|  
       What can you say about an album that crosses space rock charge out with 
        Monty Pythonistic skitsexcept that its a hazardous rock and 
        with ever-darkening humour direct from the bi-polar brainpan of Hawkwinds 
        erratic vocalist/lyricist, Robert Calvert. It was recorded at about the 
        same time as Calverts first and only studio release with Hawkwind 
        during their tenure with United Artists, the Urban Guerilla/ 
        Brainbox Pollution single. And Hawkwind all appear here (minus 
        the recently-departed Dikmik), co-joined by Paul Rudolph (on 6 string 
        and bass guitar), Twink, Arthur Brown, Adrian Wagner, Brian Eno, Vivian 
        Stanshall and Jim Capaldi creating a virtual Hawkwind ep split into spoken 
        word skits and the Arthur Brown tormented two-parter, The Song of 
        The Gremlin. The veritable Hawkwind tracks are all supremely mental 
        space rock outs of the highest order, giving a hint as to what Hawkwind 
        wouldve like if Paul Rudolph had replaced not Lemmy, but Dave Brock. 
        This concept album deals with the tragedy that occurred when American 
        made Lockheed Starfighter jets were purchased in the sixties by the West 
        German Air Force in a supreme act of folly. As stated in the gatefold, 
        the Starfighter was 
originally used by the U.S. Air Force 
        as a light, single seater, fair weather fighter
[but the German Defense 
        Ministry had these hastily converted into]
heavy duty, atom bombers. 
        It was these severe structural modifications which rendered the jet unstable 
        and difficult to control. Calvert must have felt a strong affinity 
        with them, as he too was unreliable, difficult to control and unstable 
        as hell. 
        The sputtering of a trashed Luftwaffe plane starts up the album over Calverts 
        brilliant portrayal of the West German Defence Minister as a raging psychopath 
        who begins angrily berating his countrys air force power, which 
        mutates into a vainglorious fantasy of a reawakening of German air 
        supremacy as his raving overdubs into backward Strauss masking and 
        into the first of four 1973-styled Hawkwind hard space rock thrash outs, 
        Aerospaceage Inferno. Calvert calmly intones echoed lines 
        over Rudolphs swooping guitar lines AND his overdubbed, pumping 
        bass riffs and Simon Kings ever-stamina drumming. It links directly 
        into the hilarious Aircraft Salesman, where the wunnerful 
        American Starfighter salesman cons the still-uptight German Air Defence 
        Minister with buying his wares with promises not of safety or of adequate 
        ground crew support, but of a tasty-looking logo with an identifying G 
        (for Germany). The only non-Calvert composition (co-written 
        with Dave Brock) The Widow Maker follows, and its Hawkwinding 
        like crazy, all churning guitar and Rudolphs (or Lemmys?) 
        heat-generating bass over more Simon King drums and cymbal bashing. Side 
        two continues with vocal skits, and it is interesting to note the inclusion 
        of The Widows Song, which appears in the printed libretto. 
        It is nowhere to be found on the album, but turned up years later on a 
        crap Hawkwind collection with Calvert femme-vocalising. It was once recorded 
        that Nico was named as a possible contributing vocalist on Lockheed, 
        and in all certainty Widows Song was slated for her. 
        Between Calverts vocal rendition, the funereal nature of the song 
        and the overall Teutonic effect makes it seem more than a possibility). 
        A screeching electronic swirl crashes open the Hawkwind-styled Ejection, 
        with classic Calvert lyrics that rhyme every word with the title over 
        repeated rhythms and omnipresent Simon King high-hat and piston-like fills. 
        Im too high to die, intones Calvert, and Rudolph proceeds 
        to tear it up with yet again before the final crash. The dirge-like Catch 
        A Falling Starfighter is surrounded by ghostly electronics as Twink 
        beats a funeral march over the assembled moaning of blackened Starfighter 
        pilots. Calverts following album, Lucky Leif And the Longships, 
        was hardly as successful. Although it includes personnel from this album, 
        it was an outright disaster. But then again, Robert Calvert was never 
        exactly known for doing anything in half measures. 
      (www.headheritage.co.uk) 
       |