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Live '78

SKU: ATOMCD1014
Label:
Atomhenge
Category:
Progressive Rock
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Archival release of a live Hawklords gig, recorded on the 25 Years On tour. To the best of my knowledge this has never been available before (but I reserve the right to be wrong!). Newly mixed from the original 16 track tapes, you get the typical high quality Mark Powell/Atomhenge treatment.

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  • Mind Colours is the debut album from this instrumental Italian quartet.  The band features the former guitarist and keyboardist from The Watch - Ettore Salati and Fabio Mancini.  While there may be some traces of fusion around the perifery, Soulengine's stock in trade is symphonic progressive rock.  Salati's leads are very fluid, reminding a bit of Steve Hackett (not surprising).  Mancini contributes Hammond organ, analog synths and of course Mellotron.  There are stretches where you will feel transported back to the 70s listening to a Genesis jam session.  Very nicely done.  Highly recommended.
    $16.00
  • "Santana's fourth album, Caravanserai, finally being reissued and remastered by Columbia Legacy/Sony, is a landmark recording for the band. Originally released in 1973, this album marked a change for the band, as they were moving away from the Latin tinged psychedelic pop rock of their earlier recordings to a more ethereal, jazz fusion based sound. Change also brought about line-up shuffles, as after this album second guitarist Neal Schon and keyboard player/singer Gregg Rolie left the band to form Journey. Famed keyboard virtuoso Tom Coster made his first appearance on this release, and he later spent many years alongside Carlos Santana in various incarnations of the band. The influence of groups such as Weather Report, Mahavishnu Orchestra, Lifetime, Miles Davis, Larry Coryell's Eleventh House, and John Coltrane are heard all throughout this CD. Latin percussion mixes with swirling organ while Santana and Schon's guitar licks run rampant on each track. While the bands signature melody on "Song of the Wind" still remains a classic, it's the extended breakouts on tunes like "La Fuente Del Ritmo" , complete with an amazing electric piano solo from Coster, and the energetic "Just in Time to See the Sun" that really shine. Drummer Mike Shrieve comes into his own on this albums more jazzy context, and the percussive tandem of Jose "Chepito" Areas, Mingo Lewis, and the legendary Armando Peraza provide the perfect Latin rhythms. "Every Step of the Way" features some wicked guitar work from Schon and Santana, supported by manic percussion and raging organ from Rolie, and stands out as a classic example of Latin jazz fusion.My advice to you all, don't walk, but run to your local CD shop and indulge yourself in this timeless classic. The remaster job is superb, with every instrument crisp and clear, and you get a nice booklet that goes into the history behind the album. A must have!" - Sea Of Tranquility
    $7.50
  • Arena return after a 6 year hiatus. New lineup includes new vocalist Paul Manzi, John Jowitt is back replacing Ian Salmon, Clive Nolan, John Mitchell, and Mick Pointer. Its a conceptual work focusing on the last hour of life and the following hour in the afterlife. High concept indeed! 
    $15.00
  • Sweden’s PAIN OF SALVATION continue their ever-progressing, highly sophisticated musical journey with a double album project, “Road Salt”, which showcases this outstanding band at its most emotionally intense, but also leaning towards a more classic, yet extremely colourful 70’s Rock style. In a world governed by increasingly rigid rules and conformist conceptions of art, PAIN OF SALVATION have created their own niche on the international music scene. Their intelligently composed and cleverly arranged songs have mixed metal, pop, funk, disco, blues, goth and folk with Arabian and Oriental influences plus other more or less extreme musical styles into a homogenous whole. PAIN OF SALVATION consciously do without any kind of artistic compromise, the only criterion for their compositions being top quality and profound contents. “Skills and complexity should be part of the machinery, not the functionality or design,” says the band’s frontman Daniel Gildenlöw, “so I try to hide it away where the engine is supposed to be – under the hood of a machine built mainly to process ideas and emotions.” This is precisely why their albums go down so well with fans and media from a variety of camps, from the progressive metal scene through nu metal to prog rock and even world music.Since the foundation of his first significant band, Reality, in 1984, mastermind and bandleader Daniel Gildenlöw has consistently followed his own concept of diverse, technically accomplished and border- transcending progressive rock. He renamed the band to PAIN OF SALVATION in 1991 and has ever since released six studio albums and one unplugged recording, among them classics such as “Scarsick” (2007), “BE” (2004) and “Remedy Lane” (2002). Each of these releases has impressed as a multi-layered concept album, dealing with tough socio-political themes, while manifesting very intimate, individualist views at the same time.PAIN OF SALVATION’s latest release in November of 2009, the “Linoleum” EP, marked the advance introduction of the “Road Salt” double album project and served as small forecast of greater things to come. The band backed up the launch of the EP with a string of headlining tourdates throughout Europe and Russia, a run of support shows for Dream Theater in Australia as well as with the participation in the Swedish Melodifestivalen, the national competition for the Eurovision song contest, an event followed by Millions of viewers in national TV. PAIN OF SALVATION appeared in the contest with the new album’s atmospheric title track ‘Road Salt’ and the quality of the song as well as its performance not only left an impressing note with the audience despite the band’s rather untypical character for such event, but also catapulted the band into mainstream media attention. The band successfully moved into a “second chance” next round of the event but in the end didn’t manage to qualify for the finals. Nevertheless, the song ‘Road Salt’ acquired massive praise from all corners within Sweden, climbed the national single charts up to # 12 (as digital only release!) and consequently sets a great pace to kick off the new album’s release.“Road Salt One” (previously also referred to as “Road Salt Ivory”) includes not only the album’s magnetic title track alongside the previously mentioned ‘Linoleum’ EP track (for which the band shot an energetic performance video clip), but also features other instant highlights like the captivating opening song ‘No Way’, the awe-inspiring ‘Sisters’ (which will serve as second single release) or the acute ‘Where It Hurts’ (which will be the second video clip), making “Road Salt One” a creative rollercoaster of the highest quality and strongest impact, sure to once more please the band’s committed followers but also likely to reach new listeners due to the music’s versatility and its richness of texture as well as lyrical depth.Gildenlöw further comments: “Road Salt One is twelve tracks of sweaty gravel, asphalt butterflies, untrodden paths and brave decisions. It will not beg for your liking, it will not make excuses, it will not carry you safely across the dangerous waters. If you don't pick up its pace it will leave you stranded at the curb of the road. Yes, Road Salt One might indeed be a harsh lover, but if you have the guts to follow it whole-heartedly and dare to surrender to its voice, it will take you places you need to visit.” 
    $14.00
  • "Steve Thorne returns with his fourth album, playing the majority of the instruments bar Nick D’Virgilio (Cirque Du Soleil/ex-Spock’s Beard) and Bob White on drums with Tony Levin and Gary Chandler (Jadis) also guesting. Also former IQ member Martin Orford pops out of musical retirement to play flute on two songs.What I like about Steve Thorne is his strong and topical lyrics, coupled with melodies that transcend the prog rock genre he is often lumped in. A bit like It Bites, Steve Thorne’s music can take in many musical influences to create an entertaining and enjoyable listen.‘Already Dead’ looks at modern culture and how modern technology can turn us into a nation of zombies. Good way to start the album with the heaviest and most aggressive song on the album. ‘Everything Under The Sun’ is a lovely piece of music, albeit rather sad as an older person looks back on their life and realises how alone they are now. The melodic vocal and subdued music add greatly to the song. ‘Distant Thunder’ is the nearest to classic Brit prog rock on the album, whilst Martin Orford’s flute expands the sound of ‘Moth To A Flame’ nicely. ‘Bullets & Babies’ again sees the heavier side of Steve Thorne’s work come to the fore tackling the subject of boy soldiers and how war affects people from an early age.An artist where you can start with any of his albums to date and not be disappointed. As mentioned previously Steve Thorne can appeal to the prog rock fans but also a wider audience who appreciate melodic rock with thought provoking lyrics." - Get Ready To Rock
    $14.00
  • "The Flaming Lips have a flair for making other artists’ music their own. Their versions of T. Rex’s “Ballrooms of Mars,” Queen and David Bowie’s “Under Pressure,” and Madonna’s “Borderline,” a song they recorded with Stardeath and White Dwarfs, who also appear on the literally titled The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon, all show what they took from those artists and what they gave back. Though the Lips always seemed more indebted to Syd Barrett-era Pink Floyd, they put their own stamp on Dark Side’s paranoia and moody atmospheres. They performed this version of Dark Side of the Moon at their 2010 New Year’s Eve celebration, capping a triumphant 2009 that included the release of their revitalized-sounding Embryonic. While the Lips recorded that album on their own, it’s still easy to hear how this album is symbiotic with Embryonic. The same wildness permeates these songs, giving them a feel that’s more primal than the original’s polished reflections. “Speak to Me/Breathe” opens the album with short-circuiting keyboards and raw, vaguely Latin-sounding percussion immediately tying it to the Lips’ last album, while “Time/Breathe (Reprise)” rides on the driving, fuzzed-out bass that was Embryonic’s spine. However, …Doing Dark Side of the Moon feels more focused than its predecessor -- of course, the familiarity these songs have helps -- with its rawness providing contrast instead of adding an intentionally primordial feel, as it did on Embryonic. Elsewhere, The Flaming Lips and guests are just as faithful to Dark Side of the Moon as they need to be, using Peaches as a stand-in for Clare Torry on “The Great Gig in the Sky” -- although Peaches’ super-saturated howls are far more odd and jubilant. As on the original, some of the best moments are the spookiest ones. “Us and Them” sounds like a conversation held across a kitchen table instead of in deepest space, regardless of the synths whooshing around Wayne Coyne’s vocals, and tender guitars underscore its unique intimacy. “Brain Damage” is even more stripped-down while remaining true to the original’s air of eerie knowingness, of being just sane enough to know you’re going crazy. As always, The Flaming Lips approach this tribute by exploring how they can serve the songs, without worrying about the legacy or image of the artist they’re covering. The only time this backfires (slightly) is on “Money,” which has a cleverly tinny drum machine that sounds like coins piling up, but its heavy vocoders and stiff beats lose too much of the original’s jaded swing. Despite the sheer number of musicians playing on it, The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon is a distinctly non-bloated treatment of one of rock’s most epic albums. While it might be more fun than impressive, fun has always been a vital part of The Flaming Lips’ best music." - Allmusic Guide
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  • Chronolyse was the second solo album from Heldon mastermind Richard Pinhas.  The recording featured his Fripp-like guitar stylings colliding with frightening sounds from the Moog synthesizer.  Its a spellbinding album that blends jarring industrial sounds with icy fluid guitar solos.
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  • XRCD24 ediition of this audiophile reference album.  XRCD features JVC's proprietary mastering process.  The results speak for themselves.  Typically these sell for quite a bit more but we uncovered a small cache in a warehouse 8,000 miles away from NJ.World-class bassists David Friesen and Glen Moore join forces for an outstanding new recording of jazz standards and originals."Nineteen duets that explore the limits of improvisation, from blowing-on-changes to aleatoric adventures.All of the music is fascinating" "...the free-swinging stuff like "Stride La Conga" and "Sweet Georgia Brown" is the most satisfying"Overall rating A- Bass Player Magazine.
    $12.00
  • Remastered edition with two bonus tracks."After the failed experiment of Turbo, Judas Priest toned down the synths and returned to the basics, delivering a straight-ahead, much more typical Priest album with Ram It Down. The band's fan base was still devoted enough to consistently push each new album past the platinum sales mark, and perhaps that's part of the reason Ram It Down generally sounds like it's on autopilot. While there are some well-constructed songs, they tend toward the generic, and the songwriting is pretty lackluster overall, with the up-tempo title track easily standing out as the best tune here. And even though Ram It Down backed away from the territory explored on Turbo, much of the album still has a too-polished, mechanical-sounding production, especially the drums. Lyrically, Ram It Down is firmly entrenched in adolescent theatrics that lack the personality or toughness of Priest's best anthems, which -- coupled with the lack of much truly memorable music -- makes the record sound cynical and insincere, the lowest point in the Rob Halford era. Further debits are given for the cover of "Johnny B. Goode."" - All Music Guide
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  • Essential third album from the Mwandishi band. A pure kosmigroov classic in which the ensemble touches on African based rhythms and electric fusion. Hancock and Patrick Gleeson somehow integrate a battery of electric keyboards into the jazz realm but in a way that was organic and seems just about right. A must own.
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  • This was always a weird but charming album.  Recorded on a low rent budget in 1977, Akasha made this one and done album.  The album kicks off with a lengthy track loaded with 'tron.  The rest of the album is full on prog rock with lots of wacked out twists and turns.  It literally was recorded in the bomb shelter in the basement of a hotel so it has a real primitive sound but the music does shine through.
    $26.00
  • · A DELUXE 2CD SET OF THE CLASSIC 1973 LIVE ALBUM BY HAWKWIND· NEWLY REMIXED FROM THE ORIGINAL MASTER TAPES BY STEPHEN W TAYLER· ALSO INCLUDES AN ILLUSTRATED BOOKLET Atomhenge, the home of Hawkwind’s back catalogue, is proud to announce the release of a deluxe 50th anniversary remixed edition of HAWKWIND’s legendary live album SPACE RITUAL. Recorded on the band’s UK Tour of December 1972, which followed the release of the band’s recent studio album DOREMI FASOL LATIDO. The live show was a continuous performance linked by poetry recitation by ROBERT CALVERT and was a complete audio-visual experience. Featuring the dancers Stacia, Miss Renee and Tony Carrera, the concerts also featured an elaborate light show by famed lighting designer Liquid Len. The Space Ritual tour followed the huge success of the Silver Machine single (although the song did not feature in the live set) and three concerts were captured on tape by the Pye Records mobile unit. The resulting double album was adorned with memorable artwork by designer Barney Bubbles and was a Top Ten hit in the UK upon its release in May 1973. This 50th anniversary 2 CD set features a stunning new mix of the album by Stephen W Tayler, from te original 16-track master tapes. The set includes the complete unedited versions of Brainstorm and Time We Left This World Today and the encore of You Shouldn’t Do That. With a illustrated booklet with new essay this new release is the ultimate tribute to this legendary album.2CD TRACK LISTDisc One: Space Ritual 50th Anniversary Stereo Remix by Stephen W Tayler1. Earth Calling (new stereo mix)2. Born to Go (new stereo mix)3. Down Through the Night (new stereo mix)4. The Awakening (new stereo mix)5. Lord of Light (new stereo mix)6. Black Corridor (new stereo mix)7. Space is Deep (new stereo mix)8. Electronic No. 1 (new stereo mix)9. Orgone Accumulator (new stereo mix)10. Upside Down (new stereo mix)Disc Two: Space Ritual 50th Anniversary Stereo Remix by Stephen W Tayler1. 10 Seconds of Forever (new stereo mix)2. Brainstorm (new stereo mix)3. Seven by Seven (new stereo mix)4. Sonic Attack (new stereo mix)5. Time We Left This World Today (new stereo mix)6. Master of the Universe (new stereo mix)7. Welcome to the Future (new stereo mix)8. You Shouldn’t Do That (new stereo mix)
    $19.00
  • Third collaboration from Steven Wilson and Aviv Geffen. Mr. Geffen wrote all of the material except for one track. Musically speaking its a very different animal than Porcupine Tree. Its much more laid back with a heavy emphasis on orchestration. I'm reminded a bit of later Pink Floyd and also Roger Water's solo works. Not a lot of pyrotechnics and really not much in the way of heaviness. Its almost as if Mr. Wilson has taken a supporting role as opposed to equal stature to Mr. Geffen. If you are looking for Porcupine Tree's quasi psychedelic metal look elsewhere. Blackfield presents you with (well recorded) art rock that targets your emotions rather than your thought process.
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  • Gorgeous doomy Floydian metal. Super jewelbox reissue.
    $12.00