his
trademark saxophones and flutes front a
quintet whose sound is drenched in synths,
mellotrons, electric guitars, and drums.
His vocals are awash in reverb but they
ride cleanly just above the instrumental
fray. While this music isn't so much prog
as cosmic rock, it has enough weirdness in
both its production and with the man
himself singing of Mayans, space aliens,
multidimensional realities, and mystic and
occult practices to please most acid
travelers. Clocking in at 50 minutes,
standout tracks include opener "Fallen
Angel STS-51-L," with its crunchy guitar
driving through the layered mellotrons and
drums, the gently spacy "Galaxy Rise,"
that contains some lovely flute playing,
the space-punk throb of "We Ride the
Timewinds," and the forbidding, paranoid
closer, "Something's Not Right." There
isn't anything new here, but that's not
the point. This fulfills the prescription
that Turner and Hawkwind fans ordered from
their favorite interstellar doctor.
Thom Jurek - All Music
The fabled saxophonist, flautis
The fabled saxophonist, flautist and
frontman Nik Turner has always sought to
defy the epithet “ordinary”. His
showmanship, sax and flute playing and
great songwriting were an essential
compound in the chemical reaction that
gave birth to some of the most influential
albums and live shows of the early- to
mid-1970s. Anyone who has been fortunate
to see him live with Hawkwind, or his
other projects, such as Inner City Unit,
Nik Turner’s Fantastic All Stars, Space
Ritual and Nik Turner (ex Hawkwind), will
know that he is one of the most exciting,
outrageous and innovative performers ever
to take to a stage.
Turner’s new album, Space Gypsy, appears
to have succeeded in working the elusive
magic of channelling that extraordinary
live energy and capturing it on a studio
album. This was always the success of
early Hawkwind albums, from 1971’s In
Search of Space through to 1975’s Warrior
On The Edge Of Time, which were bursting
with power and originality of a kind that
has not been replicated by many acts
subsequently. There are many other good
Hawkwind albums, but that period is
regarded by some as being the peak of what
was attainable by the group.
There has always been something
wonderfully unhinged about Nik Turner:
much of what he does oscillates on the
edge of mania, psychosis and hysteria. The
paranoia and derangement are still there
in their undimmed brilliance on this new
album. From the first track, “Fallen Angel
Sts-51-L”, a song about the Challenger
Space Shuttle disaster, it is clear that
this is an album brimming with a rare and
potent energy as choppy fuzz guitar,
driving drums, creaking mellotrons and
swooping audio generators provide the
soundscape over which Turner delivers a
distinctive monotone vocal. As always,
there is a large dollop of oddness present
in this music. “I heard it from the Queen
and the government too”, from “Joker’s
Song”, is the kind of line you rarely hear
in rock music. It is both mundane and
strange, a different perspective that
elevates the listening experience above
the ordinary. This ability to reframe a
genre in new and distinctive terms is one
of Turner’s abiding strengths, as an
artist who commits wholeheartedly and
unselfconsciously to his music and his
audience. It is not all a crazed charge
through darkest inner and outer space,
however. There are moments of mellow
psychedelia, as in the floating and
dreamlike “Galaxy Rise” or the spooky
spoken word “Coming Of The Maya”, with its
intertwined and floating Arabic scales.
Nik Turner and his band of musicians for
this album could be classed as a
supergroup. Including guest spots former
Hawkwind bandmate Simon House and
Gong/System 7’s Steve Hillage, the core
line up is: Nicky Garratt (U.K. Subs),
Jurgen Engler (Die Krupps); Jeff Piccinini
(Chelsea). Working together, they have
managed to both turn the clock back, by
conjuring forth vibrantly authentic space
rock, and look forward, by creating an
album that is resolutely modern. Certainly
one of my favourite albums of the year so
far, Space Gypsy has all the elements that
go into making a classic. On it we find an
artist, now seventy-three-years-old and
with six decades in the music business,
writing and recording some of the best
material of his career. One of the
originators of space rock, he has remained
committed to it as a musical form whilst
keeping things fresh. The phenomenon that
is Nik Turner powers on. Long may he
continue.
Gregory P. Healey - Redefine
Nik Turner's "Space Gypsy" delivers the
type of music one has become accustomed
to from the mighty Hawkwind. The spacey
squiggle effects are there, the heavy
duty chugging guitar repetitive riffs
are there, the spacey lead guitar
workouts are there, and the saxophone
glazes over all beautifully. The only
thing missing for me was of course Dave
Brocks' high vocal technique, however
the resonance of Turner is actually
quite a mesmerising touch. I am not
usually as taken by the work of Turner
on vocals but he really nails it on
"Space Gypsy". Naturally all is
overshadowed by the soundscape of space
rock especially the cranking guitars of
Nicky Garratt from UK Subs. Jurgen
Engler from Die Krupps is terrific on
synths, Jeff Piccinini from Chelsea is
on bass, Simon House from Hawkwind makes
an appearance on keyboards, electric
violin, and it is nice to hear from
legendary Gong member Steve Hillage on
electric guitar, vocals, synthesizers,
as well as Jason Willer on drums. The
sound is space rock at its finest with
everything thrown in along with Nik
Turner's glorious flute, and saxophone
workouts. The sax on 'Joker's Song' is
wonderful in particular.
It opens with the spaceship taking off
after a countdown and then we are off
into the stratosphere leaving planet
earth to its own mercy. The sludge
guitar and space electronics on opener
'Fallen Angel STS-51-L' has a distinct
trademark Hawkwind sound as on
'Brainstorm', 'Born To Go', or even the
penultimate 'Silver Machine'. The slow
guitar crawl on 'Time Crypt' is fabulous
and I loved Turner's melodic vocals.
Surely this is one of his best solo
efforts and then there is that blazing
saxophone solo; an absolutely killer
performance.
The songs all segue together in true
Hawkwind style, and seamlessly we are
lead gently by the hand of Turner's
flute on 'Galaxy Rise'. It sounds like
Hawkwind at their trippiest such as on
"Warrior at the Edge of Time" or "In
search of Space". This is a nice break
away from the rockier songs, and is
tempered by sensuous flute and
acoustics.
'Coming Of The Maya' has a nice
Hawkwind like title so one would expect
it to be dripping with psychedelic
juice. It opens with warbling flute and
a melodic rhythmic vibe reminding me of
Pink Floyd;s 'Set the Controls for the
Heart of the Sun'. The reverberated
spoken vocals are other worldy and there
is a swirling synth and swishing
atmospherics that really lift this to
another level; "the fifth dimension"
Turner states. The spacey nuances are
powerfully structured over the hypnotic
keyboard and bassline. A barking mad
flute solo drifts aimlessly over slices
of violin and ethereal interplanetary
atmospherics. The flute solo is
towering; as good as you will hear.
We then launch straight into the psych
prog of 'We Ride The Timewinds', with
the Hawkwind trademark chug a chug
guitar cranking boldly. The sax returns
and it is an incredible embellishment.
The droning vocals are estranged and
there are tons of spacey effects making
this a blazing triumph on the album.
'Eternity' opens with acoustics and
interstellar effects, over the alienated
echoing vocals "floating in eternity".
More heavenly flute soloing follows
improvised over the dreamy synth soaked
soundscape.
'Anti-Matter' has a driving percussive
rhythm and swirling wah wah guitar
sounds, with mind altering spoken lyrics
"interstellar, sexuality, growth,
fantasy, to the energy". The pristine
sax bellows along the wall of sound,
generated by pounding bass and drums.
'The Visitor' is a highlight with
acoustic vibrations and a fluttering
flute augmentation along a steady
cadence. Turner sings about "time and
space, a ball of flame, save my world,"
and thus the theme of saving the planet
from interstellar or a catastrophic
apocalyptic end is cemented. The flute
flutters around the acoustic phrase like
a demented butterfly, and then the bass
and drums kick into a strong tempo.
Turner sings "visiting just passing
through, I'm not from round here and nor
are you, to come here from the city of
angels, now I know we are the chosen
few." The song then changes gears and
builds into a squelching space effect
and some grand guitar glissandos. It
literally explodes at the end.
'Something's Not Right' is the bonus
track, sounding like a ship out of time,
opening with lots of sparkling twiddly
beeps and flashes. The cranking
distorted guitars lock in and everything
rocks on 11. The lead break is raucous
and this is actually one of the heaviest
tracks, so a pretty decent bonus. The
drums are thunderous and the repetitive
frantic mantra "something's not right"
works well as a quirky part of the
soundscape.
Overall this is a trippy spacey album
that delivers a trademark signature
Hawkwind like sound with no real
surprises. If there are any surprises,
it is that Nik Turner can still hold his
own and stays true to the Hawkwind vibe
even all these years later. It is great
to hear him launch into sensational sax
and flute solos and his vocals are
perfect for this music. "Space Gypsy" is
a grand psychedelic album, a throwback
to the grandiose counterculture
psychedelic 70s, with some genuine
highlights well worth seeking out by
addicts of space rock.
Progarchives.com
It can't get any better then this -
Space rock at its best! As soon as
I listed to the first track I knew that
this was going to be an amazing
listening experience. And it just kept
on getting better and better. Sounding
like Classic Hawkwind. What more can I
say. this is the real deal. One track
took me by total surprise, it sounded
like it would have been an excellent
David Bowie song. I won't name the
track. Why give away the excitement of
discovery. I am sure you will easily be
able to spot this gem. - Action Man
Best Hawkwind related release since
the 1970's by far! This is easily
the BEST Hawkwind related release since
the Quark days of the late 70's. Great
production, playing and most of all,
memorable songs. Not a duff track on the
entire record. Just listen to the clips
for yourself. Well done Nik and company!
- Jeff Holdsworth
Turner's Best Material.
Something about the '60's-'70's
progressive rock/space music puts my
mind in focus, especially at work, and
gets me through the day with flying
colours. Normally I tap King Crimson,
the Moody Blues, early Floyd, Hawkwind,
and High Tide. I've enjoyed Turner's
previous releases, especially his
involvement with Anubian Lights, but
Space Gypsy is by far the best material
he's done since Inner City Unit and yes,
Hawkwind. I'll get tarred and feathered
for this, but this album even outshines
his Hawkwind material (*gasp*). The
album is full of the "space" sound that
I love but has updated it and made it
engaging again. Perhaps it's the modern
production values, perhaps it's less
acid consumption. My only gripe is the
oscillators are often too prominent when
I'd rather hear the excellent rhythm
section and guitar and of course,
Turner's erratic yet enchanting sax and
his best flute material, period.
Lyrically approachable, Turner's vocals
are sharp and forward in the sonic mix
allowing me to reflect on what is being
presented rather reaching for a lyric
sheet. This could very well be my Album
of the Year for 2013. Keep it coming,
Space Gypsy. - Rodney Hart
In Search of Sapaaaaaaace!
First, lets take note of the 3 one star
reviews. One is cut and pasted twice and
both remaining reviews are diatribes on
Nik, not reviews of this album. Juvenile
The album itself is a fairly amazing
release in 2013, especially on vinyl.
For any Hawkfans out there dismayed by
the output of the mothership in the last
20 years, pay attention-this album is
amazing! Succinctly, think In Search of
Space and Hall of the Mountain Grill
fused into one album.
Lots of mellotron, swooping 70s audio
generator whooshing, and a generous
amount of flute give this album an early
70s Hawkwind vibe more authentic than
anything Hawkwind has done in 30 years.
Nik's vocal intonations bring the
gravitas his contributions always
brought to Hawkwind. Brock was the
steady rocking vocal, Calvert the edge
of madness, and Turner the clipped
delivery of someone so tripping they can
barely speak, but can deliver truths
yet.
Avoiding a track by track analysis,
suffice it to say this is an album that
will really resonate with fans who hold
a special place for Hall of the Mountain
Grill in their history. If you are In
Search of Space, investigate Space
Gypsy-too early to tell but possibly a
future space classic. Highly
recommended. - The Watcher
Nik Delivers Big Time. I had to
respond on this one as I already
reviewed the deluxe edition. I am so
glad the last reviewer set things right
here. This is truly a classic album of
this style of music. I have been in to
Hawkwind since I bought their first
album upon release. My review on the
deluxe edition says it all, but for the
one person to trash this the way they
did, is almost laughable. If you want to
hear crap, listen to the last few
Hawkwind releases. Ever since Brock
tossed out Lemmy and Nik, they have
never sounded the same. How can someone
rip off the music he helped create? If
you like the vintage Hawkwind sound then
you should absolutely love this
fantastic release! - Scotty
A true classic beyond expectations.
This album is pure sonic bliss from
start to finish! I have been yearning to
hear any hawkwind or hawkwind offshoot
come up with something this good since I
first bought In Search of Space when it
came out. The name thing? The band
belonged to everyone involved from the
beginning! There was never any ownership
intended until Brockwind fired everyone
and got greedy with the first
trademarked the band sinking the band
into a wold of old boring crapwind.
Nik's nickname was hawkwind because of
the spitting and farting. He came up
with the name for the band and gave it
to everyone in communal spirit. I have a
fishy feeling that last reviewer might
come from a spitefilled brockwind member
or friend. As a fan you can't ask for a
better record than what Nik just shelled
out at the ripe age of 73. As devo once
said we are all devo, in this case we
are all Hawkwind. Lets let everyone who
had a voice in the classic listenable
period of Hawkwind have a voice with his
name with Hawkwind beside it. - Spaceman
Amazing! This album takes me
back in time! Nik is a pure musical
genius. Every song on this album is
fantastic. I am so glad to see Simon
House on this album too. The whole album
is great but... if I had to pick one
song that is my favorite on the album it
would be Time Crypt. We Ride the
Timewinds is also excellent. - Darkbreedcult
Already a classic. Nik Turner
has turned out the best Space Rocker
since Hawkwind's heyday in the
seventies. This album made me smile from
start to finish. Every tune is a
classic. Joker's Song is my favorite if
I have to pick one but in all honesty
every song on this album is outstanding.
Space Gypsy is a great reminder of how
truly wonderful Hawkwind was in their
prime but Space Gypsy is not and should
not be treated like a piece of
nostalgia. It's updated, modern and
stands out as the truly brilliant piece
of work that it is. To put it simply:
Space Gypsy ROCKS! - MJEyes
Fantastic Package for an incredible
album. This is definitely a
package for the Nik Turner/Hawkwind
super fan! Comes with the Space Gypsy CD
(which is just as amazing as everyone
says it is) plus a bonus disc of
instrumental versions. I love hearing
the band jam out with Nik's saxophone
leading the way. Also comes with a
really rad pin and patch - made me I
still had my old Levi's jean jacket! - ConvinceX
I Love it! This is a true master
piece. I love Hawkwind. I may seem a
fool to some, but I love most of
Hawkwinds catalog (mostly). I like the
last two Hawkwind albums anyway, they
took a few plays to grow on me, but I
came around to really enjoying them. I
also love Nik Turner's solo stuff.
Prophets of Time, not unlike many later
Hawkwind albums, it took several plays
before reaching it's true potential for
my enjoyment. This one however jumped
right out at me. After some spiritual
condiments and repeat plays (4 in the
first night) I can safely say it is
going in my top Hawkwind/Hawkwind
related list. Constant driving beats at
times, and spacey wonder at others. I
just love it. - Paul Waschke
Space Rock Bliss. This is truly
a classic space rock album! Sounding
very much like the Hawkwind period of
Doremi and Space Ritual, Nik Turner
delivers an absolute gem here! Of course
not quite on the same level as those
mentioned Hawkwind releases but quite a
dose of sonic blast pounding out of this
one. I got the deluxe box and it is more
than worth the extra money. The
packaging is top notch and better than I
expected. Its hard to believe Nik just
turned 73 and just took us on a
spaceship ride straight back into the
early 70s. Of course the album leans
heavier on the sax and flute, but there
are plenty of hard driving guitar surges
to kick this into high gear! One of my
favorite releases of the year so far and
I can't wait to see him live in a couple
of months. Highly recommended if you are
a fan of this type of music! I give this
five stars based on a release of his
type of music... - Scotty
Gypsy Music is Fun! (Just don't
trust the fortuneteller). Odds are
that only Hawkwind fans will find their
way here, and they will either have
strong opinions on the Brock/Turner feud
or have no idea there is one (after all,
the band hardly ever makes its way to
the States, so we mostly live on old
records). But it makes an objective
review of the record difficult to write.
Here, for what it is worth, is my
attempt - preceded by a précis of the
controversy.
It should be clear to any reasonable
person that Dave Brock has by far the
strongest claim to the Hawkwind name:
the band was largely his idea, and he
has held it together for 44+ years. It
also should be clear that Nik Turner
would have the next-strongest claim to
the throne of this tiny kingdom. Brock
partisans sometimes obfuscate this
issue, but the truth is that Nik was a
founding member, stayed with the band
through their first six albums (their
time of greatest fame), wrote or
co-wrote several of their most important
songs, and has continued to perform
Hawkwind-style material for most of the
years that followed. That said, his
habit of piggy-backing on
Hawkwind-publicized tours and trying to
get legal rights to the name is
reprehensible. I can't say either Dave
or Nik has behaved altogether well in
their quarrels, but Nik seems to be by
far the greater sinner of the two.
Therefore, his music presents us with
the same sort of problem we have with
other creative artists whose personal
behavior we find appalling. Can we enjoy
and admire the works of Wagner, Pound,
or Gauguin with a clear conscience? Can
we review their work without concern for
their nastiness? I don't have anything
like a final answer to this question,
which will continue to entertain
philosophy students for as long as our
civilization persists.
Okay, that's off my chest. Now, the
record!
I have to say that this is a fun
record. It has the same exciting sound
as early Hawkwind: the driving beats,
spacy electronic effects,
science-fiction lyrics, and strangely
jazzy saxophone. It is, to be honest, a
lot more fun than the last few Hawkwind
albums - though it does not compare with
the genius of 2005's Take me to your
Leader. Put it in your car CD player and
feel yourself flying like Spaceman
Spiff. The fast rockers (Joker's Song,
We Ride the Timewinds) really cook, and
the mellow numbers (easily recognized by
the fact that the saxophone is replaced
by the flute!) really chill. Since I've
played the "classic" Hawkwind albums to
the point where I can hardly hear them
anymore (habituation, I presume), Space
Gypsy makes a great alternative to the
various live and bootleg recordings that
have been released in recent years (like
1999 Party). And I really appreciate the
saxophone's strong presence here. No,
Nik's not a great player (not a Coltrane
or anything like it), but he's got a
quirkily creative style, and it is part
of that signature sound, and, well, it's
just a pleasure to hear it.
My main negative comment about Space
Gypsy is that it comes a little TOO
close to the old sound: I keep hearing a
bass/guitar riff and saying "what a
minute, wasn't that from" (You'd Better
Believe It, Brainstorm, Time We Left
this World Today, etc.)? Ditto for some
of the electronic effects. You'd think a
fellow of Nik's experience, supported by
a talented young team of musicians,
could manage to avoid that. I suppose
this is a reflection of his tendency to
go off half-cocked, starting new bands
every few years and recording/touring
without enough rehearsal. I think that
has a lot to do with Dave Brock's
antipathy for him, and it's a valid
point. But wow, he does manage to make
it an enjoyable trip. - S.Joy
Insta-Classic. A wondrous and
joyful listening experience! Just get
this album, and be prepared to be
captivated and propelled into space. - Marcos
Soria
If you buy this cd you won't, won't,
won't be disappointed! Just
fantastic. One of Nik Turner's best
albums. I couldn't have received it in a
more timely manner as we went to see Nik
on tour and he was mind blowing! If you
buy this cd you won't, won't, won't be
disappointed! - Diane Clapton
Amazon.com Reviews
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