Jefferson Starship – Original Album Classics (5CD Box Set) (2009) [FLAC]

"杰斐逊飞机"乐队是由男歌手马特·巴林（Marty Balin）于1965年建立起来的摇滚乐队，共6人。起先他们在俱乐部演奏一些民谣摇滚和披头士的歌曲，后来与RCA唱片公司签约，发行专辑《杰斐逊飞机起飞》（Jefferson Airplane Takes Off ，1966）但销路不佳。
　　不久，他们采用了迷幻摇滚风格，与吸毒文化相联系，而且由于吸收了一位女歌手格瑞斯·斯利克（Grace Slick，1939年出生），情况才发生了变化。1967年，他们的第二张专辑《超现实主义枕头》（Surrealistic Pillow）取得了巨大的成绩。因此，"杰斐逊飞机"被称为嬉皮士时代"旧金山声音"最主要的代表，成了美国最负盛名的摇滚团体之一。"杰斐逊飞机"随后发行的迷幻摇滚专辑，如《万物之冠》（Crown Of Creation，1968）、《志愿者》（Volunteers，1969）、《吠叫》（Bark，1971）等，也都很受欢迎。虽然其中没有一首单曲进入"最佳十首"，但对旧金山很多乐队来说，这是很寻常的。他们不在乎排行榜，甚至有的还把"上榜"看作是一件不光彩的事情。
　　70年代初，"杰斐逊飞机"的人员又有变动，其骨干除斯利克外，还有保罗·坎特纳（Paul Kantner ）。他们改名为"杰斐逊（星际）飞船"（Jefferson Starship）。1975年巴林（"杰斐逊飞机"的创立人，后离队）回到乐队。过了三年，巴林和斯利克都退出"杰斐逊飞船"（斯利克于1982年重新加入），乐队风格转向硬摇滚。最初的老队员中只剩下坎特纳一人。最后，连坎特纳也离开了，尽管如此，"飞船"于80年代后期仍不时地取得成功。
成立时间：1965年于美国旧金山
    解散时间：1973年
    风格划分：民谣摇滚、迷幻摇滚、硬摇滚、Rock & Roll
    乐队简介：Jefferson Airplane是旧金山最早为全美国熟知的迷幻摇滚乐队，他们代表了一个时代。
    乐队由创作歌手Marty Balin成立于1965年夏，1966年乐队在RCA旗下发行《Takes Off》，在商业上小有收获。1967年2月，乐队参加了金门公园的海特阿伯莱音乐会，引起轰动，被传媒当成一个神圣文化潮流的领袖。乐队得到了唱片公司的重视，得以录制下一张专辑《Surrealistic Pillow》。这时的乐队阵容是：歌手Marty Balin、吉他手/歌手Paul Kantner、吉他手/歌手Jorma Kaukonen、鼓手Spencer Dryden、贝司手Jack Casady、女歌手Grace Slick。《Surrealistic Pillow》是乐队推出的最重要的一张唱片，它为旧金山乐派开辟了第一片天空，“旧金山迷幻摇滚出师表”之称毫不过份。它充分开发了乐器演奏的无限可能性，并以此激发了超出日常经验的想象力。金唱片销量和长久传唱的名曲“Somebody to Love”、“White Rabbit”只是这张唱片表面上的成功，实际上在此之下是1967年“爱的夏天”、为迷幻摇滚疯狂的美国、迅速蔓延的嬉皮生活方式、数目猛涨的瘾君子。
   1967年的《After Bathing at Baxter》同样是一张优秀的唱片，虽然商业成绩稍差但更具实验性和艺术感。之后乐队高歌猛进，1968年的《Crown of Creation》是乐队的另一张金唱片，它代表了乐队最优美和谐的一面。1969年的金唱片《Volunteers》则是乐队摇滚风格的集中体现，并在当时被许多政治理想的破灭者引用。
    此时Dryden因与Balin发生争执而离开乐队，小提琴手Papa John Creach1970年秋加入，而Balin在1971初又离开了乐队，乐队走向分裂。
    在其后的时间中，乐队经历了极为频繁的人员变动，只有Kantner一人始终留在乐队中。乐队在七十年代末开始向硬摇滚方向演化，并更名为Jefferson Starship，最后称为Starship。1989年，原Jefferson Airplane成员Balin、Kantner、Kaukonen、Casady和Slick重组，并录制了《Jefferson Airplane》，虽然专辑已失去往日吸引力，但巡演却比较成功。1995年，Kantner、Balin、Casady组成了新的Jefferson Starship，并发行了《Deep Space/Virgin Sky》。
1974 Dragon Fly
Allmusic / Review by William Ruhlmann
Credited to "Grace Slick/Paul Kantner/Jefferson Starship," Dragon Fly was the transitional album between the various shifting aggregations Slick and Kantner had been recording with as Jefferson Airplane dissolved in the early ’70s and the new Jefferson Starship (which essentially was the Airplane with a new guitarist and bassist – Craig Chaquico and Pete Sears). But where such preceding efforts as Sunfighter, Manhole, and Baron Von Tollbooth and the Chrome Nun had suffered from indulgence and a lack of focus, Dragon Fly, from the first note of its rocking leadoff track, "Ride the Tiger" (a chart single), was a unified effort. Like much of the Airplane catalog and all of the Starship albums to follow, the album suffered from the band’s communal approach to song selection (the eight tracks credited 12 writers, half of them bandmembers), leading to an unevenness in the material. But unlike the recent Kantner/Slick/etc. albums, it sounded like the work of a seasoned band. (It didn’t hurt that the album was cut just after a tour, instead of before one.) Especially notable was Chaquico, who on such tracks as "All Fly Away" and "Hyperdrive" demonstrated that he was a distinctive lead guitarist able to define the Starship sound just as the very different Jorma Kaukonen had the Airplane. But what turned Dragon Fly into an artistic and commercial triumph (it was the most popular album any of these people had been involved with in five years) was the return, for one song, of former Airplane singer Marty Balin, since that one song was the epic power ballad "Caroline," which became a radio favorite and remains one of the best songs the Airplane/Starship ever did.
01 Ride The Tiger
02 That’s For Sure
03 Be Young You
04 Caroline
05 Devils Den
06 Come To Life
07 All Fly Away
08 Hyperdrive
1975 Red Octopus
Allmusic / Review by William Ruhlmann
Technically speaking, Red Octopus was the first album credited to Jefferson Starship, though practically the same lineup made Dragon Fly, credited to Grace Slick/Paul Kantner/Jefferson Starship. The difference, however, was crucial: Marty Balin was once again a fully integrated bandmember, writing or co-writing five of the ten tracks. And there can be little doubt that it was Balin’s irresistible ballad "Miracles," the biggest hit single in the Jefferson Whatever catalog, that propelled Red Octopus to the top of the charts, the only Jefferson album to chart that high and the best-selling album in their collective lives. This must have been sweet vindication for Balin, who founded Jefferson Airplane but then drifted away from the group as it veered away from his musical vision. Now, the collective was incorporating his taste without quite integrating it – "Miracles," with its strings and sax solo by nonband member Irv Cox, was hardly a characteristic Airplane/Starship track. But then, neither exactly was Papa John Creach’s showcase, "Git Fiddler," or bassist Pete Sears’ instrumental "Sandalphon," which sounded like something from an early Procol Harum album. Slick has three strong songs, among them the second single "Play on Love." Like Dragon Fly, Red Octopus reflected a multiplicity of musical tastes; there were ten credited songwriters, seven of whom were in the band. If there is any consistency in this material, it is in subject matter (love songs). The album is more ballad-heavy and melodic than the Airplane albums, which made it more accessible to the broader audience it reached, though "Sweeter Than Honey" is as tough a rocker as the band ever played.
01 Fast Buck Freddie
02 Miracles
03 Git Fiddler
04 Al Garimasu (There Is Love)
05 Sweeter Than Honey
06 Play On Love
07 Tumblin’
08 I Want To See Another World
09 Sandalphon
10 There Will Be Love
Bonus Tracks
11 Miracles
12 Band Introduction
13 Fast Buck Freddie
14 There Will Be Love
15 You’re Driving Me Crazy
1976 Spitfire
Allmusic / Review by William Ruhlmann
Spitfire was Jefferson Starship’s 1976 follow-up to the chart-topping Red Octopus (1975), and it found the band in a cooperative mood. All seven bandmembers earned writing credits on at least one of the nine songs, along with eight outsiders, and even drummer John Barbata got a lead vocal on the simple rock & roll song "Big City." But the three main power centers in the group remained in place. Singer/guitarist Paul Kantner continued to turn out his lengthy, complex songs with their exhortatory, vaguely political lyrics (the five-minute "Dance with the Dragon" and the seven-minute "Song to the Sun: Ozymandias/Don’t Let It Rain"). Singer Grace Slick contributed her own idiosyncratic compositions, simultaneously elliptical and passionately stated ("Hot Water" and "Switchblade"). And singer Marty Balin, whose romantic ballad "Miracles" had fueled the success of Red Octopus, wrote (or located) and sang more songs of love and pleasure ("Cruisin’," "St. Charles," "With Your Love," and "Love Lovely Love"). Weaving the three styles together were the fluid lead guitar work of Craig Chaquico and the alternating bass and keyboard playing of David Freiberg and Pete Sears. The result was an album that quickly scaled the charts, spending six consecutive weeks at number three in Billboard and going platinum. That it didn’t do better on the band’s considerable career momentum can be put down to the relatively disappointing nature of the material. There was no "Miracles" on the album, to begin with. Grunt Records released the more modest "With Your Love" as a single and got it into the Top 20, but the closest thing to "Miracles" was really "St. Charles," a song that certainly had some of the same elements but lacked the kind of direct emotional statement that made "Miracles" a classic. Similarly, "Dance with the Dragon" was no "Ride the Tiger" (from Dragon Fly [1974]), and while "Switchblade" was an unusually clear statement of romantic intent from Slick (whose "lyrical wordplay is…not easily accessible yet compelling and thought-provoking," as 2004 reissue annotator Jeff Tamarkin generously says of "Hot Water"), its provocative title made it an unlikely choice for an adult contemporary hit. Spitfire was more than the sum of its parts, boasting the sort of vocal interplay and instrumental virtuosity that had always been the hallmarks of Jefferson Airplane and Jefferson Starship. If the band had taken more time to write and find better songs, it might have matched the sales and quality of its predecessor.
01 Cruisin’
02 Dance With The Dragon
03 Hot Water
04 St. Charles
05 Song To The Sun
Ozymandias
Don’t Let It Rain
06 With Your Love
07 Switchblade
08 Big City
09 Love Lovely Love
1978 Earth
Allmusic / Review by Stephen Thomas Erlewine
Jefferson Starship had figured out how to craft high-octane, high-gloss AOR rock with Red Octopus, a highlight of mainstream hard rock in the ’70s. Instead of being a launching pad to greater things, the album turned out to be the group’s pinnacle, and in the years following its release, the group simply recycled its ideas. In the case of its sequel, Spitfire, that was acceptable, because they had enough hooks to make the similarity forgivable. On Earth, however, they had neither the melodies, hooks or style to make a second rewrite of Red Octopus tolerable. Earth has the form, but not the content, of Jefferson Starship’s masterpiece – it just sits there, lacking either hard rockers or sappy ballads. Arguably, it’s the group’s low point of the ’70s.
201MB (1 Part) + 119MB (1 Part)
01 Love Too Good
02 Count On Me
03 Take Your Time
04 Crazy Feelin’
05 Skateboard
06 Fire
07 Show Yourself
08 Runaway
09 All Nite Long
1979 Freedom At Point Zero
Allmusic / Review by William Ruhlmann
Freedom at Point Zero is not a great Jefferson Starship album; the wonder is that it is as good as it is. Since the band’s previous album, the Top Ten, million-selling Earth, the group had lost its two lead singers, Grace Slick and Marty Balin, and they had been replaced by Mickey Thomas. "Jane," released as a single in advance of the album, displayed the result: even before Thomas’ soaring tenor entered, it sounded like Foreigner. But it also made the Top 20, which helped the album into the Top Ten and to a gold record award. Reluctant leader Paul Kantner came back to the fore, and, at least on the energetic "Girl with the Hungry Eyes" (a chart single), that was a good thing, though the more typically discursive, rhythmically static songs like "Lightning Rose" and "Things to Come" (on which Thomas, through the magic of overdubbing, replaced Slick and Balin) slowed things down. Other songwriting contributors such as bassist Pete Sears and guitarist Craig Chaquico brought in generic arena rock bombast like "Awakening" and "Rock Music," making this a typically uneven effort. Although Freedom at Point Zero demonstrated that the group could soldier on, the band without its quirky individualists was ultimately too generic, which made Slick’s return on the next album welcome.
01 Jane
02 Lightning Rose
03 Things To Come
04 Awakening
05 Girl With The Hungry Eyes
06 Just The Same
07 Rock Music
08 Fading Lady Light
09 Freedom At Point Zero

 
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