Bless Its Pointed Little Head [Remaster]Jefferson Airplane
Release Date: 06/22/2004
Original Release:
1969
# of Discs:
1
J&R Item # 522223_CD
UPC # 828766164329
Label: BMG Heritage
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Disc: 1
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Performer: Jefferson Airplane
Engineer: Rich Schmitt Producer: Al Schmitt Distributor: BMG (distributor) Notes: Jefferson Airplane: Paul Kantner (vocals, guitar); Marty Balin, Grace Slick (vocals); Jorma Kaukonen (guitar); Jack Casady (bass guitar); Spencer Dryden (drums). Liner Note Author: Jeff Tamarkin. Recording information: Fillmore West, San Francisco, California (10/24/1968 - 10/26/1968); Fillmore East, New York, New York (11/28/1968 - 11/30/1969). These 1968 live recordings from the Filmore East and West are the definitive live document of San Francisco's premier psychedelic group. 1968 was prime time for the Airplane, as the instrumental interplay between Kantner, Casady and Kaukonen had really begun to gel. So too had the interaction between lead vocalists Grace Slick and Marty Balin reached near-telepathic heights, and it can all be heard here. From the mind-melting proto-acid-rock of "Somebody to Love" to ribald, bluesy brashness of "Plastic Fantastic Lover," this is the Airplane in full flight. POINTED HEAD also makes it plain that the early Airplane had a special way with cover tunes. Folk god Fred Neil's "Other Side of This Life" gets a furiously rocking revision, and Donovan's "Fat Angel" is stretched out to encompass some wonderfully trippy jamming. BLESS ITS POINTED LITTLE HEAD is a candid but flattering photo of this seminal American band.
One of the quintessential San Francisco psychedelic bands, the Jefferson Airplane brought together interests in acoustic blues, folk, and rock music. Add political topicality and modal improvisations, and you have an inspired, mind-bending sound that could have only sprung forth from the late '60s. In their initial, most beloved phase, they were powered by the powerful dual lead vocals of Grace Slick and Marty Balin and the serpentine guitar of Jorma Kaukonen. They went through a traumatic series of personnel and name changes over the decades (they ventured into commercial AOR in the late '70s and early '80s) but their early work retains its seminal power.
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