HAWKWIND Space Ritual VG+ RARE 1973 UA 1st PRESS 2LP Poster Cover LEMMY
$
40
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Description
Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?
First pressings are made from first generation lacquers and stampers. They usually sound vastly superior to later issues and re-issues (which are often pressed from whatever tapes or digital sources are currently available). First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider and subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive, with inner details more clearer. On first and early pressings, the music tends to sound more ‘alive’ and vibrant.Vinyl: VG+ Play Tested. Sounds Great! United Artists Labels are Clean. This is the 1973 United Artists 1st PRESSING! UA-LA120-H2. Otherworldly LIVE! Performance by one of the Legendary Psych/Prog Heroes! It could be their best, with some stiff competition from "Hall Of The Mountain Grill". all music gives it 4 1/2 stars!
Cover: VG+ (see photos; some ring and shelf wear) Wild '70s Euro Style 6 panel Fold Out Poster cover featuring Naked Nubiles, Cryptic Messages and Pure Indulgent Psychedelic FUN!
Goldmine Standards. I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl.
See Review Below!
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well considered the apex of high by HAWKWIND ...driven by Lemmy's dirty distortion rhythm bass amid a shower of sci-fi effects & trance power drumming, the Space Ritual ALIVE was, and still is, something to behold when talking pioneering progressive psych adventures...
Aside from Sun Ra, few artists captured that sense of mind-warping, my-God-it's-full-of-stars astronomical mysticism in their music like Hawkwind. With their tendency towards extended jams full of disorienting electronic drones and drummer Simon King's NEU/CAN-like hypnotic rhythms, they had a certain creative kinship with their Krautrock contemporaries. But their racket could also be as unrelentingly punchy and violent as anything from the Stooges' Fun House, especially considering guitarist Dave Brock's Ron Asheton-esque affinity for blistering, wah-wah-drenched riffs and Nik Turner's freeform sax outbursts, which were more Steve MacKay than John Gilmore...and topped off by the bombastic power-driven bass (ala lead guitar) work of Lemmy Kilmister ...It was all put to good use by their lyrics and their philosophy, much of which was inspired by the writing of sci-fi author and sometime collaborator Michael Moorcock, and typically themed around interstellar travel, metaphysics and Pythagoras' theory of celestial-mathematical "music of the spheres."
Hawkwind, at their peak, as on '73's live "Space Ritual" double LP, were an air-tight rock'n'roll demolition unit who combined the best of trancey psychedelia and buttocks-scorching rock'n'roll. If you have the remotist interest in Krautrock or high-energy rock a la MC5/Stooges/Pink Fairies/Deviants, then you need this in your collection.
From Dik's crazy synth whoops and bleeps thru to the sublime sci-fi spoken-word babble right up to the apocalyptic "Orgone Accumulator" (almost 10 minutes of pure sonic fist-shaking bliss), this is an album for both rock'n'roll purists and avant-prog heads alike
Space Ritual is dark, creepy and cinematic. It really is music you can sit down and take a trip on, with or without the drugs.
AllMusic Review by Wilson Neate [-]
Recorded live in December 1972 and released the following year, Space Ritual is an excellent document of Hawkwind's classic lineup, underscoring the group's status as space rock pioneers. As the quintessential "people's band," Hawkwind carried '60s countercultural idealism into the '70s, gigging constantly, playing wherever there was an audience, and even playing for free on five consecutive days outside the 1970 Isle of Wight Festival. The band's multimedia performances were the perfect accompaniment for exploring inner space and imagining outer space. While not concerned with rock's material trappings, Hawkwind were, ironically, among the hardest-working groups in Britain, averaging one show every three days during the year preceding these recordings. Given all that practice, it's not surprising that the performances collected here are incredibly tight (although, reportedly, a couple of tracks were edited). Incorporating most of Doremi Fasol Latido, the show for the Space Ritual tour was conceived as a space rock opera, its blend of sci-fi electronics, mesmerizing psy-fi grooves, and heavy, earthbound jamming punctuated with spoken word interludes from astral poet Bob Calvert. Although his intergalactic musings date the album, coming across now as camp futurism, they still provide fitting atmospheric preambles to Hawkwind's astounding, mind-warping sounds. Calvert's manic recital of Michael Moorcock's "Sonic Attack," for instance, is an exercise in tension that subsequently explodes on the stomping "Time We Left This World Today"; with Nik Turner's otherworldly sax, Dave Brock's guitar distortion, and the earth-moving rhythm section of Simon Kingand Lemmy, this track offers a blueprint for the album's most potent material. Another standout is "Orgone Accumulator," ten minutes of hypnotic (Wilhelm) Reich & roll that could be the missing link between Booker T. and Stereolab. A 1973 advertisement described Space Ritual as "88 minutes of brain damage"; that characterization still holds true.
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