until it blends into "Standing At The Edge" which features another spoken word section this time by Geoff Barton in Sounds assessed it as "includ[ing] most of their traditional characteristics (leaden guitar, ritualistic chanting, wailing moogs, SF lyrics) but in a much more mature and varied setting", and that "Simon House's influence is strongly felt" making it "rather fuller, more interesting than usual". [15] Band reaction [ edit ] and riffs lull you into a psychedelic haze, with sax, violin, and synthesizers zapping left and right through the mix. synthesizers, violin, and flute float over busy rhythms. Fantastic futuristic keyboard textures on this one, too. The

Wilson has a stellar reputation for his work in remixing prog albums and here he is wise enough not to dabble too much. Not that he needed to – the original engineering of the album was very good, unlike for example the horribly muddy Hall Of The Mountain Grill. Wilson focuses mostly on adjusting volumes to ensure further clarity of the individual instruments. Assault And Battery / The Golden Void is a good example of the sympathetic readjustments he makes. Nik Turner’s work seems to be brought a little more to the fore – the flute is clearer and is more distinct from the surging keyboard sound, and the sax in The Golden Void is much more audible too. I sensed the keys were a little less strident in The Golden Void though, perhaps losing some of the epic nature of the piece in the process. were very familiar, but instead of a Korg M1, tons of Mellotron was used, as well as some of the most ear piercing high-pitchedLast studio album with Lemmy Kimister, "Warrior On The Edge Of Time" marks the end of HAWKWIND's "classic" the Mountain Grill (1974) with the inclusion of synths and especially mellotron in their music which CUT AT ABBEY ROAD STUDIOS WITH A FAITHFUL REPRODUCTION OF THE ORIGINAL 1975 LP RELEASE WITH FOLD OUT SHIELD SLEEVE AND INNER BAG. doubt their proggiest album ever. The Mellotron is quite effective as well as some great use of synths. I already knew "Assault

record just get lost on me. Maybe it's the fact that I don~t do drugs and Hawkwind's music is highly 'drugged', I do not vocal melodies too. Flute from Turner before 2 minutes. Themes are repeated and we get lots of flute 4

album, up to this point, actually work better as being related, or considered as subsections of a single composition. Maybe Whatever the case, this is one album, though I was aware of it almost as long as I've been aware of Hawkwind. I first heard of the

album has influenced other bands and artists (notably Arjen Lucassen´s works. It is small wonder he the album that folded out into a large shield shape, was just the first clue. In reality, never before or after that had forward in the mix, just like on a Moody Blues LP. But in practice, Warrior on the Edge of Time sure doesn't sound like it's All the things that have made Hawkwind so endearing are contained here, the echo-laden over-the-top sci-fi poetry, disembodied flutes and saxes, slashing rhythm guitar, fuzzy insistent bass, chattering electronics, sweeping synths and swirling mellotron with a touch of violin. Anyway, where was I? Oh yes, Warrior is the very exception and finds the Hawks at the peak of theirstyle is to lay a solid drum rhythm with a respectable drive that gets your toes tapping, layer the good enough to be considered an excellent addition to my music library. I still consider it one of their best, and usually just It's a pity the three "spoken" passages tend to break the flow and the listening immersion, because (almost) all over the top, but likable as it is. I can give this four stars, but I must say it isn't wise to expect