Jefferson Starship – "Dragonfly" (1974)

One of music history's most strange transformations is the 60's Jefferson Airplane becoming the 80’s Starship. From songs like White Rabbit and Rejoyce to pop songs like We Built This City and Nothing's Gonna Stop Us Now. What happened? How was it possible?
The time in between, the 70's, they went under the name Jefferson Starship and released a number of albums. Since I dislike their 80’s music as much as I love their 60's songs, I have always been extremely suspicious of their 70s incarnation. So suspicious that I’ve never bothered to listen to a single song. The similarity in the names Jefferson Starship and Starship was enough to convince me that the garbage can was the right place for their albums.

But one day I thought I should investigate this. What if I was wrong. One of the reasons was that I have some of the singer Grace Slick’s solo albums from the 70's and they are pretty interesting creations. Not at all like We Built This City. Far from it. So when I found a pair of Jefferson Starship albums for a very reasonable price, it was time. Now the question would be investigated in depth.

I must admit that I’ve been unnecessarily harsh and negative against Jefferson Starship. The music on Dragonfly is much closer to the 60s Airplane’s tunes and Paul Kantner’s and Grace Slick’s solo albums than commercial radio hits. It’s somewhat like the dark psychedelia Jefferson Airplane brought the world, the harmonies of the songs are recognizable and Grace Slick’s texts are as special as always. And like before a lot of different people help out with the music and lyrics. For the eight songs there are 12 composers, half of whom were members of the band. What is missing on Dragonfly are the more experimental songs that can be heard on the 60's albums and the solo records that were made. Here all the songs are relatively "normal" which isn’t necessarily a bad thing. There’s also a difference in the sound. It feels a bit more like a 70's production, especially the guitar riffs have a different sound than before. Perhaps a sound a little closer to the mainstream music, although it was still far from a 80’s pop production. The album is more accessible than their previously creations, but they were still loyal to their heritage. I think a Jefferson Airplane fan would like this album.
The science fiction cover isn’t the greatest of covers, and doesn’t represent the music och the album very well. Put it aside, in other words.

Paul Kantner

At the time the band consisted of Paul Kantner, Grace Slick, Craig Chaquico, David Freiberg, Johnny Barbata, Papa John Creach, and Pete Sears. Additionally, the old Jefferson Airplane singer Marty Balin showed up and sang on the song Caroline, which he also wrote the text to. I don’t particularly like that song, as usual, the songs on which Grace Slick sings are the ones I like best. The finishing number Hyperdrive is probably my favorite.

Since so many songwriters have contributed to the music, the album somewhat lacks a wholeness to it. But I still think it's more cohesive than albums they had previously done. From what I understand, the album was recorded after a tour instead before one, which may have contributed positively.

Grace Slick

In conclusion, maybe not a must have in your record shelf, but still an OK album. Much better than I previously had thought of Jefferson Starship. If you like Jefferson Airplane I probably dare to recommend a purchase.
　
Tracklist

Side A
1. Ride The Tiger 5:11
2. That’s For Sure 4:58
3. Be Young You 3:49
4. Caroline 7:29

Side B
1. Devil’s Den 4:03
2. Come To Life 3:46
3. All Fly Away 5:25
4. Hyperdrive 7:44

Procol Harum – ”Shine On Brightly” (1968)

This album has been around for a while in my life, I got it during my teenage years. I still remember the day in the store when I looked through the albums, and how my curiosity and fascination was awakened by its cover. I had no idea who Procol Harum were, didn’t know which year the album had been recorded, but was immediately convinced that this album had to be fantastic. I mean, a shimmering green cover with a naked woman (mannequin?) standing in front of a piano, in a landscape looking like a Salvador Dali painting couldn’t mean anything else.

Were my expectations fullfilled? Yes and no.

Shine On Brightly was Procol Harum's second album, the year before they had had their megahit A Whiter Shade Of Pale, which had opened the eyes of the world for the band. This sequel didn’t sound like anything else I had heard, the sound was different than I thought music from 1968 should sound like. The songs lacked the distinct druggy and psychedelic touch I had expected from the cover, this was initially a disappointment, but I quickly realized the music had a different quality. It's a pretty straight forward sound and the band doesn’t hide behind effects such as backwards guitars and wah-wah pedals, the lyrics don’t refer to mind states induced by illicit substances (to my knowledge), love or world peace. The singer Gary Brooker's voice makes a clear mark on the songs, as it’s in some ways quite rough and undisguised. It’s located in the forefront in the mix, with no choirs, harmonies or other effects.
Even today, this album sounds very different than any other music I have from the years around the late 60's. Many consider this album as an important part in the founding of the progressive genre that blossomed during the 70s, especially the over 17 minutes long suite In Held Twas In I on the B-side is to thank for that.

The A-side consists of five really good songs with many sweeping choruses, a lot of organ, a lot of piano and some mean guitar. I think there’s often a bit dark, melancholy touch on many songs. Before I learned more about Procol Harum, I had a suspicion that it was a Christian band that sang religious songs. I don’t really know what made me think so, maybe I heard similarities with the band Sunday Funnies which I also thought was a Christian band.

The B-side opens up with the melancholy Magdalene (My Regal Zonophone) and then continues with aforementioned In Held Twas In I. The song consists of a number of pieces woven together into a whole, and is a really nice creation. You get everything from dense mystery to circus music. Procol Harum was not the first band with songs like this, but they were among the pioneers.

Summary: An album I can recommend. In many respects a relatively sad and melancholy record, music I'd rather sit and listen to than dance to. On the negative side, I’m not too fond of Gary Brooker's voice, and since it’s an important part of the music it affects the overall felling. I have used the word "psychedelic" in parts of the text today, and it’s difficult to clearly define words like that. Today I would say that there is a psychedelic touch on this album, even if the classic effects you think about are not there. Ask me not further about this, though, as I think I can’t really explain myself.

Tracklist

SideA

1. Quite Rightly So 3:43

2. Shine On Brightly 3:36

3. Skip Softly (My Moonbeams) 3:51

4. Wish Me Well 3:24

5. Rambling On 4:33

Side B

1. Magadelene (My Regal Zonophone) 2:54

2. In Held Twas In I 17:40

Lee Hazlewood – "Requim For An Almost Lady" (1971)

Another one of these cool and beautiful Hazlewood albums. This album is globally seen as something of a rarity as it was released only in Sweden and England, at the time. A reissue was made in the U.S. in 1999, but of course you want the original in your shelf. On discogs.com it says large letters regarding the Swedish press:

Notice: IT IS ILLEGAL TO SELL THIS ALBUM IN THE UNITED STATES OF AMERICA AND ITS TERRITORIES, THE UNITED KINGDOM, CANADA AND AUSTRALIA.

The reason for this, I have no idea, but it certainly enhances the mystery surrounding the album. And since I have the Swedish version, I feel a bit like a desperado. Living on the wild side!

As mentioned in previous posts Lee lived in Sweden at the time, which explains why it was released here (and the U.K.), obviously I can count myself lucky (living in Sweden). Many regard this as one of his best records and I’m somewhat inclined to agree. The sound is relatively simple, most songs consist of Lee's vocals, acoustic guitar and bass. No fat string arrangements, no sound effects and no choirs to fill things out. But make no mistake, you don’t miss that. Firstly, and most important, it's really good songs, almost all of them. Secondly, Lee's deep voice makes such a mark on each song that they become something extraordinary. Thirdly, the texts often have some sort of dark twist or semi surrealistic content that entertains and / or interests. The opening song I'm Glad I Never, I first experience as a beautiful love song until the brutal final line is sung, "I'm glad I never ... owned a gun. ". Suddenly the song became something else.

As is customary with Lee the music leans a bit toward Country & Western, but on Requim... it’s just as much singer songwriter like Leonard Cohen, for example. Many of the songs are very delicate and beautiful creations, while there’s always some sort of druggy psychedelic touch that elevates them a couple of levels. But had Kenny Rogers sang them, I'm sure it had sounded just like classic Country & Western music. All songs are introduced by a few spoken lines by Lee.

I highly recommended this album to humanity, just the piece of art the cover is justifies a purchase. I've seen it sold for around 100 USD in my hometown Uppsala, so it felt like a bargain when I found it in good condition for under 30 USD in Gothenburg. Thank you, Gothenburg, we love you.

　
Tracklist

Side A
1. I'm Glad I Never... – 1:04
2. If It's Monday Morning – 3:54
3. L.A. Lady - 2:20
4. Won't You Tell Your Dreams - 3:52
5. I'll Live Yesterdays - 2:50

Side B
1. Little Miss Sunshine (Little Miss Rain) - 2:33
2. Stone Lost Child - 2:02
3. Come on Home to Me - 2:58
4. Must Have Been Something I Loved - 1:40
5. I'd Rather Be Your Enemy - 2:12