This was the last studio album by sixties psychedelic rockers Jefferson Airplane. I knew nothing of it back in 1972, other than flipping past the sleeve in a record shop as I hunted for David Bowie and Mott The Hoople.
The group were never my thing but, ever the retrospective explorer, I am giving this the once-over. Please also bear in mind that I initially wrote the basis of this review before revisiting their earlier albums. Having listened to all of those in detail now, though, I can confidently say that this is one of their folkier albums, as the group revisit the folk roots that were always around, merging it with a solid rock-prog rock early seventies style. It may seem a bit dated in places but each track has its good points - something that is the case on all the Airplane albums, particularly the later ones.
Long John Silver is a corker of a rocker, featuring some absolutely stonking guitar, killer bass, pounding drums and a shrieking vocal from the enigmatic, part sexy part slightly unnerving Grace Slick which continues on the slower, but equally muscular Aerie (Gang Of Eagles). It is Slick’s overwrought voice that gives me most of my problems with Jefferson Airplane in general. The music is at times stunning early seventies rock fare, however, being neither glam, heavy or prog but probably influential on all of them.
The drug-addled psychedelia of the group’s sixties output had morphed into a more typically seventies thumping rock sound and this is further exemplified on the rousing Twilight Double Leader. Check out that wah-wah guitar and overall rock vibe in general. These are pretty good tracks, although the sound, as on the whole album is just a little muddy, sort of Goat's Head Soup-sounding.
Milk Train is another gutsy rocker, enhanced by some madcap electric violin (played by the marvellously-named Papa Jon Creach) but again Grace overdoes the histrionic vocal as she rants on about no-good men and the effects of drugs on her body. Maybe don’t take them, Grace? She’s powerful in her vocal delivery all right, but give me Janis Joplin or Sonja Kristina from the same era.
The Son Of Jesus is an unfortunately typical piece of pretentious early seventies quasi-religious hokum. It is this sort of thing that dates the album considerably. Great guitar on it, though. There is always something to to redeem each track, I have to admit.
If you thought the religious stuff was over, however, then think again as The Pope is the target for talking in Latin on the clunking Easter? Trial By Fire merges acoustic and electric guitars to great effect on one of the album’s better tracks. This sort of material influenced early material by Queen and Bad Company. Alexander The Medium has a folky lead male vocal from Paul Kantner, some almost Steeleye Span-Fairport Convention-esque harmonies and more excellent electric violin. Once more, it is very representative of its era and is probably better off left back in 1972, save the excellent guitar solo. Having said that, there is something about it that grows in me.
Eat Starch Mom redeems things considerably on a guitar-driven, robust and fuzzy rocker to end this very 1972 offering with.
Would I re-visit this very often, however. Probably not. Oh look, it’s ok but it is not one of those albums that makes you think it still sounds great today. Listening to it is the aural equivalent of going to a museum. Now here's a surprise, though, I have listened to it a few more times since and have warmed to it considerably. It is always worth giving albums a few chances, isn't it? Hell, I'm now quite into it, as indeed I am with Jefferson Airplane overall - it has only taken me over fifty years...
