JORMA KAUKONEN Quah LP RELIX 1974 US reissue+foc RRLP 2027 TOM HOBSON-JEFFERSON
€
17
$
19
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Description
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JACK HARDY
with TOM HOBSON
Guitarist, singer, and songwriter Jorma Kaukonen was born and grew up in Washington, D.C., where he first turned to the guitar. He lived in the San Francisco Bay Area in the early '60s, playing backup to singer Janis Joplin in local clubs. In 1965, Kaukonen became a founding member of Jefferson Airplane, which soared to fame in 1967. Though Kaukonen's songs and vocals were not prominently featured in the band, his distinctive guitar-playing was crucial to its sound. With bassist Jack Casady, Kaukonen formed a spinoff duo from the group in 1970 called Hot Tuna, and this became his primary musical vehicle after Jefferson Airplane split in 1973. Hot Tuna recorded a series of albums on which Kaukonen sang and played guitar through 1978. After that, Kaukonen worked as a soloist and with such groups as Vital Parts (1980), and he recorded occasional albums
"QUAH"
<reissue, originally published in 1974>
LP RELIX RECORDS RRLP 2027
PRINTED IN USA 1987 COLLECTORS' REPRESSING
GATEFOLD COVER
HEAVY CARDBOARD COVER
Barcode and Other IdentifiersBarcode: none
LABEL: RELIX - CREAM LABEL - BLACK TEXT
Catalog on cover: (front, sticker on right front, spine) RRLP 2027
(sticker on left front) RRLP-2027 (rear) RRLP 2027 (BXL1-0209)
Catalog on labels: RRLP 2027 (RRLP 2027A) / RRLP 2027 (RRLP 2027B)
Matrix / Runout (Side A, Etched): RRLP-2027A Cg-BAD
Matrix / Runout (Side A, Stamped): MASTERING BY FRANKFORD/WAYNE NEW YORK
Matrix / Runout (Side B, Etched): RRLP-2027 B
On labels: rim text reads "All rights...........Relic Records, Inc"
Through licensing arrangement with Grunt and R.C.A. Records
(on Side A): (on Side A): 1, 2, 3, 5, 6. Jorma Kaukonen, Vocal
(on Side B): 1, 2, 5. Jorma Kaukonen, Vocal
3, 4 . Tom Hobson, Vocal
On front cover (stickers): "Collectors' Re-Issue ORIGINAL Fold Out Jacket & Graphics!"
"From Jefferson Airplane's Lead Guitarist JORMA KAUKONEN © 1987 RELIX RECORDS......?QUAH"
On back cover: Produced by Jack Casady
Recorded at Wally Heider's, San Francisco
Cover by Margareta
Photographs by Jim Marshall
? © Relix Records, Inc. 1987 Additional © Grunt Records, 1974
tracklisting
Side A: GENESIS - I'LL BE ALL RIGHT - SONG FOR THE NORTH STAR
I'LL LET YOU KNOW BEFORE I LEAVE - FLYING CLOUDS - ANOTHER MAN DONE GONE
Side B: I AM THE LIGHT OF THIS WORLD - POLICE DOG BLUES - BLUE PRELUDE
SWEET HAWAIIAN SUNSHINE - HAMAR PROMENADE
grading
RECORD EX but (please, read above description)
SLEEVE EX but (please, see pictures and read above description)
Quah -- Jorma Kaukonen's (guitar/vocal) solo debut effort -- was recorded and issued shortly after the dissolution of Jefferson Airplane in 1974. In contrast to the sonic indulgences of Grace Slick's Manhole or Paul Kantner and Jefferson Starship's Blows Against the Empire, Kaukonen retreated back to his folk-blues roots along with vocalist Tom Hobson -- who contributes to "Blue Prelude" and "Sweet Hawaiian Sunshine" -- to create this intricate acoustic masterwork. From the highly original artwork -- courtesy of Kaukonen's then-wife Margareta -- to the stark and beautiful melodies within the grooves, Quah is unlike any other recording from the era. Much of the album's vibe is strikingly similar to the final contributions that Kaukonen made to Jefferson Airplane. The most obvious and direct correlation being "Third Week at the Chelsea," which maintains much of the same intimacy as the tracks "Genesis," "Flying Clouds," and "Song for the North Star." Likewise, his admiration for folk, blues, and gospel -- which had first surfaced on the self-titled Hot Tuna debut release -- informs the content of this disc on his cover of Rev. Gary Davis' "I Am the Light of This World" as well as the haunting traditional blues "Another Man Done Gone"and Blind Boy Blake's understatedly ribald "Police Dog Blues." Tom Hobson's inimitable vocal delivery stands apart from Kaukonen's in a somewhat theatrical manner. His take on the noir torch song "Blue Prelude" could not be more dissimilar to the practically giddy "Sweet Hawaiian Sunshine." Yet both are equally functional in the context of the rest of the album…(AllMusic)
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