The Greasy Truckers Party,举办于1972年2月13号,伦敦,The Roundhouse,现场观众2000多人,被认为是自60年代开始的嬉皮运动以及大量无政府主义份子的最后的大型集会,Greasy Truckers组织为当地的流浪汉筹集善款并解决很多社会问题.这个现场对Man和Hawkwind两支乐队起到了很好的推进最用,Man还在1999年再版了自己当时的现场录音,那张专辑也叫做Greasy Truckers Party,除了Man和Hawkwind,还有Brinsley Schwarz(包括了Nick Lowe和Brinsley Schwarz)
Located in Chalk Farm London, The Roundhouse was a crucial underground music nexus that appeared shortly after the birth of psychedelic Rock Music in late 1966 when performances by The Pink Floyd, The Soft Machine, The Move and The Who were coordinated as underground happenings, and six years later this was still the case when on the night of February 13, 1972 a benefit show was staged there in aid of an alternative Notting Hill Gate community organisation called The Greasy Truckers. Several months after the event a mysterious white label double album appeared that captured partial appearances by Hawkwind, Man, Brinsley Schwarz and Magic Michael. The labels and cover are professionally produced, even down to the printed and made by Garrod & Lofthouse, Ltd?line on the gatefold so it's a fair assumption United Artists may have unwittingly footed yet another bill for the underground (and it wouldn't be the last time.)
For me, side four of exclusive live Hawkwind material stands heads above the rest of the album because it's so fantastically charged up an affair. Even though it's only two songs, they were both such consistent representations of the band at one of its many early peaks I didn't even get around to flipping the record over for years because lurking on the other side was a sidelong Man track called 'tpunk Rock? Time has shown it (along with their eponymous 1970 LP) to hold what are probably the most engaging moments they would ever commit to vinyl. They will their distended piece within the confines of 1968 Quicksilver Messenger Service with displays of dual guitar interplay and it's almost a disadvantage knowing how much they flaunted so shamelessly their ardent love of Quicksilver (So ardent, they contacted the famed San Franciscan poster artist Rick Griffin who conceived Quicksilver's own first cover sleeve to do two of their own AND even recorded a live album with John Cipollina himself AND it wasn't bad a-tall? but after repeated plays in the right light of fair assessment, it started to worm into my head just like their 1970 studio LP once did and now I just hear the music as opposed to their Quicksilver undertones (Better still, not out of some abstract notion of enre charity?just because they were on United Artists at the same time as Hawkwind, The Groundhogs, Can, and so forth.) But their following track, 揂ngel Easy?almost spoiled this newfound sense of appreciation I was tending for these diehard Welsh Quicksilver addicts cause it was fairly bland stuff, mister. After an announcement by DJ Andy Dunkley and a one-minute band of silence operating as an economical stand-in for Byzantium's power-cut cancellation, enter Brinsley Schwarz with five distinctly non-cosmic, laid-back country rock excursions that are the most orthodox moments of the album and stand in contrast with the last moment preceding Hawkwind's side four-long odyssey, Magic Michael's usic Belongs To The People? It's an extended solo acoustic guitar bang-up with vocally challenged whimsy and outlandish onstage antics ad-libbed and tippy-toed up its ass. But Maggi's got buckets of bottle and beaucoup intestinal fortitude to withstand all and sundry catcalls and dog howls from the psychedelicised peanut gallery, working in a heckler's subject matter quickly into the lyrics. And even though staying in tune is a often a tightrope challenge for our brave minstrel as his vocals run to hilarious extremes, he follows his muse's crooked path true with tremendous spirit as he grabs every single onstage moment, livin?it and lovin?it匫ne thing is for sure: his dog does not have fleas because it's no skin off his apple what people think of him at all.
Side four of Hawkwind's set is represented by aster Of The Universe?and 揃orn To Go?and it was perpetuated by their most overachieving lineup ever: Simon King - drums, Lemmy - bass, Dik Mik and Del Dettmar - electronic perambulations, Nik Turner - sax/vox, Dave Brock - E-guitar and Robert Calvert on vocals. And of course, not heard but seen and vibing throughout with superior amounts of swaying Yoni-ooze was their vibestress Stacia (joined onstage that night by the petite ?because petite is a proportion, not a size -- Miss Rene.) Both were nude but for cosmic body paint as they shimmied to the hard astral backdrop that swirled all around them. This gig would prove to be a turning point for the group, as 'tilver Machine?was also recorded and (with some technical re-jigging) used for what would be the biggest single release of their career.
aster Of The Universe?fades in as though it's been in progress forever. Far more organic, just as driving and a shade less harsh than their space metallic tour de force, 'tpace Ritual Alive?these performances are exquisite examples of Hawkwind's fractally-charged exercises exemplified by repetitive rotary connections whilst running at a collective top speed that fuelled their momentum and spun it like the most ego-less puppet of the life force pinwheel. And every single electronic detail spun into the chaotic mess by Dik Mik and Del Dettmar registers through the sonic wall of noise (with the chord of E operating as its mortar) well timed and surfing the rhythm looking for another clearing to drop another load of electronic cluster[内容被过滤，请注意论坛文明]ing卆nd if no clearing presents itself, they unload anyway at vibe-perfect intervals.
This is the first appearance of the Robert Calvert original, 揃orn To Go? And although it never saw a studio release, it doesn't matter because this version is the definitive one in every respect -- Calvert's vocals are third-dementinally echoed perfectly, the band tightly and insistently hammer this one out from the vocal dedication and commencing distorto-guitar strum until the final shearing electronic storm twitters it all into a gloriously chaotic resolution. And the remaining eleven minutes in between is a furious, stamina-driven propulsive drive that runs unabated by consecutive falling asteroid zones, as every member's contribution is distinctly un-token and so present in the moment that it ups the ante with each return of its arcing riff-theme and overlaying lateral synthetic modulations. The rhythm section is stunningly unflagging, and the synchronisations within 揃orn To Go?are pure ESP if nothing at all, and architecturally perfect as it is texturally enhanced with qualities of uplifting and undying persistence.
1. Spunk Rock - Man
2. Angel Easy - Man
3. Speech Only - Andy Dunkley
4. Power Cut - Andy Dunkley
5. Wonder Woman - Brinsley Schwarz, Brinsley Schwarz
6. It's Just My Way of Saying Thank You - Brinsley Schwarz, Brinsley Schwarz
7. I'm Ahead If I Can Quit While I'm Behind - Brinsley Schwarz, Brinsley Schwarz
1. Midnight Train - Brinsley Schwarz, Brinsley Schwarz
2. Surrender to the Rhythm - Brinsley Schwarz, Brinsley Schwarz
3. Music Belongs to the People
4. Master of the Universe - Hawkwind
5. Natural Break - Hawkwind
6. Born to Go - Hawkwind, Hawkwind