Long John Silver
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||Long John Silver||Jefferson Airplane||4:23||$0.99||View in iTunes|
||Aerie (Gang of Eagles)||Jefferson Airplane||3:52||$0.99||View in iTunes|
||Twilight Double Leader||Jefferson Airplane||4:42||$0.99||View in iTunes|
||Milk Train||Jefferson Airplane||3:18||$0.99||View in iTunes|
||The Son of Jesus||Jefferson Airplane||5:26||$0.99||View in iTunes|
||Easter?||Jefferson Airplane||3:59||$0.99||View in iTunes|
||Trial By Fire||Jefferson Airplane||4:31||$0.99||View in iTunes|
||Alexander the Medium||Jefferson Airplane||6:38||$0.99||View in iTunes|
||Eat Starch Mom||Jefferson Airplane||4:35||$0.99||View in iTunes|
The final Jefferson Airplane studio album — if their half-hearted 'reunion' from 1989 isn't (and really shouldn't be) counted — presented yet another alteration in the band's lineup. Not only would Long John Silver (1972) be the second project minus co-founder Marty Balin (vocals), who left after Volunteers (1969), but Joey Covington (drums) also split before the long-player was completed, forming his own combo, the short-lived Black Kangaroo. Covington contributes to a pair of Paul Kantner's (guitar/vocals) better offerings "Twilight Double Leader" and "The Son of Jesus," while Hot Tuna kinsman Sammy Piazza (drums) lends a hand to Jorma Kaukonen's (guitar/vocals) whimsical "Trial by Fire." Eventually, Turtles' and Crosby, Stills, Nash & Young percussionist John Barbata (drums) would fill the drummer's stool for the remainder of the Airplane's rapid descent. He would likewise make the transition alongside Kantner, Grace Slick (piano/vocals) and Papa John Creach (violin) into the brave new world of Jefferson Starship. Even more so than on their previous platter, Bark (1971), the material featured on Long John Silver rather blatantly exposes the two disparate factions to have emerged from the once unified Airplane. The Kaukonen/Jack Casady (bass) offshoot — à la Hot Tuna — and Kantner/Slick, whose Blows Against the Empire (1970) from two years earlier clearly pointed to the exceedingly cerebral approach evident on Slick's indistinct "Aerie (Gang of Eagles)" and "Easter?," or the mid-tempo meandering of Kantner's "Alexander the Medium." The edgy, blues-infused rocker "Milk Train" is one of the few standouts on Long John Silver, giving Creach a platform for his ever-adaptable and soaring fiddle. Quite possibly the heaviest selection on the package is the Slick/Kaukonen co-composition "Eat Starch Mom." Appropriately, it concludes the effort on a positive charge with the Airplane hitting on all cylinders before landing the craft (for all intents and purposes) the last time. When the LP hit store shelves in the summer of 1972, it became instantly notorious for the cover that transformed into a cigar (read: stash) box. The inner sleeve went as far as reproducing the image of tightly compressed domestic ganja, replete with sticks, seeds and stems.
In The Days of Stems and Seeds
When this was first released in the LP format one could build the album cover into a box which when opened revealed a backdrop of a bag of weed from ancient times,when seeds and stems were the norm and one would separate them from the chaff so to speak. As far as the music there are a few gems.
the crown jewel of my record collection,this one should be played front to back.watch out for aerie, twilight double leader, trial and of course,eat starch mom.
Formed: 1965 in San Francisco, CA
Years Active: '60s, '70s, '80s