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Warrior On The Edge Of Time 1975 Album

Warrior On The Edge Of Time Warrior On The Edge Of Time
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Length
47m 44s
Country
United Kingdom
Release Dates
1975-05-09
Description
Warrior on the Edge of Time is the fifth studio album by the English rock band Hawkwind. Many of the lyrics are by Michael Moorcock, and the album is loosely based on the concept of Moorcock's novel The Eternal Champion. It was the band's highest-charting album on the UK Albums Chart, where it peaked at number 13, and was their third and last album to make the U.S. Billboard chart, where it peaked at number 150. Reviews have been mixed, with Melody Maker panning the album and particularly criticizing the vocal work while the All Music Guide has praised the album for features such as the songwriting. This would also be the last album to feature the band's bassist Ian "Lemmy" Kilmister, who was fired from the band one day before the album's release.
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Tracklist
1. Assault And Battery - Part One 5m 34s
2. The Golden Void - Part Two 4m 37s
3. The Wizard Blew His Horn 2m
4. Opa-Loka 5m 40s
5. The Demented King 4m 20s
6. Magnu 8m 40s
7. Standing At The Edge 3m 45s
8. Spiral Galaxy 28948 3m 55s
9. Warriors 2m 5s
10. Dying Seas 3m 5s
11. Kings Of Speed 3m 25s

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This album, for some reason, is nominally regarded as one of the weaker efforts of the "classic" Hawkwind years, but I have to go against the grain here, because out of all of those albums, it's the one I have gravitated to the easiest. Of course, that does not mean it is the best album of the lot, and certainly, there are flaws to be found here - the biggest one being that they tried to fit Michael Moorcock's Eternal Champion saga into the record - in the form of three really flimsy spoken-word *ahem* performances, and it's a pretty bad fit, to say the least. Since I do not read sci-fi literature as a general rule I couldn't give a rat's ass about this aspect of the record anyway. I focus mainly on the music, which by the way, is a bit of a change from classic Hawkwind that preceded it as well - more and more synths are in the mix here, burying the heavy guitars and bass grooves. The immediate reaction would be - what the hell happened to the Hawkwind we knew and dug - but wait, there's merit here in this approach. From a technical perspective the hairy horde steps up big time, creating a different, limbo-like atmosphere that is curiously part-futuristic, part-retro, and totally all-Hawkwind throughout. Every single one of these tracks is epic to the max - excepting the spoken-word passages - as they succinctly sum up the album title to a tee.
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