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?
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.
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