Jefferson Airplane - Surrealistic Pillow LSP 3766 US LP
£
26
$
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Description
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Album Information
Artist Jefferson Airplane Title Surrealistic Pillow (1st press with original inner sleeve) Record Label RCA Victor Cat. number LSP 3766 Mono/Stereo? SCountry
USA Released 1967 Matrix no. TPRS-4894-1S TPRS-4895-1S Please enquire if you need the matrix numbers
Album Condition
Disc
Marks
Side 1
EX Side 2 EXSurface
Hairlines
Side 1
EX A couple of light surface hairlines - not audible Side 2 EX A couple of light surface hairlines - not audibleScratches
Side 1
EX Side 2 EXOther Info.
Disc in Excellent ConditionSound
Surface Noise
Side 1
EX Side 2 EXPops/Clicks
Side 1
EX Side 2 EXScratches
Side 1
EX Side 2 EX Other Info.Sleeve
Ring / Surface Wear
Front
EX Back EX InsideCard Creases
Front
EX Back EX InsideShelf Wear
Edge
EX Spine EX Corner EX Other Info. Sleeve in Excellent condition.Shrink wrapped (sticker on front sleeve is on the shrinkwrap, not the sleeve)
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Background Information
Click on the link to find the original source of this information: - Surrealistic Pillow The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit — literally — like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964.And decades later the album still comes off as strong as any of those artists' best work. From the Top Ten singles "White Rabbit" and "Somebody to Love" to the sublime "Embryonic Journey," the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist). Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn't represent their real sound.
Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn't record for official release any of the group's shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the band's creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than "Today," which he'd actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band's ability to do a straightforward song. The group never made a better album, and few artists from the era ever did.
Track Listing: -
1 She Has Funny Cars Balin, Kaukonen 3:13
2 Somebody to Love Slick, Slick 3:01
3 My Best Friend Spence 3:04
4 Today Balin, Kantner 3:02
5 Comin' Back to Me Balin 5:24
6 3/5 of a Mile in 10 Seconds Balin 3:45
7 D.C.B.A. -25 Kantner 2:39
8 How Do You Feel Kantner 3:34
9 Embryonic Journey Kaukonen 1:55
10 White Rabbit Slick 2:33
11 Plastic Fantastic Lover Balin 2:40
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