Oil Well– RSC 037 CD
1 Other Side Of This Life 8:01
2 Runnin' Round This World 2:37
3 She Has Funny Cars 3:29
4 High Flyin' Bird 4:13
5 Tobacco Road 3:47
6 Let's Get Together 4:04
7 White Rabbit 2:23
8 Comin' Back To Me 7:38
9 Won't You Try - Saturday Afternoon 7:04
10 3/5 Mile In 10 Seconds 4:47
11 It's No Secret 3:31
12 Plastic Fantastic Lover 4:27
13 Uncle Sam Blues 5:26
Note
All songs by Marty Balin unless noted.
Tracks: 1 to 9 live at the Fillmore Auditorium, May 12-14, 1967
Tracks: 10 to 11 live at Fillmore West, San Francisco, CA, October 24–26 1968
Tracks: 12 to 13 live at Woodstock Music and Art Fair, Bethel, NY, August 17, 1969
Lineup:
Grace Slick - piano, organ, recorder, vocals
Marty Balin - vocals, rhythm guitar, bass guitar
Paul Kantner - rhythm guitar, lead guitar, vocals
Jorma Kaukonen - lead guitar, vocals
Jack Casady - bass guitar, rhythm guitar, lead guitar
Spencer Dryden - drums
This bootleg is in fact, a compilation of live performances taken from officially released sources such Jefferson Airplane Loves You. That said, the sound is superb and the performances are excellent so might be worth getting if you are an Airplane fan and don't feel like shelling out for the officially released live stuff. Not really a bootleg though, strictly speaking. Thiis bootleg has not to be confused with the "High Flying Bird:Live At Monterey Festival" CD. This Is A Compilation Of Live Tracks From Various Tours. Definitely Not From Monterey (Or Salt Lake City 10-31-67,As Stated On The Back Cover).
Read below for other infos.
Audio quality:
Quality content:
© Official released material:
Tracks 1 to 9 have been released officially as "Jefferson Airplane Loves You"
Tracks 10 and 11 have been released officially also on: Bless Its Pointed Little Head
Tracks 12 and 13 have been released officially also on: The Woodstock Experience
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Bless Its Pointed Little Head is a live album by Jefferson Airplane recorded at both the Fillmore East and West in the fall of 1968 and released in 1969 as RCA Victor LSP-4133. Five songs on the album had not appeared on any of the band's previous studio recordings. Many of the Airplane's recordings on the live album were longer in length than their studio performances. The performance emphasized their vocal harmonies and revealed a harder rocking group. Guitar and bass lines were more in-depth in their construction, revealing complex instrumentals. It distinguished a different focus in their live concerts compared to their studio albums.
Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil's folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner and Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen and Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret."
Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan's "Fat Angel" (running 7:35) or the group improv "Bear Melt" (11:21); they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings.
Jefferson Airplane Loves You
Jefferson Airplane Loves You is a three-CD boxed set of recordings by the San Francisco rock band Jefferson Airplane with extensive liner notes by Jeff Tamarkin, author of the Jefferson Airplane history Got a Revolution: The Turbulent Flight of Jefferson Airplane. Many of the tracks are previously unreleased live recordings or studio rehearsals, but several are lifted from prior Jefferson Airplane albums. A song by The Great Society, Grace Slick's original band, appears on the first CD.
A Quadradisc quadraphonic version of the Volunteers album was released, and a few of the songs are from this release, but have been remixed into conventional stereo. Because of the remix, any psychedelic movements of instruments from front-to-back or side-to-side behind the listener that were present in the quadradisc version are lost. The Quadradisc album used the discrete CD-4 system jointly developed by JVC and RCA. The songs are arranged in chronological order beginning with a pre-Airplane solo by Marty Balin and ending with a 1972 live recording of the rarely heard "You Wear Your Dresses Too Short".
The triple CD (or cassette) box set Jefferson Airplane Loves You came out at a time when major record labels were rushing out deluxe sets of about every meaningful artist of the '60s and '70s. Most of those sets hid self-indulgent, inflated "best of" collections of previously released material with a couple of alternate mixes and live tracks to lure in the fans. Loves You has some general appeal (although slimmer "best of" collections are available and cater better to the casual listener who wants to hear "White Rabbit" and "Somebody to Love"), but it is clearly aimed at the fan. Disc 1 covers the early years up to the group's second LP Surrealistic Pillow. Early singles by Marty Balin and Grace Slick are included, but the real treat consists of nine live tracks (a total of 43 minutes, a full album's worth!) from a concert in May 1967, 18 months before the group's first live set, Bless Its Pointed Little Head, was recorded. Disc 2 covers the years between After Bathing at Baxter's and Volunteers. It kicks off with a 12-minute alternate version of "The Ballad of You and Me and Pooneil" (a psychedelic peak), a few album tracks that were left off and an early version of Frank Zappa's "Would You Like a Snack" recorded with the Mothers of Invention, along with classic album cuts.
Disc 3 culls material from the Volunteers album up to 1972's 30 Seconds over Winterland, racing through the Airplane's weaker late records. The highlights come from the quadraphonic version of the LP Volunteers, which featured very different mixes (even alternate versions in some cases). No repeats (except for "White Rabbit" included in its original version and a live one), great unreleased material and the absence of anything from the group's short-lived late-'80s comeback make this box set a must-have for fans.
The Woodstock ExperienceThe Woodstock Experience is a box consisting of a set of studio albums and live performances from the 1969 Woodstock Festival by the artists Santana, Janis Joplin, Sly and the Family Stone, Jefferson Airplane, and Johnny Winter. Each set consists of the 1969 studio album by the artist as well as each artist's entire Woodstock performance. The set was released as both a box containing all five artists (10-CD box set), and also as individual releases separated by artist, each containing the studio album and live performance of that artist (2 CDs per artist).
If it had all been sun-shine and clockwork, with a tidy profit on the morning after, no one would have said another word. Instead, the Woodstock Music & Art Fair, held August 15th to 17th, 1969, near Bethel, New York — a refugee-camp experience officially declared a state disaster area on the second day — became an anniversary industry.
And business is booming. In addition to these six new releases, the 1970 documentary, Woodstock, is out as a deluxe DVD set. The 1970 soundtrack and its 1971 sequel, Woodstock Two, are back on CD. Then there are the books, replica tchotchkes and commemorative events, mostly drawing on an artfully massaged memory of that weekend’s accidental wonder: That amid the frozen traffic, stressed food and medical services, and oceanic mud, “Half a million young people can get together and have three days of fun and music — and have nothing but fun and music!” as the late Max Yasgur, the farmer who welcomed the horde on his land, said from the stage on Sunday morning.
Yasgur’s breakfast speech, edited on the Woodstock album, appears in full on Woodstock — 40 Years On, a small but telling example of the box’s documentary detail and momentum. Its six CDs contain virtually all of Woodstock and Woodstock Two plus tracks from a 1994 box, then another 38 previously unreleased songs and actualities. All but three of the 32 acts that played are represented (the exceptions, because of licensing issues, include the Band and, strangely, Ten Years After, who are on the 1970 album). Everything is in the order it happened, as it happened. There are bum notes (musicians were high, burnt or both) and bumpy mixes (recording conditions were just shy of wartime). But the result, combined with the full-length performances in the Woodstock Experience packages, is the most comprehensive and satisfying account so far of the main reason why Yasgur’s acres became an instant city of freaks, including me: the music.
Some of the history gets a valid rewrite. The Grateful Dead’s set was a notorious disaster, beset by equipment problems. But the salvaged 19-minute “Dark Star” is good trippin’, one of the mostly heavy-rock weekend’s few truly psychedelic flings (especially considering the bad acid MC John Morris keeps warning the crowd about). Singer-songwriter Bert Sommer was left out of the movie and the original albums. But the folk-rock strains of “And When It’s Over” and Sommer’s high, rippling voice suggest a Tim Buckley-in-waiting. (That, sadly, is where he stayed. Sommer died in 1990.) And, honestly, Country Joe McDonald’s “F-U-C-K” cheer never felt as mutinous and euphoric on record as it did that Saturday in the open air. The bigger gas is a long excerpt of acid-flecked garage rock from his later appearance with the Fish.
There is a solid shot of Creedence Clearwater Revival’s roots-‘n’-TNT set and more of the Who’s enraged dead-of-night assault, if not enough of either. Pete Townshend’s amp-gutting solo in “Amazing Journey” at least partly explains why he didn’t hesitate to whack Abbie Hoffman into the pit when the yippie bolted onstage after “Pinball Wizard.” (Hoffman: “I think this is a pile of shit while John Sinclair rots in prison!” Townshend: “Fuck off my fucking stage!”)
That exchange underscores a dirty, overlooked truth of Woodstock. The biggest massed-youth moment of the decade was also the least political: straight-up capitalism (if you bought a ticket, like I did) and hip escapism. The most direct comment on the real state of the nation — Vietnam, urban riots, civil protest — only came on Monday morning, as most of the mob headed home: Jimi Hendrix’s wrenching firefight guitar adaptation of “The Star-Spangled Banner.” If it hadn’t been in the movie, most of the Woodstock Nation would have missed it altogether.
Hendrix’s uneven but epochal finale was finally released in its near-entirety in 1999. Three of the full sets in the Legacy series are even better. (Each volume is a double CD with the act’s 1969 studio LP, a drag if you already own the latter.) Sly and the Family Stone were the only deep-R&B act on the bill, and from the shotgun start — a scat-and-gallop “M’Lady” into the smiling swagger of “Sing a Simple Song” — Stone is at the height of his party-politics command. (A year later, he was sinking into drug-and-paranoia twilight.) Jefferson Airplane’s Sunday-dawn show is truly “morning maniac music,” as singer Grace Slick famously put it: fast and gnarly, spiked with crossed-sword vocals. The convulsive jam out of “Wooden Ships” would have blown minds at any hour.
The Janis Joplin and Johnny Winter shows are, in turn, uneven and near great. She sings with familiar fire but leads her big band with less assurance. He goes overlong on the solos but locks in with his original Texas rhythm section: drummer Uncle John Turner and bassist Tommy Shannon.
But for pure shock, nothing beat Santana’s 45 Woodstock minutes. It was one of their first East Coast gigs; the set was their then-unreleased debut LP. And I still clearly remember guitarist Carlos Santana’s furious trills cutting the Saturday-afternoon heat over the band’s Latin-railroad charge. As far as I’m concerned, for that alone, the rest of the mess was worth it.
Janis Joplin: The Woodstock Experience — Three stars
Santana: The Woodstock Experience — Four stars
Sly and the Family Stone: The Woodstock Experience — Four stars
Johnny Winter: The Woodstock Experience — Three and a half stars
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