Jefferson Airplane

This blog is dedicated to Spencer Dryden who passed away still recently.

May you rest in peace, Spencer.

And flying the Airplane when you were not aboard was not quite the same.

 

JEFFERSON AIRPLANE – After Bathing At Baxter's

 

 

 

After such an outstanding and astounding record as Surrealistic Pillow, and having sold by the hundred of thousand of units of it, Jefferson Airplane was in position to impose their view to their record label (RCA was Elvis’s label), and as the owners admitted to not understanding anything to rock music (as opposed to Elvis’s RnR), so they let the group have the freedom it asked. This was again a first, as not even The Beatles were allowed to produce their own record. As it would turn out, the Airplane was not yet ready to fly on its own wings, as this great album is sometimes heavily flawed and a good deal of it is due to the lack of presence of an outside artistic producer (if you except the presence of Al Schmitt as technical supervision). Nevertheless and in spite of its flaws and coming with a superb comics giant R.Cobb gatefold sleeve with great innerfold as well as an inside record sleeve, JA managed another stunning album. 

 

This album is divided into five series of songs that are inter-related within their section. This might just be reminiscent of the multi-movement suite of the early 70’s, but to say that JA is the forerunner in this case would be exaggerated if there were not Procol Harum’s In Twas Held In I. Actually, I was never sure if there was a concept to this album as it seems to describe a week’s worth of Airplane tribulations.

 

From the superb opening Ballad of You & Me and Pooneil (this was Robert Kennedy’s dog, as this political bunch of artistes were friendly with the potential future president) and which was anything but a ballad, the first section Streetmasse (almost 10 mins) evolves into the stunning RIO-like Small Package. This stunning 100 seconds is again showing that as a rock group, the Airplane was over a half-year ahead of the Fab Four’s Revolution 9. Outstanding!! Without much a rest, Dryden leads the group in the Young Girl Sunday.  The second movement (the wishful thinking War Is Over and its 6-min+) is probably the best-known as it contains their (flawed) hit Martha, where Grace is again playing the piper and Wild Thyme (H), most likely chanting their favoured herbs. Not the most prog, but definitely a rocking rebel moment on which the Airplane build their legend. 

 

Older Generation (their third suite) starts out rocking out loudly, but settles into the incredible Rejoyce where JA reaches maturity, with Slick literally spell-binding us with her voice (dealing with James Joyce’s Ulysses novel) while oboes and a bunch of other wind instruments accompany the lady art her piano. Not much is known about those backing musos (Grace blew a good flute, but this partition was probably out of her reach), but their arrangements are simply wonderful. If this is not prog (remember we are in August 67), I do not know what is.

 

How Suite It Is (no accident, uh? ;-) is their longest (12min15), mostly due to the lengthy jam-like Spayre Change which can be easily dispelled as messy if it was not for the formidable fusion Indian Raga laced with Spanish influences (remember the Rabbit and do not forget that Frisco was once Spanish) where Casady, Kaukonen and Dryden steel the show. Starting out as heavily descriptive music with an awesome bass work, the track slowly settles into a raga-groove with both Casady and Kaukonen pulling flamenco lines. Again years ahead of what Clack-Hutchinson would do some four years later.

The last suite Schizoforest (9-min+) starts out with an Indian harpsichord and the group just flows freely  but Grace pulls in some interesting piano plucking but does not dare go further! Too bad, it sounded mega-interesting, but the suite flows onwards until it calms down, but the Airplane is always ready to use air-holes to make your ride as bumpy and interesting as possible. Great job, guys, you may now land with all targets reached.

 

On this reissue of the remastered album, the bonus tracks are of little interest as they are alternate or single version of existing tracks of the album. Although there are some rather obvious flaws, JA wanted to do a more adventurous record and their certainly achieved this fully. Although at times patchy ABAB might just be their more progressive album. Warmly recommended, as one of the earliest example of psych was the twin brother of prog. And the Beatles just on their heels.

 

 

 

 

 

JEFFERSON AIRPLANE – Crown Of Creation

 

 

 

This aptly titled album is really exactly that: the crown of their creation. And the artwork is simply a good explanation of what this music can do to your mind. Actually all these compliments I throw at the Airplane are always better than the rockets fired at those flying Nam at the time. Because no doubt about it, JA were depicting sarcastically what some (obviously those that detested JA) considered the crown of human creation: the a-Bomb. And this sombre (in theme because this bright coloured photo is anything but dark) artwork is also a bit appropriate to describe the apocalyptically stunning beauty of the album’s content.

 

After the excellent experimental (but sometimes patchy) ABAB (resulting in lower sales too), Jefferson Airplane decided to pull themselves together and make a much tighter album, which would turn out to be their master decision. By now the group had bought a huge house close to the Golden Gate Bridge (where the flower-power be-ins where held at the park down the street), where the band chose to live under the same roof and make the band’s headquarters. This resulted in the band becoming even tighter, and does it ever show in this album. Never has the Airplane wrote such an immaculate bunch of songs, even if they returned to the more concise Pillow album rather than creating a “son of” Baxter’s. This hardly meant that these eternal rebels would be heading down the commercial alley though, and the progressive experimentations would still go on, as JA was still a step ahead of most of their cross-town rivals, but also cross-state, and around the globe with only The Beatles keeping up (the Fab Four even paid them a visit!).

 

Still keeping the raunchy RnR sound that was their rebellious foundation, JA goes a long way to make delicious-sounding melodies, where Grace is now taking the spotlight, but the other sun is bassist Casady and his bass thunder. Jack was not only one of the three greatest bassist of his time, but his extreme hippy look and demented playing made him one of the fan’s centre of attention on stage. And the lyrics of this group were rarely left behind as they were often humorous: Lather and the age where you are too old (Grace’s partner Spencer Dryden at reached the big three O) and the famous nose-blowing solo, Triad’s call for a ménage-à-trois (Dave Cosby’s song) and its ban and call to boycott from the establishment or the sombre humour Share A Little Joke. But this was not overshadowing the musical twist such as the type-writer percussions, the booming descending bass lines scattered throughout the album, the great acoustic guitar touches of In Time, the oppressive ambiances (JA did some of the darkest song ever before being finally topped by Univers Zero) .

 

None the least, the way the three singers are meddling in their voices is something spine-chilling, with Grace’s voice almost-literally making love with Balin’s or other times caressing the mike and our ears, they outdid some of the best folk rock duos from across the Atlantic, with Kantner always ready to triple the dose and Kaukonen holding in reserve for Star Track (he was the very worthy lead singer in the offshoot Hot Tuna) and Casady unleashing the thunderous bass behind him with his hollow-bodied Gibson E. Just in case you thought Baxter’s Small Package was an accident, get a load of Chushingura and its electronic experimental diddles (well before a certain German trio) close to “musique concrete”, written by their Dryden drummer! Just remember this is spring 68.

 

So far I’ve only described the tracks on the first side, but much more is to come! If the opening If You Feel is relatively straightforward, the title track’s gloomy descending vocal line and the frightening lyrics (they are denouncing the fascism of certain authorities) and Casady’s bed of bass lines. Greasy Heart is Grace’s answer to Balin Plastic Lover in the Pillow album, and unfortunately the comparison does not sit well for Marty, whose role will soon decrease in the group. Grace superstar! Her constant acts of provocation were the newspapers of the establishment, which was not realizing this made her even bigger in life. Have I talked of the almost 6-min finale, yet? No? All the better, because this track is the absolute apex of the group!! For the second time in a few month, Robert Kennedy’s dog Pooneil gets national attention (a great close-up picture graces the inner sleeve) a few months before his master’s murder (he was on friendly term with the band). This is their emblematic track that they played on a rooftop downtown Manhattan (filmed by French avant-garde director JL Goddard), a full year before the Beatles would attempt the trick with more success. The song’s apocalyptic atmosphere, certainly convinced the cops to close up shop before the song was over. Again the masterstroke is Casady’s incredible bass, but everyone shines like the sun (or the explosion on the sleeve).

 

The bonus tracks in the remastered version could not possibly be of the calibre of the album, but they hold their own. Dryden’s drum experiments with jazz buddies (including scatting) and the collab between Zappa and Grace Slick are ultra experimental, but unfortunately are not fitting with the album. But those two tracks will finish convincing everyone of the Airplane’s prog credentials. And Dryden’s Saga Of Sydney Space with its 8-min is simply flabbergasting, that his jazz credentials and will to experiment were not given as much attention as he should’ve gotten, but one thing for sure, he was the most adventurous of the lot.

 

 

Although this album is often overlooked compared to Pillow and Baxter's and less talked about the Volunteers, it is no small coincidence that this album bears its name. Clearly this record is the Airplane cruising at maximum altitude, soaring majestically like an eagle over the rest of the planet. If have probably placed 25 albums in my favourite 10, but I'll make it 26 with this one. Impeccable, implacable, outstanding and astounding.

 

 

Second batch of reviews

 

 

 

 

JEFFERSON AIRPLANE LOVES YOU

 

 

 

Fly Jefferson Airplane, won't you fly?

 

JEFFERSON AIRPLANE – Bark

 

 

 

 

 

 

 

 

With both Balin and Dryden out of the picture, and a record label of their own, the Airplane spent the start of the new decade regrouping and touring. While Marty Balin was not directly replaced (even his role had diminished, at least the group respected him enough not to find a substitute for him), they brought in this teenage kid that they had accepted in their Fulton Mansion, and he had learned to drum often replacing Dryden in Hot Tuna or in-house jams. So JA went from an older drummer, to a much younger one. But the line-up would actually see another change. In a complete surprise move, the group enlisted the 50 years old Papa John Creach: a Black blues violinist that was already connected to the group via the lengthy Hot Tuna jams.

By the time Bark had been released, almost two years had passed since Volunteers (well there was a typically JA-styled compilation actually called “The Worst of JA” released since), and the group had been busy getting the Grunt record label going and a few albums had been released and Hot Tuna was gaining more momentum. So it was not liked they did anything. But with the newcomers in the fold, the feeling had changed quite a bit and the album would actually be a bit of a disappointment for fans, but this writer does not think that Bark is any better or worse than Volunteers (which is definitely not been up to par to their previous album), just different. At first glance, it is easy to see that the group  once again opted for more concise and tighter song, with none exceeding the 4¾-mark.  Actually the first side of the album was of a rather high calibre with a trilogy of excellent songs from Feel So Good to Pretty As You Feel running through Crazy Miranda. All three of these tracks are definitely worthy of their earlier masterpieces: the Kaukonen-penned FSG Tuna (I know, but I could not help it ;-) is Hot (eeehmm!!! Toooo easy ;-), while Grace’s Miranda track show again her songwriting and piano skills. PAYF is one of the tracks where Papa John gets in his violin lines beautifully Jorma’s guitar. 

Unfortunately, the second side will not really follow suit and it has a real blunder in that stupidly-titled Never Argue With A German track, which would cause them harm. One of the things that the average Airplane flyers can complain about is that Casady’s bass is again slightly under-mixed, because musically speaking the man is still at the top of his game, but less audible. Part of was made the Airplane special (the Balin-Slick duel/duets) and Dryden’s crazy electronics doodlings was now history and for progheads, this was not good news.

As it turns out, the group had just waited too long between the over-rated but high-profile Volunteers and this much lower-keyed affair not as well distributed or promoted. Two years was simply too long a break and their dropping out of the public eyesight allowed others to step in the gap and get their share of sunshine exposure.

JEFFERSON AIRPLANE – Long John Silver

 

 

 

 

With young Joey Covington having flown from the nest (he would later reappear in Hot Tuna), the Airplane had to resort to a real outsider in the name of John Barbata as a new drummer. By the time this album came out in July 72, it was clear that the Airplane’s best days had gone and it was only a matter of time before it would be grounded indefinitely if not permanently. But the Airplane was not about to go out without a bang, and it came in the form of their gimmick artwork sleeve: It could be folded out and turned into a cigar-box while the inner sleeve represented the aligned cigars layer. But once it was pulled out, you could see the bottom of the box depicting a stash of weed (Jamaican Lamb’s Bread just in case you ask me ;-). Yet another way to rile up the establishment, but this kind of provocation was only possible because of their Grunt record label.

 

 

The Opening title track is a relatively strong start with Jorma pulling a scorching solo while Jack is soaring like he had not since COC (in terms of volume), especially with the follow-up Areie (aptly sub-titled Gang Of Eagles) is another superb (as usual) Slick track, where Papa John and Jorma trade licks over the hood of Grace’s piano. But unfortunately the rest of the tracks will not be up to par, even in the potentially explosive (lyrically anyway) Son Of Jesus.

 

Likewise the second side contains two excellent tracks like the typical Slick-track Easter (although it sounds like a remake of Aerie) and the Hot Tuna-like Trial By Fire is a very catchy (and Jack .is superb) The intended funny Alexander The Medium track falls a bit flat on its face, while their ultimate send-off (Eat Starch, Mom) is rather average. Again for the proghead, the harvest for gems is rather meagre, but remains another good rock album that many of their compadres would love to call their own.

 

Again for long-time frequent flyers, this album was slightly deceiving, but it remained qualitatively on the height of Volunteers and Bark. But sales were dwindling (a good deal of the fans were disappointed at Balin not coming back), the world was changing and it was some three years since the Airplane had lost their front rank in terms of groundbreaking music and political rebellion, and the Golden 60’s hangover was simply tenacious.

 

 

 

JEFFERSON AIRPLANE LOVES YOU

 

 

 

Fly Jefferson Airplane, won't you fly?

 

 

 

 

 

 

 

 

The couple of Grace Slick and Paul Kantner started an interesting series of three solo (or duo) albums: Blows Against The Empire ( Jefferson Starship ) ****, Sunfighter ** and Baron Von Tolbooth And The Chrome Nun (with Quicksilver MS’s David Freiberg) ***. Warmly recommended and fairly similar in Spirit to JA is Blows against The Empire, especially the second side of the album.

 

 

 

I mention them, but Sunfoghter is definitely inferior to Blows and Baron is too Psyched-out for my tastes although Zappa could appreciate it. But I will re-check out Sunfighter soon. Thanks!!!

JEFFERSON AIRPLANE – Live At The Monterey Festival

For decades, the Airplane's performance at the Monterey Festival (which was part of their legend) was only seen with the movie performance of Today and High Flying Bird, which was only one fifth of their full set. At the start of the 90's, Thunderbolt Records released the full set, which was greatly awaited by fans. Now remember that this recording took place at one single (and legendary) event with all its flaws and lack of experience and technology. So if the recording is not excellent, it is actually quite good, still and quite acceptable for younger generations. Remember that the Monterey Festival took place between their Surrealistic Pillow's release and probably as they were nearing the end of writing the songs of ABA Baxter's.

With the intro presenting the band as "a perfect example of what the world was coming to" and Grace laughing with much of it, the groups launches its set by using their two aces right away: Somebody and Rabbit are first and third in the setrlist and played out faithfully. While Other Side Of This Life and High Flying Bird are both excellent, the gropup is only still getting warmed up and has not yet done any improvisations, playing the songs faithfully. With the superb She Has Funny Cars, they start to digress slightly and by the time of the last track on their set, they were getting warm and gave us ablistering 11-min version of You & Me & Pooneil, with blistering improvs and solos. Sadly the set is a bit too short (always is the case in Festivals) as it was clear that Kaukonen, Casady and Dryden were set for more.

Overall, this live album is just as essential as Bless Its Little Pointed Head and more so than the latter 30 Seconds Over Winterland, which came at the end of the group's life. Somehow, one can hope that one day, the full set that was recorded by cameras will also be available.

JEFFERSON AIRPLANE – JEFFERSON AIRPLANE  (89)

 

 

 

Well, I am not sure that JA needed to risk their legend on this album. But after the final crash of that awful Starship (which had lost its Jefferson moniker some four or five years earlier), which had no link at all with the original group, Grace Slick and the other reunited in its almost classic line-up. Everybody was present from either Hot Tuna or other projects. Only Spencer Dryden was missing, and from what I gathered, they simply thought he would not be interestred, which turned out to be false.

But was the Airplane going to succeed in a second take-off, or was this a just-once reunion? Well it turned out to be a one-shot deal and when listening to the album, we can safely say that, it was not going to last too long. After a strong start with the first three songs being of the calibre of bark or LJS, and the excellent Ice Age (Kaukonen-penned), unfortunately when you expect the album to really head for the higher atmosphere with the promising Summer Of Love, things come to an almost-crash. Indeed this Balin-penned track is a syrupy ballad, and no matter how much a frequent Airplane flyer you are, it is insipid and mediocre. Unfortunately, this was not just one air-hole; the flight would become quite turbulent for the rest of the album. On the up-side of things, one could've expected disaster with such a risqué album, but JA avoids a few traps that other classic bands fell into later: the usual awful drumming of that 80's period is not present here (well just one track). Their drummer does have the sound of 80's drummers but plays very much the 70's way throughout most tracks (well playing with Casady as your bassist will kick your butt in to shape), and although not great, the drumming is fitting. I wish groups like T2 or Procol Harum (with the awful Prodigal stranger album), had not fallen into this trap (set by the industry), but JA had too much a rebel attitude left in them, to refuse too much pressure. Unfortunately the second part of the album is made of sub-par tracks that have a filler feeling to them. The instrumental Upfront Blues being the better track in the end of the album, this gives a clear view that most of the members brought their own songs beforehand and therefore few (just one IMHO) were written collegially.

Hardly essential, even for the more die-hard fans, this album is not far from the level of Bark or LJS, and almost on-par with the better Jefferson Starship albums, and certainly better than the dreadful Starship crap discs.