Grace Barnett Wing Slick is an American singer-songwriter, musician and former model known in rock and roll history for her role in San Francisco's burgeoning psychedelic music scene in the mid-1960s. Her music career spanned four decades, she performed with Jefferson Airplane, Jefferson Starship and Starship. She had a sporadic solo career. Slick provided vocals on a number of iconic songs, including "Somebody to Love," "White Rabbit," "We Built This City," and "Nothing's Gonna Stop Us Now." Grace Barnett Wing was born October 30, 1939, in the Chicago suburb of Highland Park, Illinois, to Ivan Wilford Wing, of Norwegian and Swedish descent, Virginia Wing, a lineal descendant of passengers of the Mayflower. Her parents met while they were both students at the University of Washington, married. In 1949, her brother Chris was born, her father, working in the investment banking sector for Weeden and Company, was transferred several times when she was a child, in addition to the Chicago metropolitan area, she lived in Los Angeles and San Francisco, before her family settled in the San Francisco suburb of Palo Alto in the early 1950s.
Wing attended Palo Alto Senior High School before switching to Castilleja High School, a private all-girls school in Palo Alto. Following graduation, she attended Finch College in New York City from 1957 to 1958, the University of Miami in Coral Gables, from 1958 to 1959. On August 26, 1961, Wing married Gerald "Jerry" Slick, an aspiring filmmaker, after the couple moved away from San Francisco, Grace Slick worked as a model at an I. Magnin department store for three years. Slick started composing music, including a contribution to a short film by Jerry Slick. In August 1965, Slick read an article in the San Francisco Chronicle about the newly formed Jefferson Airplane. Despite being situated in the growing musical center of San Francisco, Slick only half-heartedly considered it for a profession until she watched the band live at The Matrix; as a result, accompanied by husband Jerry Slick, Jerry's brother Darby Slick, David Miner formed a group called The Great Society, a play on the social reform program of the same name.
On October 15, 1965, the band made its debut performance at a venue known as the Coffee Gallery, soon after Slick composed the psychedelic piece "White Rabbit". The song, which she is purported to have written in an hour, is a reflection on the hallucinatory effects of psychedelic drugs. Although Slick was an equal contributor to The Great Society's original material, Darby Slick pushed the band toward becoming a raga-influenced psychedelic act. By late 1965, they had become a popular attraction in the Bay Area. Between October and December 1965, The Great Society entered Golden Studios and recorded several tracks under the supervision of Sylvester Stewart. One single emerged from the demos, the Darby Slick-penned "Someone to Love" b/w "Free Advice" on the locally based Autumn Records subsidiary label "North Beach". Grace Slick supplied vocals, guitar and recorder; that autumn, Jefferson Airplane's singer Signe Toly Anderson left the band to raise her child, Jack Casady asked Slick to join them.
Slick stated that she joined the Airplane because it was run in a professional manner, unlike the Great Society. With Slick on board, the Airplane began recording new music, they turned in a more psychedelic direction from their former folk-rock style. Surrealistic Pillow included new recordings of "White Rabbit" and "Somebody to Love", both of which became top 10 singles. Jefferson Airplane became one of the most popular bands in the country and earned Slick a position as one of the most prominent female rock musicians of her time. In 1968, Slick performed "Crown of Creation" on The Smothers Brothers Comedy Hour in blackface and ended the performance with a Black Panther fist. In an appearance on a 1969 episode of The Dick Cavett Show, she became the first person to say "motherfucker" on television during a performance of "We Can Be Together". After Jack Casady and Jorma Kaukonen decided not to return to Jefferson Airplane, Slick formed Jefferson Starship with Kantner and other bandmates, began a string of solo albums with Manhole, followed by Dreams, Welcome to the Wrecking Ball!, Software.
Manhole featured keyboardist/bassist Pete Sears, who joined Jefferson Starship in 1974. Sears and Slick penned several early Jefferson Starship songs together, including "Hyperdrive" and "Play On Love". Dreams, produced by Ron Frangipane and incorporated many of the ideas she encountered attending twelve-step program meetings, is the most personal of her solo albums and was nominated for a Grammy Award; the song "Do It the Hard Way" from Dreams is one example of Slick's music at the time. Slick was nicknamed "The Chrome Nun" by David Crosby, who used the nickname "Baron von Tollbooth" for Kantner, their nicknames appear as the title of an album she made in 1973 with bandmates Kantner and David Freiberg: Baron von Tollbooth & the Chrome Nun. During the 1980s, while Slick was the only former Jefferson Airplane member in Starship, the band went on to score three chart-topping successes with "We Built This City", "Sara", "Nothing's Gonna Stop Us Now". Despite the success, Slick since has spoken negatively about the music.
In 1987, Slick co-hosted The Legendary Ladies of Rock & Roll, for which she sang backing vocals on "Be My Baby" and "Da Doo Ron Ron". She left Starship in 1988, shortly after the release of No Protection. In 1989, Slick and her former
The Phosphorescent Rat
The Phosphorescent Rat is the fourth album by the blues rock group Hot Tuna, released in early 1974 as Grunt FTR-1010. This was the first Hot Tuna album recorded after guitarist Jorma Kaukonen and bass player Jack Casady had left Jefferson Airplane, they were joined as before by drummer Sammy Piazza, though Papa John Creach had left the band for Jefferson Starship. The band's playing was moving away from the softer, more acoustic sound of their first three albums, towards a hard rock sound that would be explored on their next three albums. All songs written by Jorma Kaukonen, except where noted Jorma Kaukonen – vocals, guitars Jack Casady – electric bass, bass balalaika Sammy Piazza – drums, percussionAdditional personnelTom Salisbury – conductor of strings and woodwinds on "Corners Without Exits" and "Soliloquy for 2" Andrew Narell – steel drums on "Living Just for You"ProductionMaurice – production coordinator Mallory Earl – recording engineer, mixing engineer Steve Mantoani – assistant engineer Marek A. Majewski – cover design Recorded at Wally Heider's, San Francisco Mastered at The Lacquer Channel, Sausalito
David Freiberg is an American musician best known for contributing vocals, electric bass, rhythm guitar and percussion as a member of Quicksilver Messenger Service, Jefferson Airplane and Jefferson Starship. Among other tracks, he co-wrote "Jane," a hit for Jefferson Starship. Classically trained in violin and viola, Freiberg began his career moonlighting as a coffeehouse singer-songwriter during the American folk music revival while working for a railroad. For a while, he shared a house in Venice, California with David Crosby and Paul Kantner before being jailed for marijuana possession. Prior to being incarcerated, he became acquainted with Dino Valenti Crosby's nominal roommate on a houseboat in Sausalito, California. During his time as a coffee house folk singer, he was part of the duo David Michaela. David & Michaela made a demo at CBS studios, "Elektra producer Paul Rothchild proposed fitting them into a bigger folk group, but the onset of the Beatles spelled the end of David & Michaela, incentive for Freiberg to switch to rock and electric instruments."
Following his release, Freiberg co-founded Quicksilver Messenger Service with guitarists John Cipollina, Jim Murray and Gary Duncan and drummer Greg Elmore. The founding took place shortly after Valenti, who had hired the musicians for his backing band following the folk rock explosion, was imprisoned for drugs in 1965. Due to the surfeit of guitarists in the group, Freiberg was assigned the bass. Founding the band in 1965, he became the "most folk-rooted member" of Quicksilver, he played guitar and keyboards, reworked a number of songs for the band. He shared lead vocals with guitarist Gary Duncan and played bass, he brought. He would play on all six Quicksilver albums. Though not as commercially successful as contemporaries like Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead, Quicksilver was integral to the beginnings of the San Francisco sound. In addition to earning three Billboard Top 100 hits, several of their albums ranked in the Top 30 of the magazine's album chart.
He continued to serve as the group's bassist and contribute to the band's songwriting until September 1971, when he left the group to begin another prison sentence for marijuana possession. With Quicksilver, he was known for co-writing "The Fool" and "Light Your Windows" with Gary Duncan. In the early 1970s, he played on If I Could Only Remember My Name by David Crosby and Rolling Thunder by Mickey Hart. Shortly after being released from jail in 1972, Freiberg joined Jefferson Airplane at the behest of Kantner, belatedly replacing Marty Balin for the tour that promoted their studio album, he subsequently appeared on Thirty Seconds Over Winterland, a live album culled from the tour. He was hired to tour with Jefferson Airplane after it had been active for some time, playing tambourine and singing harmony vocals, he filled in for departed lead singer Marty Balin. After the tour ended, Freiberg and Slick made the Baron Von Tollbooth & the Chrome Nun album in 1973. After a long interregnum in which the fate of the band was in question, the final Jefferson Airplane lineup reformed as Jefferson Starship in early 1974 following the departure of lead guitarist Jorma Kaukonen and bassist Jack Casady.
He remained with this group for nearly eleven years, departing shortly after the formation of Starship in early 1985 due to creative differences over the selection and recording of "We Built This City" with Grace Slick and the atypically outsized role of producer Peter Wolf. Although Freiberg and fellow multi-instrumentalist Pete Sears alternated on both instruments throughout their respective tenures in the group, Ben Fong-Torres noted in a 1978 profile of the group that "Freiberg considers himself a bass player." He elaborated upon this distinction in a 1997 interview with John Barthel: "I am not a keyboard player. I use it for input to a computer now, stuff like that, but it never was my instrument. I just did it for writing songs because it is a musical typewriter, what it is."Never a prolific songwriter and characterized by Fong-Torres as "essentially a back-up musician" in Jefferson Starship, Freiberg notably served as the primary composer of "Jane." According to Rolling Stone, after Balin and Slick left the band, Freiburg's contribution of the track "Jane," about an old girlfriend, "was instrumental in moving them into a more commercial, harder-rock direction."
The track became Jefferson Starship's first hit. "Jane" was a #14 hit for the group in 1979 at a crucial juncture following the departures of Slick and Balin and the integration of Mickey Thomas. It has since been prominently showcased in the 2009 video game Grand Theft Auto IV: The Lost and Damned and as the opening theme of the Wet Hot American Summer franchise. Freiburg developed the "distinctive" organ riff of Balin's "Miracles," the group's most successful single, he left the band in the mid 1980s during the recording of the song "We Built This City", synthesizer heavy. Says Freiburg, "T
Volunteers (Jefferson Airplane album)
Volunteers is the fifth studio album by American psychedelic rock band Jefferson Airplane, released as RCA Victor LSP-4238 released in Quadrophonic in 1973 as RCA Quadradisc APD1-0320, using the discrete CD-4 system from JVC. The album was controversial because of revolutionary and anti-war lyrics along with the use of profanity; the original album title was Volunteers of Amerika. It was shortened after objections from Volunteers of America; this was the group's first album recorded in San Francisco, at Wally Heider's state-of-the-art 16-track studio. Guest musicians included Jerry Garcia on pedal steel guitar, veteran session pianist Nicky Hopkins, future Airplane drummer Joey Covington on percussion, David Crosby and Stephen Stills, it was one of the earliest 16-track recordings. The back cover of the album shows a picture of the Ampex MM-1000 professional 16-track tape recorder, used to record the album; the album was marked with strong pro-anarchism songs. The theme of nature and ecology was explored with the songs "The Farm" and "Eskimo Blue Day".
The title track was inspired by a "Volunteers of America" garbage truck that woke singer Marty Balin one morning. The album's original title was Volunteers of Amerika, spoofing Volunteers of America, a religious charity similar to the Salvation Army; the spelling, Amerika references both German fascism and the Kafka novel. After VOA objected, the title was shortened to Volunteers; the album provoked more controversy with lyrics such as "Up against the wall, motherfucker" which appeared on the opening song "We Can Be Together". The offending word was mixed lower on the 45 RPM release of that track to partially'obscure' it, but it was still audible; the word "motherfucker" was censored on the album lyric sheet as "fred", however. At the time RCA Records was refusing to allow the word "fuck" on the album until they were confronted with the fact that they had set a precedent on the Cast Recording Soundtrack of Hair. "Eskimo Blue Day" was a point of contention, with its chorus line of "doesn't mean shit to a tree" repeated throughout.
Musically, the album is characterized by Jorma Kaukonen's lead guitar parts and the distinctive piano-playing of Nicky Hopkins. It featured the band experimenting with a country-rock sound in "The Farm" and "Song For All Seasons". Despite its controversies, the album was a commercial success, it peaked at #13 on the Billboard album chart and received a RIAA gold certification within two months of its release. This was to be the last album with the group for both Jefferson Airplane's founder Marty Balin and drummer Spencer Dryden and thus signifies the end of the best-remembered "classic" lineup, it was to be the group's last all-new LP for two years. Though the album was released in late 1969, the cover photo dates back to 1967. A specially remixed Quadraphonic version of the album was released in 1973; the Quad version was available on LP Record using the discrete JVC / RCA CD-4 / Quadradisc system, Reel to reel, 8-track cartridge tape. The Quad mixes are noticeably different from the usual stereo mixes.
A few tracks from the Quad version were included on the 3-CD box set Jefferson Airplane Loves You, however on the box set, the four-channel recordings have been reduced to two channels due to the technical limitations of Compact Disc. The 2004 CD rerelease features five additional bonus tracks from the group's annual Thanksgiving concert at the Fillmore East, New York in 1969. In 2003 the album was ranked number 370 on Rolling Stone magazine's list of the 500 greatest albums of all time; the album was released again in 2009 along with the entirety of the group's live performance at the Woodstock Festival in 1969 as Jefferson Airplane Woodstock Experience. Credits from original stereo and Quadraphonic LP’s. Per liner notes. Grace Slick – vocals, piano on "The Farm", "Hey Fredrick", "Eskimo Blue Day" and "Volunteers", organ on "Meadowlands", recorder on "Eskimo Blue Day" Paul Kantner – vocals, rhythm guitar Marty Balin – vocals, percussion Jorma Kaukonen – lead guitar, vocals Jack Casady – bass Spencer Dryden – drums, percussion Nicky Hopkins – piano on "We Can Be Together", "Hey Fredrick", "Wooden Ships", "A Song for All Seasons" and "Volunteers" Stephen Stills – Hammond organ on "Turn My Life Down" Jerry Garcia – pedal steel guitar on "The Farm" Joey Covington – congas on "Turn My Life Down", chair on "Eskimo Blue Day" David Crosby – sailboat on "Wooden Ships" Ace of Cups – vocals on "The Farm" and "Turn My Life Down" Bill Laudner – lead vocals on "A Song for All Seasons" Al Schmitt – producer Rich Schmitt – engineer Maurice – 16-track Gut – album design, ate PB & J Milton Burke – album design Jefferson Airplane – album design Jim Marshall – cover photo Jim Smircich – back photo Littie Herbie Greene Herb Green
Jorma Ludwik Kaukonen, Jr. is an American blues and rock guitarist. Kaukonen performed with Jefferson Airplane and still performs on tour with Hot Tuna, which started as a side project with bassist Jack Casady, as of early 2019 has continued for 50 years. Rolling Stone magazine ranked him #54 on its list of 100 Greatest Guitarists. Jorma Kaukonen was born in DC to Beatrice Love and Jorma Ludwig Kaukonen, Sr.. He had Russian Jewish ancestry on his mother's side. During his childhood, Jorma's family lived in Pakistan, the Philippines and other locales as he followed his father's State Department career from assignment to assignment before returning to the place of his birth; as a teenager in Washington, he and friend Jack Casady formed a band called The Triumphs, with Kaukonen on rhythm guitar and Casady on lead. Kaukonen departed Washington for studies at Antioch College, where friend Ian Buchanan taught him fingerstyle guitar playing. Buchanan introduced Kaukonen to the music of Reverend Gary Davis, whose songs have remained important parts of Kaukonen's repertoire throughout his career.
In 1962, Kaukonen enrolled at Santa Clara University. During this time, he taught guitar lessons at Benner Music Company in San Jose, he played as a solo act in coffee houses and accompanied Janis Joplin on acoustic guitar on the historic 1964 recording known as "The Typewriter Tapes" because of the obtrusive sound of Kaukonen's first wife, typing in the background. In 1965, friend and classmate Paul Kantner invited Kaukonen to join a rock band he was forming with Marty Balin; as a self-described blues purist, Kaukonen was reluctant, but found his imagination excited by the arsenal of effects available to electric guitar remarking that he was "sucked in by technology." With the group still looking for a name, Kaukonen suggested the name Jefferson Airplane, inspired by an eccentric friend who had given his dog the name "Blind Lemon Jefferson Airplane." When their original bass player was fired, Kaukonen recommended his friend Jack Casady as a replacement. Though never a prolific singer or songwriter during his Airplane tenure, Kaukonen contributed material to each of the group's albums.
In 1969–70, Kaukonen and Jack Casady formed Hot Tuna, a spinoff group that allowed them to play as long as they liked. An early incarnation of Hot Tuna included Jefferson Airplane vocalist Marty Balin and featured Joey Covington on drums and vocals; this grouping came to an end after an unsuccessful recording jaunt to Jamaica, the sessions of which have never been released. Pared down to Kaukonen and Casady, Hot Tuna lived on as a vehicle for Kaukonen to show off his Piedmont-style acoustic blues fingerpicking skills; the self-titled first album recorded live. With the dissolution of Jefferson Airplane in 1972, Hot Tuna went electric, with Airplane fiddler Papa John Creach joining for the next two albums. Hot Tuna scored an FM hit with "Ja Da" from Burgers. At this time, Kaukonen's songwriting began to dominate, as further evidenced by the next album, The Phosphorescent Rat, which featured only one cover song. Beginning with their fifth album, America's Choice, the addition of drummer Bob Steeler encouraged a rise in volume and a change of band personality —a rampaging, Cream-like rock with quasimystical lyrics by Kaukonen.
During this period, the power trio was known for its long live sets and instrumental jamming. Hot Tuna toured vigorously throughout the 1970s in both the United States and Europe, but with Hot Tuna's break up in 1978, the first phase of the band's career ended. Casady left to form the new wave band SVT, while Kaukonen played as a solo act at venues, booked for Hot Tuna's cancelled 1978 tour. Kaukonen began his solo career several years prior to the breakup, when he recorded the 1974 album Quah. Produced by Jack Casady, Quah featured string overdubs on some tracks, as well as several tracks written and sung by Kaukonen's friend Tom Hobson; the opening track "Genesis" is featured in the films Margot at Transcendence. The album's cover is on display at Donkey Espresso, a coffee shop in Athens, Ohio. In 1979, Kaukonen released Jorma; that year, he began touring with a number of bass/drum combinations, which included Hot Tuna drummer Bob Steeler. During this time, he experimented with a new image, with short, dyed hair and extensive tattoos adorning his body and arms.
He recorded the album Barbeque King, released in 1980. Kaukonen's traditional fan base did not warm to this new, perceived to be "punk" image, sales of the album were so disappointing that Jorma was soon dropped from RCA Records, he continued playing as a solo artist throughout the 1980s at such venues as The Chestnut Cabaret in Philadelphia, The Capitol Theater in Passaic, New Jersey, in Port Chester, New York. As in his Hot Tuna days, he played long sets beginning with an hour-long acoustic set followed by a long intermission and a two-hour electric set, sometimes accompanied by bass and drums. Having reformed for a tour in 1983 that closed with a farewell show at Jonathan Swift's in Cambridge, Massachusetts, on 12/30/1983, Hot Tuna again reformed in
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Long John Silver (album)
Long John Silver is the seventh studio album by Jefferson Airplane, their last album of all new material until 1989. It was recorded and released in 1972 as Grunt FTR-1007. After several solo projects for Grunt Records, the members of Jefferson Airplane came together again in March 1972 for the first time in the studio since the Bark album was released in September 1971. Sessions at Wally Heider Studios continued for nearly three months, but tensions were high and several songs were recorded by each member recording their own part separately. David Crosby of Crosby, Stills and Young participated in the recording sessions, but Crosby's vocals were stripped from the record at the insistence of his label. Joey Covington left the band during the sessions. Barbata replaced Covington, playing on all but three songs; the album was completed in May and scheduled for release in July, but not before RCA forced the band to scrub a line from the song "The Son of Jesus" electronically, which referred to a "bastard son of Jesus".
Live versions of the song were performed with the offending line intact. Released on the band's Grunt Records imprint, the album was Jefferson Airplane's least successful effort since their 1966 debut, only peaking at #20 on the Billboard album chart. In July, the band began a two-month tour of the United States, their first major tour since 1970, it featured a new line-up including Kantner, Kaukonen, Creach and former Quicksilver Messenger Service bassist David Freiberg as an additional vocalist/percussionist. A close friend of Kantner from the early 1960s American folk music revival scene, Freiberg took over Marty Balin's harmony parts and selected leads on ensemble efforts and "tried to keep the band together." The tour ended in September at San Francisco's Winterland Ballroom, with Balin joining for an encore. Live performances from the Chicago Auditorium Theatre and Winterland were released on the live album Thirty Seconds Over Winterland in 1973; the original vinyl LP release featured an album cover.
The record sleeve bore an image of cigars. The inside bottom of the box was covered with a photograph of marijuana. Grace Slick – vocals, piano Jack Casady – bass Paul Kantner – vocals, rhythm guitar Jorma Kaukonen – lead guitar, vocals Papa John Creach – electric violin John Barbata – drums, tambourine, "against the grain stubble scraping" Joey Covington – drums on "Twilight Double Leader" and "The Son of Jesus"Additional personnelSammy Piazza – drums on "Trial by Fire" Jefferson Airplane – producer, arrangements Pat "Maurice the Magnificent" Ieraci – production coordinator Don Gooch – engineer Steve Barncard – special thanks Pacific Eye & Ear – album concept, album design Bob Tanenbaum, Propella Rotini – illustrations Bruce Kinch – photography Borris – weed. AKA Mike Trudnich Recorded at the Wally Heider Studios, San Francisco Album Single