Nektar Live 2020: I Think I Remembered the Future-Live at the Iron Horse Northampton

Note the two Rickenbacker basses going at once!

Nektar in 2020 is an odd proposition. From a seventies perspective, Nektar had their heyday from 1971 as a transplanted UK band in Hamburg (1969) helping to jump start the krautrock movement before most of the main players in Germany had even gathered. Their six album arc from 1971 to 1975 covers their essential works. The debut lp Journey to the Center of the Eye is a 40 minute single song dedicated to either communicating with aliens or a soundtrack to an acid trip-it functions well in both modes. It attracted little attention outside of the heads of Europe with a German only release. The follow up, A Tab in the Ocean garnered their first US release (four years after its ’72 release date), and was a perennial denizen of cutout bins well into the late 80’s. (a kid on my floor in college worshiped this album, claiming he only listened to it on LSD, and never any other time-a heroic claim, and apparently true). Sounds Like This was a double lp of loose jams and improvs showcasing their strengths in this area saw only a German and UK release in early 1973, mixing krautrock and west coast jam styles. They broke big in the States in 1973 with Remember the Future, once again a song cycle about aliens communicating from the future to give warnings and enlightenment. (I think the alien was in the form of a bluebird, it wasn’t really clear). This album cracked the top 20 and the band had some momentum, selling out larger theaters. The follow up, a circus themed Down to Earth gave them a single, Astral Man, and featured Hawkwind’s Robert Calvert as the ringmaster. 1975’s very solid Recycled found them in the company of synthesizer wizard Larry Fast, and brought back some of the fans unhappy with the disjointed Down to Earth.

 

By 1976, the band had a major label deal, but leader and guitarist Roye Albrighton inexplicably bailed, leaving the band in the hands of American Dave Nelson, and the dreaded disease to strike most prog bands in the late 70’s: “we have to do a pop album so we can get rich and famous” syndrome which killed off 95% of all prog bands to get that far. 1977’s Magic is a Child is noted mostly for the cover model being a fairly unknown 12 year old Brooke Shields skipping through the waterfall as well as being the final nail in the coffin.

From a millenium perspective, Nektar has had no less than twelve different lineups since their hesitant return to live activity in 2000. The band rotated around Roye Albrighton, and founding members Ron Howden (drums), Taff Freeman (keys), and Derek ‘Mo’ Moore (bass). The two decades leading up to this 2019 reunion saw a blizzard of changes that ultimately led to the band splitting into a German version (mostly the replacement parts) and the US version (mostly the surviving original members)

This week in a tiny club in Northampton Massachusetts saw the large Nektar entourage (seven band members and seven crew members) load onto the tiny stage. With guitarist Ryche Chiandra (of the 1978 era of the band) holding down most of the vocal parts, original members Moore and Howden, long time member Randy Dembo rounded out by keyboardist Kendall Scott, a female vocalist and original light guy and founding member Mick Brockett on light show it was a crowded stage. They put the crowd on notice immediately, opening with a 20 minute version of the side long song A Tab in the Ocean. A new song, the catchy Skywriter from their upcoming album captures their ethos well and nicely slots in with some of their classic material (possibly an unreleased tune written back in the 70’s by Chiandra during his stint in the band). Then, bam(!), all of side one of Remember the Future in all of its glory. The band really started to hit their stride and the odd double Rickenbacker bass attack of Dembo and Moore gave a strong syncopation to many of the tunes. Another new tune preceded another 20 minute suite from their debut lp, Dream Nebula/Roundabout/Drifting. This piece grew in power as it headed to the end, showcasing the musical muscle and precision the band has now that it didn’t really have in 1971’s fuzzier and looser version. Love Is/The Other Side was another 20 minute excursion from their upcoming album of the same name. Crying in the Dark (Djam) and King of Twilight was another suite from Tab in the Ocean that brought us to the end of the set. Encores of Fidgety Queen from Down to Earth was a raucous barrelhouse tune and I’m on Fire from the upcoming album rounded out the evening before we were ushered out to make room for a DJ spinning at 10 pm. Hmm.

Overall, Nektar still has it in spades. They have always used a limited chord structure and song construction to great effect (see Hawkwind), and were never flashy, more a subtle effect. Their sound in 2020 is very close to original Nektar vibes, with some ill advised dabbling that sounded like the Alan Parsons Project, but overall there are still strong hints of kindred spirits Hawkwind in there. One observation was that the modern jam band moe. strongly resembles and owes some of their distinct sound to Nektar’s occasional west coast jam excursions. Original light guy Mick Brockett sent astral projections behind the band that reminds and reinforces the fact that this is a psychedelic band at its core, once and always.

Looking at their handwritten setlist, and lamenting ‘options’ not played

So little did I know in the early 80’s when I encountered the decidedly weird Remember the Future, with its story line of a child being told by aliens of things to come in the future and a warning to remember the lessons well, and tried to catalog all the madness and chaos I’d encountered in their decidedly weird and acid soaked fans  …that it would all frickin end up coming true some 37 years later. Remember the Future kids, not an easy skill to master, but sometimes it is important.

Hawkwind-All Aboard The Skylark review: Somewhat of a Return?

It’s odd when your favorite band puts an album out and not only do you not run out and get it instantly, it takes a while to even be bothered to listen to it online. One of the reasons is their most recent effort, the gawdawful Road to Utopia orchestral affair. The other worrying piece is that this is the fourth Hawkwind album in as many years. Will time show that Hawkwind is running thin on ideas or will they deliver an unexpected classic?

How to Snatch Defeat From the Jaws of Victory-the backstory

Hawkwind has seemed to have been undeservedly snakebit throughout much of their five decade career.  Just when things seem to be on track, unlikely things always seem to pooch the proceedings. Starting way back in 1973, Hawkwind had outlasted the critics and created the blueprint for all of space rock, the magnificent and ramblingly shambolic Space Ritual. People took notice, and on a much larger scale than ever before. On the cusp of finally breaking really big world wide, they hustled a new single out, the pulsing Robert Calvert led Urban Guerilla. But a rash of IRA car bombings in London led the BBC to refuse to play the song, and it was withdrawn by the band and the label. Other things like Lemmy getting arrested and then idiotically fired in the middle of the 1975 tour dropped them a peg when their US tour was finally getting some bigger venues filled. One of the few UK bands to successfully transition into the punk era (mostly courtesy of Bob Calvert), they were forced to abandon a tour in France due to Calvert’s mental instability and eventual firing in the late 70’s. Even the festival scene, their home base, didn’t give solace, when the Battle of the Beanfield attack by the UK police on Hawkwind and their fanbase to disrupt the attempted 1985 Stonehenge Festival scattered the local faithful. A 90’s renaissance in the US brought a new generation of overseas fans, but the band getting stopped in Canadian customs prevented their headlining showcase appearance at the 1998 US Strange Daze Festival, a lynchpin of the US space rock scene. Follow that with two blown out tours in the States in fall and spring of  2013-2014 where they lost much of their hard won US following. More recently, the band had the unexpected brilliant album The Machine Stops revitalize their rep in 2016, and the followup Into the Woods in 2017 brought onboard the Lemmy-esque Rickenbacker thumping Haz Wheaton. Things looked good and the band never sounded so revitalized. Unfortunately, Haz bailed quickly for greener pastures in Electric Wizard, leaving the band back at square one. Then the ill conceived 2018 orchestral album Road to Utopia last year seemed destined to bang the funeral drum quietly.

Hawkwind 2019

So the band needs a win. But a band that is used to having 2-3 years to develop an album attempting four albums in four years? It seems the creative vault is getting worryingly sparse in contents under this four year tasking. Pressed by their 50th anniversary, the band have launched All Aboard the Skylark, a collection of wispy half completed sketches and song ideas. Niall Hone is back in the fold on bass and keys, and the dynamic Haz Wheaton is out. Guitarist and keyboardist Magnus Martin (who joined during the Into the Woods sessions on keys) along with long serving drummer Richard Chadwick form the newest version of the Hawks. Last original member and founder Dave Brock rounds out the quartet. The good news? There isn’t anything really bad in here.  The problem is that there just isn’t much Hawkwind music on this album. Songs are short (3-5 minute range) and are padded out with twiddly synth intros-leaving scant few minutes of actual Hawkwind on here.

Opening song Flesh Fondue is repurposed from the 1982 Church of Hawkwind’s Star Cannibal. Once again, they have redone one of their own songs, albeit in a fashion that brings some of the Hawkwind oomph not in the original. Slightly marred by generic synths, this might be the only one on the album that actually sounds like Hawkwind. Echoes of Huw Lloyd Langton weave in the background courtesy of Martin. An awkward one minute coda is grafted onto the end of the song, not sure why except perhaps the aggressive riff needed to be put into something, somewhere.
Nets of Space is trippy but too short, ironically reminiscent of Ozric Tentacles, one of the bands heavily influenced by Hawkwind in the early 80’s UK festival scene.  It seems like there is an idea for a song in there somewhere but it fades slowly rather than gathers. An unfinished bit.

The Last Man on Earth, a Martin led piece is similar to some of the work on the Dibbs led Onward-this is what Hawkwind would sound like with little to no input from Brock. Pleasant vocals but more 70’s pop rock sounding than Hawkwind sounding. Think: a poppy acoustic take on We Took the Wrong Step Years Ago. Could function as a single, but a single with no lead vocal from Dave is a hard sell.

We Are Not Dead….Only Sleeping is pleasant and dreamy, full of the whooshes and whispers that make Hawkwind what they are. The jazzy piano part is may not work for some long term fans, but adds nicely to the lazy spacey vibe. Not sure if jazz is where their strengths lie though. Another unfinished song idea in reality.

All Aboard the Skylark takes a bit to hit a groove, with some long missing saxophone work (sax being the instrument of choice of Nik Turner, public enemy number one in Hawkwind social media). but when you think it might be getting somewhere with a bit of intensity, the song loses steam and disintegrates slowly, as if Richard and Dave are only trying out ideas rather than a focused piece of mayhem. In the end the song trails off without ever getting somewhere. Not really a song but a glimpse into the song writing process. Not sure why this would be the title track, but it does make one wistful for more sax here and there like the glory days.

65 Million Years Ago starts off promisingly with a jarring synth figure repeating while Brock delivers some of his signature chanted lyrics. Somewhat derivative of 25 Years On filtered through epic melodic metal crescendoes. One of the few on this album that bear a repeat listening, but it sounds like a shorter section of a larger unfinished Hawkwind epic.

In the Beginning is generic Hawkwind synth intro to any number of songs. Except there is no song here. Unfinished instrumental time filler inserted again, not a song. That’s three now.

The Road To has some guitar work reminiscent of departed Huw Lloyd Langton. It also flows along lazily and pleasantly. This trails off after never getting too far from the introductions. One begins to wonder how much Dave Brock has to do with this album, as things never get pulled together into a coherent whole, but are allowed to wander more aimlessly than they should.
The final song, The Fantasy of Faldum: Hawkwind could have written their own eulogy here. “Everything passes away in time, everything grows old”.  (Hopefully this isn’t true folks)  This is another song that would have benefited from a Dave Brock vocal lead, as this is the ‘epic’ of the album. And a scant 42 minutes after we began, we are done.

New guitarist Magnus Martin seems like he has a larger than normal guiding hand in this album, with this song and Last Man on Earth featuring lead vocals from him, and lacking the strong stamp of Brock’s personality. Guitar work throughout is parsed between Dave and Magnus, but fans will likely say ‘there’s not enough guitar in there.

Conclusions?

‘Unfinished’ is the general vibe this album gives off. Outtakes masquerading as a new album isn’t the greatest thing for a 50th anniversary party. Barring the filler synth instrumentals, this album clocks in at about 30 minutes overall. The album cover is once again entry level sterile computer graphic art accompanied by the requisite sterile logo font that has wrapped too many of their recent albums (Blood, Onward, Spacehawks…) Sonically this thing is generally swathed in too much echo and reverb to ever really solidify, which is mirrored in much of the music-slower tempo proto-Hawkwind jams that are seeking a groove, but never quite get there. Richard Chadwick deserves some accolades as his drumming is as solid as ever, and he tries to energize some of the more unfinished pieces, urging things further, Onward as it were.
This album is closer in conception to Hawkwind Light Orchestra-breezy and off the cuff takes on something that we know to be much deeper.

Recommended for the faithful, and a definite light years improvement on Road to Utopia.

The album also comes with a bonus disc of acoustic material they performed on a recent tour as their own opening unplugged act. Stripped of swoops and wooshes, some of their songs are starkly powerful in their original conception. In retrospect, the bonus disc might be the one that ends up the keeper. Listen first if you are a long time Hawkfan. But overall, not a bad recovery.

The Demonization of Nik Turner-Hawkwind, Hawknerdz and the Flame Wars of 2014-2015

Not since Martin Luther nailed up some truths on an imposing church door has there been such a troubling schism in a monolithic religious organization. Pastoral and visionary, this highly bonded group have worshipped at the altar of the band Hawkwind for nigh on five distinct decades. But what could cause such a rift in this pacifist (minus the home made lager) and like minded group? Nik Turner. Just saying that name in certain circles is a call for public hangings, vitriol, character assassinations and general flame wars. Why does this septuagenarian gentleman get singled out so consistently and what is his publicly offensive crime? Only one thing-playing Hawkwind music. So why do some UK fans get such a bug in their butts about Nik?
The Backstory
Nik was a founding member of the seminal space rock band Hawkwind in 1969. Co founder Dave Brock and Nik pretty much created space rock (Edgar Froese may disagree). To be truthful, several other key components rotated through Hawkwind from the key years of 1969-1976: Lemmy (Motorhead), Robert Calvert, Simon House, the dual electronic maelstroms of DikMik and Del Dettmar. But the foundation sound and vision came from these two twins of space rock-Dave Brock and Nik Turner. Dave was the sound and Nik was the voice, and both came from beyond the edge of the cosmos. Hawkwind came slowly through unending waves of music press criticism, shrugged their shoulders and set the controls for the unknown. One of the few bands to remain mostly relevant throughout their 46 year history, their iconoclast view ended up being correct. Pink Floyd? Gone. Tangerine Dream? Gone. They are name checked by hundreds of known and unknown bands across the planet. Hawkwind showed the early critics who was correct.

The Trouble With Nik
Nik began to have some trouble in the band in the mid 70’s. Dave had sacked more than a few (although it is reported that Nik was tabbed to sack Lemmy on their 1975 tour for getting caught with speed crossing the Canadian border, two years after Dave had temporarily sacked Lemmy in 1973) and the band line up had become fluid. The last one on the chopping block was Nik. He was sent to the wilderness in 1976 (purportedly for instigating a coup to get the band to fire Dave, which temporarily happened). This set off a film worthy love/hate relationship between these two stewards of spaceship Hawkwind that has lasted until this day. Like some lingering diseases, the disorder occasionally went dormant (Nik rejoined the band full time in 1983, saving them from their formulaic metal bent and getting them back towards a festival and space rock track) and reconciliations were offered. Nik was shown the door again in 1985, ostensibly for being a stage hog (partly true). Although some debated their likes and dislikes of 15 years of Hawkwind, everyone agreed that this was not only THE band, it was their band. Reunions in the millennium included many former members, and the Hawkwind family was one huge extended clan.

Enter the Hawknerds
Something started to go wrong recently. In 2013, posts on Amazon and Yahoo groups indicated a new breed had arisen–the self appointed Hawkwind police. They trolled the internet looking for mentions of Nik Turner, gathered the troops, and attacked. Where this new strain had come from was a mystery for a while. Somewhere in 2014, something happened on the UK Hawkwind fan site. Known amongst themselves as Hawknerds, the site began to show some troubling signs. ‘Wanted For Treason” and other nasty threats were posted over pictures of Nik Turner. Beheadings, Hangings, stonings were all mentioned. What the hell were these people talking about? Most of the folks on this site are straight shooting music fans, unwilling to be drawn into political discussions of the “schism”. But moderators either tacitly or actively approved of this misbehavior. Posts by current members of the band fueled the fires and opinions got very heated. A strong cadre of members were increasingly vociferous about their opinions of Nik Turner. And in sharing these opinions, they were not shy. Like a child in a divorce, they were told to take sides, and poisoned by…..someone. They took to the web (mostly friend face) and screamed the mantra “Nik Turner is the devil!” They started a flame war that was single minded: destroy anyone who disagreed with the party line. You like Nik Turner? You are banned from the site. Did you have your own site? (Nik Turner’s main friend face site and the Hawkwind North America/Canada site are good examples) We show up and attack. When faced with logic or asked questions logically-they descended into name calling, attacks and bans. This happened on the UK site where many US fans questioning the double cancellation were just muted and sent away. They orchestrated a concerted effort to suppress and censor any information on the internet about the Hawkwind failed tour, and shifted all blame on Nik, by any means possible. “They had questioned the integrity of the band”. Why would they say this? Why would they intentionally divide a fan base that was such a global family? That some on the UK site were bothered by US fans complaining about losing two rounds of hotels and flights to go to unplayed shows-and offered a “who cares, they’re playing ten times this fall” attitude only added to an already forming rift.

The Non Tour Saga and the Blaming of Nik
Although this is detailed here earlier, a quick recap: Hawkwind had a tour of America booked in fall 2013. Three days before the tour was to commence, they canceled the whole thing. The reason? Dave Brock had been stricken ill over stress by the fact that Nik was suing to use the Hawkwind name in America, and was unable to tour. Whether this was the idea of Nik or Cleopatra Records is to be determined. But given this excuse, people were sad and regrouped. Online,the complaints were solidified. It was stressed that a concurrent tour as Nik Turner’s Hawkwind would be confusing to prospective fans. Ignoring the fact that all US (and Canadian) fans know the difference, and would attend both bands no matter what, the claim of a single Hawkwind was a rallying cry to many UK fans. A larger problem developed in the spring. The rescheduled tour in 2014 was once again canceled two weeks before it began with the band citing some fairly implausible excuses-they had nowhere to sleep (tour buses are where bands sleep), they had no food plans (venues feed bands), promoters would not put up the cash (they had done enough in October to satisfy the band), renting a back line would be expensive (many US tours from 1989 to 1997 prove they know this isn’t a problem). When mentioning visas and airfare, the explanation gets into a twilight zone of logic. People started to doubt this story, and by proxy, the October story. (Hawkwind had gone on a short UK tour near the proposed US tour dates in October). Was there something else out there that kept them from coming? Nik? Certainly not a real excuse. (All of Nik Turner’s shows in cities that Hawkwind were scheduled to play were after Hawkwind had done a show, precluding any supposed confusion). Another troubling question was: Were Hawkwind legally prevented from coming to North America by the legal kerfuffle? This would go a loooong way to explaining the fairly unconvincing and contradictory claims regarding the spring 2014 tour. The fact that they couldn’t legally come would explain not touring and not telling anyone at the same time.

An interview with Dave Brock in 2016 finally confirms that their excuses were a smokescreen for legal troubles that prevented the band from coming to the States (as well as Dave wishing Nik would die(!). A good article that chronicles this and quotes the stated at the time reasons from Hawkwind’s main website can be read here )
What’s In A Name?
Now let’s set some history straight. Two Hawkwinds? Is that possible? A quick perusal of rock history can show us some things. Multiple Wishbone Ash, Venom, Queensryche, Foghat units populate a dwindling rock god gene pool. Steve Hackett’s Genesis just toured. Collins, Banks and Rutheford toured in 2007, are planning a tour now, and own the name-no problem. Yes? Well there’s Yes, and uh Yes featuring Anderson, Wakeman, Rabin (as of April 2017). Hawkwind’s space rock contemporaries, Gong are an even better example. Gong, Paragong, New York Gong, Gnog, Gong Maison, Mother Gong, Pierre Moerlen’s Gong? For better or worse, this band of UK and French stoners managed to get along and share…after all, wasn’t that the vibe of the sixties? Free shows and Portobello Road communes were the order of the day. Money? That’s for fat cats, the man, the establishment. Although it is sure that the Gong family squabbled about many things PHP, they never took their family fights public, and gave the illusion of getting along. And so did their fans.
Not the End But a Denouement
How this will play out isn’t easy to predict. As noted before, the band of Hawkwind fans was one of the strongest and longest lived underground and nearly religious cadres in rock behind Deadheads. But this divide in the following weakens a group that has never seen strife as fans. Nik Turner’s Hawkwind and Hawkwind? US fans don’t care. Bring ’em both. This US refusal to recognize any conflict drew vociferous attacks via the UK. The Hawknerds are partially guilty of inciting this schism in a fan base that was solid for decades. Not reining in wayward factions and tolerating or encouraging childlike internet behavior has gone a long way to creating ill will that never existed before. This campaign seems to have the quiet backing of the official band as well. Airing of dirty laundry in public is not a smart way to solve problems. There is no evidence of squabbling between Hawkwind factions, hell there were no Hawkwind factions before this recent flame war started. They have advised to be patient and wait until the legal battle is settled, yet actively promote a squabble over a conflict, a conflict between two band members, not fans. This is irresponsible, and uses age old smear and censorship tactics, spreading the hate that they gleefully accuse folks who honestly voice any opposing opinions of, and silencing and deleting whenever possible.

But this article is not intended to be an apology for Nik Turner, it is a plea for reconciliation, and to get everyone back together, fans (and band members). Some will disagree.  I know that few of the hardened hatchet men will be moved by this message, but I feel sorry for them. “Cutting off one’s nose to spite their face” comes to mind as these people miss out on some amazing music to fight a battle, a battle that is not even theirs to fight. If a band splits, then either a limb dies off, or it roots and regrows. The obvious solution is to get the original band back together. (Nik had openly said on his 2013 tour that he had no problem with Dave and wanted to play at any time, and that he had contacted Lemmy’s son about a full on reunion…(sadly no longer possible).  But this is not always possible. So when a long lived band has two incarnations, it actually is double the fun for the crowd. Two Hawkwinds? Two Hawkwinds touring America at once? Hallelujah! Two space rock gods fighting-not something that has any winners. Two 70 year old guys fighting over a band name? It makes one shake a head and think…”why can’t stoner grandpas just get along?”

For verification of any of the above, the sources are the closed groups of Hawkwind UK fans, Hawkwind US/Canada, and the Nik Turner group, all friend face locations.

Update June 29, 2017-Out of the Woods

The trademark dispute ended in the US this week with the board finding for Dave Brock and Hawkwind, barring use of “Nik Turner’s Hawkwind” as a billing moniker. He still can play as “Nik Turner formerly of Hawkwind” on the bill, which seems as if two words were the cause of four years of strife in the Hawkwind fanbase. The result was pretty much expected by everyone when the complaint is read closely. (Brock has been the only constant member since 1969). The 22 page finding can be read here.

The confusion part of the case as argued relied on an early 1970’s trademark dispute between du Pont owning an automotive cleaning agent called Rally vs a smaller company who held the trademark for a detergent called Rally. Du Pont was originally refused a trademark for Rally, took the smaller company to court, and the original company was forced to share the name with du Pont. The argument that there would be confusion as to which was which was disputed by the board. That angle seemed unclear as to how this was so influential when the conclusions between this and the Hawkwind dispute were diametrically opposed viz a viz sharing. I would have thought the now forgotten Bay Area 80’s supergroup Dinosaur suing punk rock from Massachusetts Dinosaur (eventually settling on Dinosaur Jr to get out of it) would have been more relevant. Nik touring as Hawkwind Jr is probably not going to bring folks through the door though.

So who won? Obviously Brock will be happy to get Nik off his back. (reading the board decision, it is hard to tell who was the motivating power in this dispute, Nik or Cleopatra Records. From reading the 22 pages, my guess would point towards Cleo.)  Beyond that…?

Who lost? On paper, Nik loses the battle to be called Nik Turner’s Hawkwind, though as pointed out above, touring as ‘Nik Turner formerly of Hawkwind’ isn’t that much of a change. The general public is unaware of this squabble, so his following in North America will likely stay unaffected. He comes out mostly a wash. Cleopatra certainly is out lawyer’s fees for pressing the issue, so they’d be in the loss column. The real loss falls to the Hawkfans who have been polarized (even when not choosing sides) into some real rabble rousing hate camps. (see: Hawknerdz). Hawkwind, as the extended family, was once a mobile free festival- a moveable cosmic feast that spread across all of the continents, friends all whenever we met. We knew a secret. The rifts caused by elements of coordinated online social media fanning flames of dissent and causing an unnecessary UK vs North America, us vs. them fan squabble lasting years and something that  will take years to heal. Some folks should take time to reflect on what they’ve done to this pretty damn cool planet-wide fan base. Time for an Earth Ritual folks.

“oh yeah, only the stones remain…”    the Soft Boys