Get Together (The Youngbloods song)
"Get Together" known as "Let's Get Together", is a song written in the mid-1960s by American singer-songwriter Chet Powers. The song is an appeal for peace and brotherhood, presenting the polarity of love versus fear, the choice to be made between them, it is best remembered for the impassioned plea in the lines of its refrain, repeated several times in succession to bring the song to its conclusion. The song was recorded as "Let's Get Together" by the Kingston Trio in a live performance in March 1964, released on June 1, 1964, on their album Back in Town. While it was not released as a single, this version was the first to bring the song to the attention of the general public; the Kingston Trio performed it live. A pre-Byrds David Crosby recorded "Get Together" around the same time as the Trio, but a few weeks since the band arrangement includes the riff from the Beatles' version of "Twist and Shout", released earlier in Britain but not in the United States until April. Crosby's version was recorded at Los Angeles.
It was produced by Jim Dickson as a four-song demo. A version of the song first broke into the top forty in 1965, when We Five, produced by Kingston Trio manager Frank Werber, released "Let's Get Together" as the follow-up to their top ten hit "You Were on My Mind". While it did not achieve the same level of success as the other, "Let's Get Together" provided the group with a second top 40 hit on the Billboard Hot 100 when it peaked at number 31, it would be their last hit record. The Mitchell Trio released the album "That's the Way It's Going to Be" in 1965 which included the song, sung by John Denver who replaced Chad Mitchell, all according to Wikipedia. "Let's Get Together" was the third song on side 2 of the Jefferson Airplane's first album, Jefferson Airplane Takes Off, released in August 1966. As Tim Jurgens said in his review of the album in the January 1967 issue of Crawdaddy, "Jefferson Airplane Takes Off is the most important album of American rock issued this year, he called "Let's Get Together" a "most sensitive and contemporary ballad", wondered why it isn't sung in church.
However, the song wasn't released as a single, although the album did make the top 100 of 1966, as number 97. In 1967, the Youngbloods released their version of the song under the title "Get Together", it became a minor Hot 100 hit for them, peaking at number 62 and reaching 37 on the US adult contemporary chart. However, renewed interest in the Youngbloods' version came when it was used in a radio public service announcement as a call for brotherhood by the National Conference of Christians and Jews; the Youngbloods' version, the most-remembered today, was re-released in 1969, peaking at number 5 on the Billboard Hot 100. Another version was released in 1967 by the Chicago psychedelic group H. P. Lovecraft on their debut album. In 1968, the Sunshine Company released a version of the song titled "Let's Get Together" as a single that reached number 112 on the Billboard chart. In 1968, the Canadian group 3's a Crowd released their version of the song as a single, titled "Let's Get Together", it peaked at number 70 on Canada's national singles chart.
Smith recorded a version on their 1969 debut album, sung by Gayle McCormick while, in the same year, it was recorded by the Carpenters and was the fourth track on their debut album "Offering". In 1970, Gwen & Jerry Collins released a version of the song as a single that reached number 34 on the US country chart. In March 1970, the Dave Clark Five reached number 8 on the UK Singles Chart with their version retitled "Everybody Get Together". In 1995, Big Mountain released a version of the song titled as a single that reached number 28 on the US adult contemporary chart and number 44 on the Billboard Hot 100, it reached number 32 on Cash Box. The Youngbloods version of the song has been featured in several films, including Purple Haze, Forrest Gump, The Dish, Stephen King's Riding the Bullet and Loathing in Las Vegas, Walk Hard: The Dewey Cox Story, most Cats & Dogs: The Revenge of Kitty Galore. Following the September 11 terrorist attacks, the media conglomerate company Clear Channel Communications included the Youngbloods' version of the song on a list of "lyrically questionable" songs, sent to its 1,200 radio stations in the United States.
The refrain's lyrics are shouted in muted voice by Krist Novoselic during the song Territorial Pissings on the Nirvana 1991 album Nevermind. Get Together at Songfacts.com 1963 release by The Folkswingers Beyond the Summer of Love,'Get Together' Is An Anthem For Every Season, NPR, April 10, 2019
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
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
Chester William "Chet" Powers, Jr. was an American singer-songwriter, one of the lead singers of the rock group Quicksilver Messenger Service. He was known by the stage name Dino Valenti and, as a songwriter, as Jesse Oris Farrow, he is best known for writing the quintessential 1960s love-and-peace anthem "Let's Get Together." Before serving in the United States Air Force and playing in the coffeehouses of Boston and Provincetown, Powers had performed as "Dino Valenti" with small rock bands in New England lounges. In the early 1960s, he performed in Greenwich Village and North Beach coffeehouses such as the Cock'n' Bull and the Cafe Wha? with fellow singer-songwriter Fred Neil, with Karen Dalton, Bob Dylan, Lou Gossett, Josh White, Len Chandler, Paul Stookey, David Crosby and others. He influenced other performers including Richie Havens, who continued to perform some of Powers' early "train songs". Powers was prevented from acquiring a cabaret license due to an earlier arrest, a requirement, beginning to be imposed on Village entertainers at the time.
By 1963, Valenti/Powers was in Los Angeles where folk rock had begun to coalesce. During this period, he wrote and popularized "Let's Get Together." Covered as "Get Together," the song was performed by a diverse array of groups throughout the decade, including The Kingston Trio, We Five, The Dave Clark Five, H. P. Lovecraft, Jefferson Airplane and most notably The Youngbloods, whose 1967 rendition peaked at #5 and attained a RIAA gold certification in the United States upon its re-release in 1969, he popularized and controversially claimed the copyright of Billy Roberts's "Hey Joe." Valenti/Powers moved north to the San Francisco Bay Area, where he recorded for Autumn Records, though no album was issued. He had been friendly with Roger McGuinn in Los Angeles and it is said that The Byrds' Michael Clarke played in a band with Valenti/Powers in Big Sur, he is said to have played in an early line-up of the San Francisco psychedelic rock group Quicksilver Messenger Service when John Cipollina, David Freiberg, Jim Murray all joined his backing group in 1964.
He rejoined the group as its lead singer and main songwriter. Powers' career was blighted by several drug busts. After an arrest for possession of marijuana, he was searched again by police while awaiting trial, he received. To raise money for his defense, he sold the publishing rights for "Get Together" to Frank Werber, the manager of The Kingston Trio. After completing his sentence in the late 1960s, Valenti/Powers signed as a solo artist with CBS's Epic Records, releasing Dino Valente in 1968. A major gig he scored was as an opening act for Jimi Hendrix at Winterland in San Francisco October 10–12, 1968, which exposed his solo work to a broader audience, he traveled with Quicksilver's Gary Duncan to New York in January 1969 to form a new band shortly before Quicksilver's noted album Happy Trails appeared in March. While Valenti/Powers and Duncan were in New York, British keyboardist Nicky Hopkins joined Quicksilver for their third album, Shady Grove; as 1969 progressed, The Outlaws came to naught leading to Duncan's reinstatement and Valenti/Powers formally joining Quicksilver at the band's New Year's Eve concert.
Eight of the nine songs on the group's next album, Just for Love were written by Valenti/Powers, six of them under the pseudonym of "Jesse Oris Farrow," including the single "Fresh Air," a moderate American hit that peaked at #49 in November 1970. He remained the primary songwriter on their next album, What About Me?. The Valenti/Powers-penned title track scraped the Billboard 100 in March 1971, peaking at #100. Following the departure of Cippolina and Freiberg, the band subsequently released Quicksilver and Comin' Thru as various Valenti/Powers-fronted lineups continued to tour irregularly through 1974; the 1969-1971 lineup reunited in 1975 for Solid Silver and a promotional tour. Although Freiberg and Cippolina soon departed, an iteration of the band including Valenti/Powers and Elmore once again continued to tour through 1979. Powers underwent brain surgery for an arteriovenous malformation in the late 1980s. In spite of suffering from short-term memory loss and the effects of anti-convulsive medications, he continued to write songs and play with fellow Marin County musicians.
His last major performance was a benefit at San Francisco's Great American Music Hall. He died at his home in Santa Rosa, California on November 16, 1994, leaving behind a younger sister and three sons, Paul and Sterling, his oldest son, was discovered by his sister Kay shortly before she died. Jackie Powers Dino Valenti Dino Valente Jesse Oris Farrow Jesse Otis Farrow "Don't Let It Down" / "Birdses" 1964? Dino Valente reissued in mono on vinyl by Tompkins Square in 2013 Get Together See Quicksilver Messenger Service Official website Dino Valente More information DINO
Signe Toly Anderson
Signe Toly Anderson was an American singer, one of the founding members of the American rock band Jefferson Airplane. Anderson was born Signe Toly in Seattle, Washington, on September 15, 1941. At age three, her parents divorced, she relocated with her mother to Portland, where she was raised. Anderson sang in a band with three male musicians whom she had known in high school under the name Three Guys and a Gal; the group performed at a campaign event for John F. Kennedy in November 1959. Anderson was a locally known and well-respected jazz and folk singer in San Francisco, where Marty Balin heard her perform and invited her to join his band, soon named "Jefferson Airplane". Soon after joining the Airplane, she married one of the Merry Pranksters, Jerry Anderson, a marriage that lasted from 1965 to 1974, she sang on the first Jefferson Airplane album, Jefferson Airplane Takes Off, most notably on the song "Chauffeur Blues". Anderson distrusted the Airplane's original manager, Matthew Katz, refused to sign a contract with him until he inserted a special escape clause freeing her from him if she left the band for any reason.
In July 1966, Anderson informed Bill Graham that she was quitting the band after a series of shows they were playing in Chicago, realizing that bringing her newborn child, with then-husband Jerry Anderson, on the road was not feasible. Graham, asked her to stay with the band through the October shows at the Winterland Ballroom in San Francisco, to which she agreed; this gave the band time to search for her replacement choosing Grace Slick after Sherry Snow declined their offer. There were other factors, such as the hostility of other band members towards her husband. Anderson's last live performances with the Jefferson Airplane were two sets on October 15, 1966 at The Fillmore. Both performances have surfaced on some bootleg albums. At what seemed to be the end of the second set, Marty Balin announced that Anderson was leaving the group, her farewell to the audience was: "I want you all to wear box balloons. I love you all. Thank you and goodbye." At several fans' request and the band performed her signature number, "Chauffeur Blues".
They finished the night with "High Flying Bird". In August 2010, Collector's Choice music in cooperation with Sony released this show as Jefferson Airplane: Live at The Fillmore Auditorium 10/15/66 Signe's Farewell. After leaving the Airplane, Anderson returned to Oregon where she sang for nine years with a ten-piece band, Carl Smith and the Natural Gas Company. In the mid 1970s she recovered from cancer. In 1977 she married local building contractor Michael Alois Ettlin, continued to sing with Carl Smith. In the mid 1990s, Anderson suffered further serious health problems, including a broken neck and bypass surgery, which led to serious financial problems for her family, she made guest appearances with the KBC Jefferson Starship. Anderson's husband, Michael Alois Ettlin, died at the age of 62, on February 21, 2011. Anderson died at her home in Beaverton, Oregon at the age of 74 on January 28, 2016, from the effects of chronic obstructive pulmonary disease, she died on the same day as Airplane co-founder Paul Kantner aged 74.
Her former bandmate Jorma Kaukonen wrote a public tribute honoring her, saying: "Signe was one of the strongest people I have met. She was our den mother in the early days of the Airplane… a voice of reason on more occasions than one… an important member of our dysfunctional little family. I always looked forward to seeing her, she never complained and was always a joy." Jefferson Airplane | Fillmore Auditorium | San Francisco, CA | Oct 15, 1966 | Late Show - concertvault.com Anderson's biography of the Jefferson Airplane website
Psychedelic folk is a loosely defined form of psychedelia that originated in the 1960s. It retains the acoustic instrumentation of folk, but adds musical elements common to psychedelic music. Psychedelic folk favors acoustic instrumentation although it incorporates other instrumentation. Chanting, early music and various non-Western folk music influences are found in psych folk. Much like its rock counterpart, psychedelic folk is known for a peculiar, trance-like, atmospheric sound drawing on musical improvisation and Asian influences, its lyrics are concerned with such subjects as the natural world and beauty and try to evoke a state of mind associated with the effects of psychedelic drugs. The first musical use of the term psychedelic is thought to have been by the New York-based folk group The Holy Modal Rounders on their version of Lead Belly's'Hesitation Blues' in 1964. Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s that experimented with unusual recording techniques, including backward tapes, novel instrumental accompaniment.
His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings". Other songs from Fahey's The Great San Bernardino Birthday Party & Other Excursions used "unsettling moods and dissonances" that took them beyond the typical folk fare. In 1967, he performed with the psychedelic/avant-garde/noise rock band Red Krayola at the Berkeley Folk Festival, recorded and released as Live 1967. Among other descriptions, their performance has been likened to "the weirdest parts of late-'60s Pink Floyd pieces". Folk guitarist Sandy Bull's early work "incorporated elements of folk and Indian and Arabic-influenced dronish modes", his 1963 album Fantasias for Guitar and Banjo explores various styles and instrumentation and "could be described as one of the first psychedelic records". Albums, such as 1968's E Pluribus Unum and his live album Still Valentine's Day 1969, which use experimental recording techniques and extended improvisation have psychedelic elements.
Musicians with several groups that became identified with psychedelic rock began as folk musicians, such as those with the Grateful Dead, Jefferson Airplane, Country Joe and the Fish, Quicksilver Messenger Service from San Francisco. In the UK, folk artists who were significant included Marc Bolan, with his hippy duo Tyrannosaurus Rex, who used unusual instrumentation and tape effects, typified by the album Unicorn, Scottish performers such as Donovan, who combined influences of American artists like Bob Dylan with references to flower power, the Incredible String Band, who from 1967 incorporated a range of influences into their acoustic based music, including medieval and eastern instruments. During the late 1960s and early 1970s, solo acts such as Syd Barrett and Nick Drake began to incorporate psychedelic influences into folk music with albums such as Barrett's The Madcap Laughs and Drake's Five Leaves Left. In the mid 1970s psychedelia began to fall out of fashion and those folk groups that had not moved into different areas had disbanded.
In Britain folk groups tended to electrify as did acoustic duo Tyrannosaurus Rex which became the electric combo T. Rex; this was a continuation of a process by which progressive folk had considerable impact on mainstream rock. Interest in folk music among the independent artists and crossover bands that dominated much of the underground music scene in the late 1990s led to a revival of psychedelic folk during the following decade, with the New Weird America movement, which saw the rise of the stylistically similar genre of freak folk. Animal Collective's early albums identify with freak folk as does their collaboration with veteran British folk artist Vashti Bunyan, The Microphones/Mount Eerie, who combine naturalistic elements with lo-fi and psychedelia. Both artists received significant exposure in the indie music scene following critical acclaim from review site Pitchfork Media and soon more artists began experimenting with the genre, including Quilt, Grizzly Bear, Devendra Banhart, Rodrigo Amarante, Grouper.
Freak folk is a loosely defined synonym or subgenre of psychedelic folk which involves acoustic sounds and delightful lyrics, a neo-hippie aesthetic. The label originated from the "lost treasure" reissue culture of the late 1990s. Vashti Bunyan has been labelled "the Godmother of Freak Folk" for her role in inspiring the new crop of folk experimentalists. Other major influences on freak folk artists include Linda Perhacs, Anne Briggs, Shirley & Dolly Collins, the Incredible String Band, Pearls Before Swine. Devendra Banhart would become one of the leaders of the 2000s freak folk movement, along with Joanna Newsom. Psychedelic folk artists Freak folk artists The Natural Acoustic Band Tom Hoy Krysia Kocjan Robin Thyne Anti-folk Freak scene Jam bands Neofolk New Weird America Ptolemaic Terrascope – a psychedelic folk & rock magazine PsychedelicFolk.com, by Gerald Van Waes Prog Archives: resource for psych folk and all other types of psychedelic music Ptolemaic Terrascope: resource for psych folk and all other types of psychedelic music Dream Magazine: resource for psych folk and all other types of psychedelic music Contemporary Psychedelia: From Transcendence to Imman
Jefferson Airplane Loves You
Jefferson Airplane Loves You is a three-CD boxed set of recordings by the San Francisco rock band Jefferson Airplane with extensive liner notes by Jeff Tamarkin, author of the Jefferson Airplane history Got a Revolution: The Turbulent Flight of Jefferson Airplane. Many of the tracks are unreleased live recordings or studio rehearsals, but several are lifted from prior Jefferson Airplane albums. A song by The Great Society, Grace Slick's original band, appears on the first CD. A Quadradisc quadraphonic version of the Volunteers album was released, a few of the songs are from this release, but have been remixed into conventional stereo; because of the remix, any psychedelic movements of instruments from front-to-back or side-to-side behind the listener that were present in the quadradisc version are lost. The Quadradisc album used the discrete CD-4 system jointly developed by JVC and RCA; the songs are arranged in chronological order beginning with a pre-Airplane solo by Marty Balin and ending with a 1972 live recording of the heard "You Wear Your Dresses Too Short".
"I Specialize in Love" – 1:56 "Go To Her" – 4:05 "Bringing Me Down" – 2:22 "Let Me In" – 3:28 "Chauffeur Blues" – 2:28 "Free Advice" – 2:29 "Somebody to Love" – 2:58 "Today" – 3:00 "Embryonic Journey" – 1:52 "White Rabbit" – 2:33 "Come Back Baby" – 2:55 "The Other Side of This Life" – 8:03 "Runnin"Round this World" – 2:30 "She Has Funny Cars" – 3:37 "High Flyin' Bird" – 4:03 "Tobacco Road" – 3:57 "Let's Get Together" – 4:05 "White Rabbit" – 2:23 "Comin' Back to Me" – 7:38 "Won't You Try/Saturday Afternoon" – 7:01 "The Ballad of You and Me and Pooneil" – 11:38 "Things are Better in the East" – 3:18 "Watch Her Ride" – 3:15 "Two Heads" – 3:14 "Martha" – 3:26 "Don't Let Me Down" – 2:54 "Crown of Creation" – 2:53 "Lather" – 2:57 "In Time" – 4:14 "House at Pooneil Corners" – 5:51 "Ribump Ba Bap Dum Dum" – 1:32 "Would You Like a Snack?" – 2:38 "3/5 Mile in 10 Seconds" – 4:45 "It's No Secret" – 3:28 "Plastic Fantastic Lover" – 4:24 "Uncle Sam Blues" – 5:27 "Wooden Ships" – 5:52 "Volunteers" – 2:17 "We Can Be Together" – 6:00 "Turn My Life Down" – 2:56 "Good Shepherd" – 4:24 "Hey Fredrick" – 9:04 "Emergency" – 4:36 "When the Earth Moves Again" – 3:55 "Pretty as You Feel" – 3:09 "Law Man" – 2:42 "Feel So Good" – 9:23 "Twilight Double Leader" – 4:47 "Aerie" – 3:55 "Trial by Fire" – 4:51 "Dress Rap" – 1:25 "You Wear Your Dresses Too Short" – 12:35 Marty Balin – vocals, rhythm guitar, percussion Grace Slick – vocals, organ, recorder Paul Kantner – vocals, rhythm guitar Jorma Kaukonen – lead guitar, vocals Jack Casady – bass Spencer Dryden – drums, percussion Signe Anderson – vocals on "Go to Her", "Bringing Me Down", "Chauffeur Blues" Skip Spence – drums on "Bringing Me Down", "Let Me In", "Chauffeur Blues" Joey Covington – congas on "Turn My Life Down" and "Pretty as You Feel", drums on "Emergency", "When the Earth Moves Again", "Law Man", "Feel So Good", "Twilight Double Leader", tambourine on "Twilight Double Leader", lead vocals on "Pretty as You Feel" Papa John Creach – electric violin on "When the Earth Moves Again", "Pretty as You Feel", "Twilight Double Leader", "Aerie", "Trial by Fire", "You Wear Your Dresses Too Short" John Barbata – drums on "Aerie", "Trial by Fire", "You Wear Your Dresses Too Short" David Freiberg – tambourine on "Trial by Fire" Jerry Garcia – guitar on "Today" Gary Blackman – nose solo on "Lather" Gene Two