Jefferson Airplane - Surrealistic Pillow - Japan Mini LP Replica

Jefferson Airplane - Surrealistic Pillow
Japan Carboard Sleeve BVCM - 37625
Mini LP Replica
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Esto si que es un autentico lujo. El mejor disco de la Jefferson en una edición que suena como los angeles y con unos bonus muy interesantes, incluida una toma de "Go To Her" una cancion puro Airplane psicodelico.

Surrealistic Pillow is an album by American psychedelic band Jefferson Airplane, released in February of 1967. Original drummer Alexander ‘Skip’ Spence had left the band in mid-1966, replaced by a jazz drummer from Los Angeles, Spencer Dryden. Singer Signe Toly Anderson departed soon after, and by the Fall of 1966 the group hired new singer Grace Slick, who brought from her previous band The Great Society the two songs that would become the Airplane’s biggest Top 40 hits, “White Rabbit” and “Somebody to Love,” the latter composed by her then-brother-in-law. Both Slick and Dryden debuted with the band on records with this album and its attendant singles, thus completing the best-known line-up of the group, which would remain stable until Dryden’s departure in 1970. It’s also considered to be one of the quintessential albums of the counterculture movement/social revolution.

Jefferson Airplane’s fusion of folk rock and psychedelia was original at the time, in line with musical developments pioneered by The Byrds, The Mamas & the Papas, and Bob Dylan. Surrealistic Pillow was the first blockbuster psychedelic album by a band from San Francisco, announcing to the world the active bohemian scene that had developed there starting with The Beats during the 1950s, extending and changing through the 1960s into the Haight-Ashbury counterculture. Subsequently, the exposure generated by the Airplane and others wrought great changes to that counterculture, and by 1968 the ensuing national media attention had precipitated a very different San Francisco scene than had existed in 1966. San Francisco photographer, Herb Greene photographed the band for the album’s cover art.

Some controversy exists as to the role of Grateful Dead guitarist Jerry Garcia in the making of the album. His reputed presence on several tracks is not corroborated by RCA paperwork and is denied by producer Rick Jarrard. But when performing Comin’ Back to Me live with Jefferson Starship, Marty Balin almost always introduced the song with a reference to the Surrealistic Pillow sessions, mentioning Garcia as playing the guitar parts on the original studio version.

Surrealistic Pillow was originally released as RCA Victor LPM/LSP 3766, and peaked at #3 on Billboard’s Pop Albums chart, driven by “White Rabbit” and “Somebody to Love,” which peaked at #8 and #5 respectively on the Billboard Hot 100 chart. The album was mixed in both mono and stereo, and both mixes are available on a November 2001 reissue, initially as part of the Ignition box set; another stereo reissue appeared on August 19, 2003, with seven bonus tracks, including the mono A-sides of “Somebody to Love” and “White Rabbit.” The 2003 reissue was produced by Bob Irwin.

In 2003, the album was ranked number 146 on Rolling Stone magazine’s list of the 500 greatest albums of all time. Wikipedia

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.

[Surrealistic Pillow on CD has been problematic — actually, make that a real pain in the ass. It’s been reissued numerous times on compact disc, in distinctly different editions — a plain 11-song disc from the 1980s that sounded wretched and was an embarrassment; a high-priced RCA-BMG gold-disc upgrade, with significantly better sound from the mid-’90s that encompassed the stereo and mono mixes of the album; a European version from 2000/2001 (with four bonus tracks but no mono mix or liner notes) that got into the U.S. as an import; a U.S.-issued 2001 upgrade, initially available in the bizarre four-CD box Ignition, which encompassed the stereo and mono mixes in a brighter, sharper, louder remastering than the 1996 version, but still — in some listeners’ eyes — lacking the presence and the soaring sound of the original LP; and a 2003 reissue (on the BMG Heritage label), mastered by renowned reissue producer Bob Irwin (of Sundazed Records fame), including the mono single versions of “White Rabbit” and “Somebody to Love,” along with the related bonus tracks “Come Back Baby,” “In the Morning,” “J.P.P. McStep B. Blues,” and “Go to Her,” which have previously been scattered around various anthologies and other expanded editions. Those tracks generally push Kaukonen even more to the fore and give the balance of the material a bluesier feel. And there’s an uncredited “hidden” bonus cut, an instrumental of “D.C.B.A. - 25.”] AllMusicGuide

1. “She Has Funny Cars” (Marty Balin / Jorma Kaukonen) – 3:12
2. “Somebody to Love” (Darby Slick / Grace Slick) – 2:58
3. “My Best Friend” (Skip Spence) – 3:01
4. “Today” (Marty Balin / Paul Kantner) – 2:59
5. “Comin’ Back to Me” (Marty Balin) – 5:18
6. “3/5 of a Mile in 10 Seconds” (Marty Balin) – 3:41
7. “D.C.B.A. -25″ (Paul Kantner) – 2:37
8. “How Do You Feel” (Tom Mastin) – 3:31
9. “Embryonic Journey” (Jorma Kaukonen) – 1:53
10. “White Rabbit” (Grace Slick) – 2:30
11. “Plastic Fantastic Lover” (Marty Balin) – 2:37
12. “In the Morning” (Kaukonen) – 6:21
13. “J.P.P. McStep B. Blues” (Spence) – 2:37
14. “Go To Her (version two)” (Kantner, Irving Estes) – 4:02
15. “Come Back Baby” (trad. arranged Kaukonen) – 2:56
16. “Somebody to Love” (mono Single mix) (D. Slick) – 2:58
17. “White Rabbit” (mono Single mix) (G. Slick) – 2:31
18. “D.C.B.A. -25″ (Kantner) (instrumental - hidden track) – 2:39

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