Jefferson Airplane

Jefferson Airplane | Format: Audio CD

Product Details

• Audio CD (August 22, 1989)
• Original Release Date: September 5, 1989
• Number of Discs: 1
• Label: Sony
• ASIN: B0000026UJ
• Also Available in: Audio CD  |  Audio Cassette
• Average Customer Review: 3.3 out of 5 stars  See all reviews (21 customer reviews)
• Amazon Best Sellers Rank: #38,735 in Music (See Top 100 in Music)

Track Listings

1. Planes

2. Freedom

3. Solildarity

4. Madeleine Street

5. Ice Age

6. Summer of Love

7. The Wheel

8. Common Market Madrigal

9. True Love

10. Upfront Blues

11. Now Is the Time

12. Too Many Years

13. Panda

Customer Reviews

Most Helpful Customer Reviews

12 of 13 people found the following review helpful:

4.0 out of 5 stars 13 years later..., October 24, 2002

By 

Jonathan Colcord (Concord, NH United States) - See all my reviews
(REAL NAME)   

This review is from: Jefferson Airplane (Audio CD)

It's funny when you lived something and can go back later on in time to reevaluate things. I remember how incredibly excited I was at the news of the Airplane's reuniting in '88. I bought this CD when it was originally released. A fan of both the Airplane (in a more mythic fashion) and Hot Tuna (in a more real fashion), I was prepared for an incredible musical explosion like the World had never seen before. I was dissappointed in 1989 when this CD came out. 13 years later, I think I know why. It wasn't a bunch of old bandmates at the top of their games when this came about. The end of the 80s was a musical wasteland that hadn't been too good to any of these players for awhile. This CD was something to do, hoping to recapture something they knew they could still get away with due to the nostalgia. Essentially they picked up where they left off with Long John Silver. An album of music by two bands playing together, but not as one. Jefferson Starship meets Hot Tuna. It's only too bad they didn't get Papa John Creach in for the reunion. He still had a few good years. The rest seemed to disappear after this album, perhaps for good- with the exception of Kaukonen and Casady who continue to thrive as Hot Tuna- even recapturing an earlier sound during their electric performances I thought was lost. Maybe they can all take another stab at this someday. I was lucky enough to enjoy a live performance during the tour for this album which absolutely made up for any shortcomings in the studio. Old and new, altogether on stage. "Crown of Creation" live in 1990 was every bit as good as it may have been 20 years earlier. For now, it is nice to be able to look back after so long and place this CD alongside the others to take its place in their collective history. It's not bad, but could have been so great.

8 of 8 people found the following review helpful:

3.0 out of 5 stars One last gasp, August 16, 2001

By 

"drdank" (MI USA) - See all my reviews

This review is from: Jefferson Airplane (Audio CD)

First, I'd like to clarify exactly what this album is...this album, released in late summer 1989, is a new release from old Airplane members Paul Kantner, Jorma Kaukonen, Grace Slick, Marty Balin, and Jack Casady, not a greatest hits package. The album also features several session musicians, including drummer Kenny Aronoff from the John Mellencamp band, who also toured with the Airplane on their brief 89 reunion.

The album is a hit and miss effort: in some places it presents the Airplane with a modern sound, in others, it resembles sickly Starship (the Mickey Thomas incarnation) leftovers. The best songs on the album were penned, not surprisingly, by Kantner and Kaukonen. Paul's roaring rocker Planes opens the disc on a strong note, and he offers 2 more uptempo rockers - the bluesy foot-stomper Madeleine Street, and The Wheel. The Wheel sounds dated now, based as it is on Kantner's experiences in Nicaragua during the Sandinista affair, and his leftist political stance might turn some people off entirely. However, anybody familiar with the Airplane is probably aware that political polemicism is part of the package. Jorma's songs are Ice Age, which has become a standard in his Hot Tuna repetoire, the wistful Too Many Years, and the instrumental Upfront Blues.

Grace Slick is in fine form for Freedom, but her Panda (a paean to the dwindling number of panda bears left in the wild) is rather maudlin. Marty Balin is also in good voice, but his Summer Of Love is sadly a lame adult-contemporary reminisence of the Airplane's 60's heyday. Now Is The Time is a bit of a guilty pleasure, but seems like it would be more at home on a Starship album

The album is reasonably well mixed, although Casady fans will likely be disappointed - his bass is not as prominent as it deserves to be. Vocally, those famous soaring harmonies from Paul, Marty, and Grace are still intact. An OK album, but old time Airplane fans will probably lament the decline of this legendary ensemble

8 of 9 people found the following review helpful:

4.0 out of 5 stars JA Takes Off (with a bump or two along the way), February 15, 2007

By 

Gregor von Kallahann - See all my reviews

This review is from: Jefferson Airplane (Audio CD)

The 1989 year end issue of ROLLING STONE listed the Airplane reunion as "The Most Unwelcome Comeback." Well, that was hardly a surprise, they had already published a pretty negative review back in the summer when the album was released. They HAD, however, given the concert tour performances a very favorable write-up. So maybe it wasn't as unwelcome as all that--at least the live component anyway.

And that tour really WAS something. I caught in Saratoga Springs, and it was just about a perfect night. Yeah, it had a bit more showbiz professionalism and pizzazz than a 60s show might have had, and yes, Jorma should not have required a second guitarist (what was that all about??), but it was overall quite the night to remember.

I had never held out high hopes that the reunion album was going to be a masterpiece. I do recall reading an advance quote from Grace that might have made me a little optimistic that they would once again catch fire. She was talking about the diversity of styles (always an Airplane strong point, IF they could blend them into some kind of synergistic whole) and referred to the song roster as "God's palette."

Well, it wasn't quite that. On the other hand, it was nowhere near as weak an album as some would have it. (You just had to know that critics would be gunning for this one like it was skeet.) And the band gave them a few easy targets. Paul Kantner was still in full anthem mode, and "Planes" would likely strike anyone but a die-hard Airplane fan as something of a clunker. It struts and frets and lumbers along for its three or so minutes on the stage. I for one, hated it at first listen, but for all its awkwardness, "Planes" manages to take off. It just has that Airplane whoosh in the chorus that can provide even Kantner's most plodding verses with enough uplift to make it all work.

And there is something almost endearing about Paul's childhood reminiscences on his school days. The song tries for something as mythic as his earlier "When I Was A Boy I Watched The Wolves," but if it works at all, it works as a sketch of a rather dreamy little kid who "even during tests...kept on drawing."

I recently re-read the RS review of this album (it's the magazine's website) in fact and found that it really was not quite as negative as I remembered it. Jimmy Guterman only awarded the effort two stars, but that's neither here nor there. He did acknowledge that the harmonies still soared (and I for one, think there's a lot to be said for that). But I had to wonder how hard he actually listened to the actual songs, when he writes dismissively of the first TWO tracks (the aformentioned "Planes" and Grace's "Freedom") that they are "one-idea platitudes that never advance beyond cliche." Actually, both songs are personal statements, in their different ways, with Kantner's aforesaid tune reminiscing about his childhood fascination with aeronautics and in the case of latter, Grace musing on interpersonal relationships and the pain of break-up. Neither song is particularly political, although Guterman takes them to task for their "earnest political" stance.

What "Freedom" does do quite well, I think, is capture Grace's fascination for flemenco style rhythm and vocal patterns and combine it some ironic observations on personal freedom and its attendant costs ("freedom now you're on your own/freedom, or does it really mean your just all alone?"). While not as daringly cryptic as some of her earlier songs, "Freedom" is full of ambivalance and uncertainty. The last thing you could call it is a "platitude."

Of course, it wouldn't be the Airplane without SOME politics and Paul, Jorma and Marty contribute to the political stew in their different ways. Jorma's cynical, blues inflected tunes would have been right at home on CROWN OF CREATION. Paul's mini-epic "The Wheel" is pretty much an extension of some of his early 70s solo work, but since its rooted in real life experience (his stay in Nicaragua), it does ring with a new authenticity that some of the earlier speculative, sci-fi/politico stuff lacked. But what really comes as a revelation to me is a song that did not get much attention at all after the album was released, namely Marty's take on Bert Brecht's "Solidarity."

Of course, by the late 80s, "solidarity" as a term had taken on a whole new anti-communist resonance that a Marxist like Brecht would never have foreseen. But the iconoclast Brecht would have understood. Marty sings this old rabblerouser tune with aching conviction, and Grace and Paul join him for the soaring chorus, creating one stirring moment after the other. For an old Airplane fan like me, who was also a German major, it's just a stunning track. The meeting of two generations of rebels (well past either generations prime, of course, but there you are, the wheel goes on...).

Some have leveled the criticism that this version of the Airplane has its moments of sounding like an off-shoot of Starship, rather than the other way around. Well, there is no denying that all the group members were older, wiser (maybe), and several had had a taste of 70s/80s style commercial success. So what "True Love" was written by the guys from Toto: it gives Marty a moment to shine and to show he still had the vocal chops to carry a smooth pop tune off. And when he and Grace duet on her "Now Is the Time," you are reminded that THAT was the kind of pop duetting that Starship was aiming for but never quite pulled off. Where Mickey was always trying to outshine Grace, Marty seems to have figured out how to complement her strengths and weaknesses--and she his. They are an unusual combo (his sweet tenor doing battle with her cutting alto), but they're also a natural fit.

Both Grace and Marty took a few hits for some of their other solo tracks as well. I can understand where the critics are come from when they knock both "The Summer of Love" and "Panda" as being, in their different ways, rather mawkish. I prefer to see them as simple and heartfelt declarations on matters of real importance to the songwriters. Marty's "Summer of Love" is an easy target. It can be viewed as the self-congratulatory musings of someone who was proud to have been there. Well, he WAS there, and he had the time of his life. Why wouldn't he want to tell us all about it? The song has scarcely a shred of irony, which makes if anathema for most critics, but also a perfect reflection of the spirit of the times. It's not too surprising that someone living at the heart of the Haight would write some 20 years later that "'67 was heaven."

As one of the band members noted at the time, the song would have been an ideal single and a likely hit IF ONLY they had gotten back together in '87, instead of '89. Their timing was just a little off, but had it been released for the 20th anniversay of the Summer of Love, it could have been big!

As for "Panda," it may be that her newfound animal activism led Grace to write her most direct, least enigmatic song of her career (with maybe "Seasons" from her DREAMS album a close second). Grace was never one to engage in cornball sentiment, so you had to know that she was passionately involved in the area of animal rights to even risk being perceived as such. But is it really that far a cry from, say, the sentiments of an earlier classic like the stream-of-consciousness lyrics of, the live "Bear Melt"? On that track, she was perhaps a bit more blase in her concern for our furry friends ("But why not keep the little animals alive, why not...?). The latter risked being maudlin, I suppose, but stemming from an artist who heretofore was known for her sarcasm and her 'tude, such sentiment is actually all the more touching. Hearing Grace intone, "Oh, Panda Bear, my gentle friend, I don't want to say goodbye...," is kinda sweet actually.

At least, that's my take on it. You're free to disagree, of course. You die-hard cynic, you.