Track Record – Jefferson Airplane/Jefferson Starship/Starship

Today’s Track Record catalog listen involves the many iterations of Jefferson Airplane, Jefferson Starship, and Starship.

Airplanes and Starships

Jefferson Airplane already had five albums out by the time I was born. As a result, I didn’t know much from them outside of the few tracks that were played on the radio, which usually ended up being “Somebody to Love” and “White Rabbit.” It wasn’t until the Jefferson Starship years that I found myself getting into the band. As I got older and became more musically aware, songs like “Miracles,” “With Your Love,” and “Count on Me” became familiar radio friends to me. Then came the early 1980s era. I remember Mickey Thomas’ voice cutting through every song impeccably. “Jane” was undeniable. “Find Your Way Back” is still one of my favorites. “Stranger” slays. Then came Winds of Change and I was blown away. I love that album. I went back, followed them on and off, and later in life realized that I hadn’t heard their entire catalog in full. Here are my thoughts via free association while listening to the entire catalog of Jefferson Airplane, Jefferson Starship, and Starship.

Jefferson Airplane

Jefferson Airplane Takes Off (1966)

Clever name. Marty Balin is front and center. Funny how original drummer Skip Spence was replaced by a guy named Spencer Dryden. Both played on the album. Signe Toly Anderson was the original female voice and was replaced by Grace Slick, though Slick does not appear on this album. It’s interesting how similar in style and tone Anderson is to Slick.

The album is very 60s sounding, as expected. The record company made them go back in to change some of the more suggestive lyrics shortly before the album was released. While it’s very folky, Jack Casady’s bass playing is the driving force behind a lot of this record. There’s an interesting, psychedelic/jazzy version of “Tobacco Road” on the record. The cover of “Let’s Get Together” also fits the album well. The harmonies are pretty great for a debut album. Good melodies. Seems they were definitely ready to make records.

Line up:

• Marty Balin – vocals, rhythm guitar
• Signe Toly Anderson – vocals, percussion
• Jorma Kaukonen – lead guitar
• Paul Kantner – rhythm guitar, vocals
• Jack Casady – bass guitar
• Alex “Skip” Spence – drums
• Spencer Dryden – drums

 

Surrealistic Pillow (1967)

Summer of love type stuff, but better. Grace Slick and Spencer Dryden are part of the official line up. If you’re going to listen to one of the 60s Airplane albums, this is the one. Their influences really shine. “She Has Funny Cars” is delivered through a Beatles lens, but there’s a mashup of many musical styles as you listen to the tracks. The big, influential hits are here: “Somebody to Love” and “White Rabbit.” The 60s wouldn’t be the same without these songs.

There’s some sort of debate about whether or not Jerry Garcia played on some of the tracks. It’s stated that he came up with the name of the album. Balin shortened Garcia’s phrase “…as surrealistic as a pillow” to “surrealistic pillow.” What I like about the record is that it’s a little more melodic than your average psychedelic rock, which never really was my genre. There are some wonderful melodies and arrangements here. It doesn’t sound drugged-out and wandering. It seems like thought was put into each song. Like it or not, it can’t be denied.

Line Up:

• Marty Balin – vocals, guitar, album design
• Jack Casady – bass guitar, fuzz bass, rhythm guitar
• Spencer Dryden – drums, percussion
• Paul Kantner – rhythm guitar, vocals
• Jorma Kaukonen – lead guitar, vocals
• Grace Slick – vocals, piano, organ, recorder

 

After Bathing at Baxter’s (1967)

The band was already a sensation at this point. You can tell that the drugs started taking over at this point. Baxter was code for LSD. Jimi Hendrix, Cream, and The Beatles were putting out heavier, louder, and more psychedelic albums at the time, so they pivoted in order to keep relevant. I don’t think it worked well. With a few exceptions, I find it a weird one, more artsy and experimental, than melodic and accessible.

Tracks like “A Small Package of Value Will Come to You, Shortly” and “Spare Chaynge” are experimental but ultimately useless, unless you’re on the same drugs as they were when they recorded them. The melodies aren’t as interesting. Unfortunately, Marty Balin seems to have taken a step back, not contributing as many songs. Shame. Paul Kantner filled in the songwriting gaps. No songs really stood out to me, however.

Line Up:

• Grace Slick – piano, organ, recorder, vocals
• Marty Balin – rhythm guitar, vocals
• Paul Kantner – rhythm guitar, vocals
• Jorma Kaukonen – lead guitar, sitar, vocals
• Jack Casady – bass
• Spencer Dryden – drums, percussion, horn arrangement

 

Crown of Creation (1968)

This one’s a little better than the last. It’s a little more acoustic and melodic, and definitely less experimental though it does get a little trippy at times. Marty Balin is more present, which is good. Jorma Kaukonen has a few creative solos which give the album some life. “Star Track” is a good example of this, though the progression of the song reminds me a lot of “Just Dropped In (To See What Condition My Condition Was In)” by Kenny Rogers and The First Edition, which was still fairly new at the time. Jack Casady is still the secret weapon here, especially on tracks like “Share a Little Joke.” The title track is pretty cool, and I enjoy Slick’s sass on “Greasy Heart.” I still wouldn’t call it a great album, but it has its moments.

Line Up:

• Marty Balin – vocals, rhythm guitar
• Grace Slick – vocals, piano, organ
• Paul Kantner – rhythm guitar, vocals
• Jorma Kaukonen – lead guitar, electric chicken, vocals
• Jack Casady – bass guitar
• Spencer Dryden – drums, piano, organ, steel balls, vocals

 

Volunteers (1969)

This one marked the end of the classic line up, since Marty Balin and Spencer Dryden left after this one. It was around this time that Slick moved over to Paul Kantner’s bed, so that might have had something to do with Dryden’s departure, as they were a couple before this. It’s also around this time that Kaukonen and Casady started the whole Hot Tuna thing.

More rocking than the last one, for sure. “We Can Be Together” is a great opener, and “Volunteers” is a great closer. This album is a more political and rebellious album, maybe even their most, at a time when rebellion sold records. “Good Shepherd” and “Hey Fredrick” contain some great guitar work. It’s cool to hear the “other” version of “Wooden Ships” for a change; another one with cool guitar lines. Not a bad album at all. I’d put this right after Surrealistic Pillow as far as the original line up goes.

Line Up:

• Grace Slick – vocals, piano, organ, recorder
• Marty Balin – vocals, percussion
• Paul Kantner – vocals, rhythm guitar
• Jorma Kaukonen – lead guitar, vocals
• Jack Casady – bass
• Spencer Dryden – drums, percussion

 

Bark (1971)

Different. With Marty Balin gone (he was sick of the the band’s drug use by then) there was a tonal shift. This one’s less mellow and while the opener sounds like classic Airplane, it’s the second track by Jorma Kaukonen called “Feel So Good” that grabbed my attention at first. Jack Casady and Jorma Kaukonen are an unstoppable team. It’s no wonder they felt the need to stretch out into Hot Tuna. It clearly makes this record stronger. Kaukonen’s “Third Week in Chelsea” is surprisingly well-recorded and sounds great. Slick’s “Law Man” also stands out to me with its great vocals and fun guitars. Some of the tracks towards the end are just odd.

This album sounds like it’s recorded better. It’s more clear and easier to hear separate instruments. It’s not a bad album by any means, but nothing I want to spin on a regular basis.

Line Up:

• Jack Casady – bass guitar, bass balalaika
• Joey Covington – percussion, drums, vocals
• Paul Kantner – guitar, vocals
• Jorma Kaukonen – lead guitar, vocals
• Grace Slick – piano, vocals
• Papa John Creach – violin

 

Long John Silver (1972)

This is the one that broke them. Drummer Joey Covington left the band after two tracks and was replaced with John Barbata. Grace Slick and Paul Kantner had already had a child and were solid partners. But through it all, Jack Casady is still this band’s secret weapon with Kaukonen not far behind. The first half was better than the second. The title track and opener is quite exciting. It seems that this album has one foot in the past of the 60s and the other in the future of the 70s. There’s a new sound forming here, and I think Kantner and Slick knew that the band had to evolve now that the psychedelic hippy era was over.

Line Up:

• 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”

 

Jefferson Airplane (1989)

It took many years, but they got the band back together. The band had changed a lot since then, however. It’s a very strange record that tries to marry all the different incarnations of the bands Jefferson Airplane, Jefferson Starship, Starship, and spinoffs like KBC Band and Hot Tuna. Whether or not it succeeded in that effort is subjective. Some tracks (“Planes”) sound like they could be an outtake from one of their 60s albums with modern production. Others sound like they are trying to distance themselves from the 80s cheese of Starship, but they can’t quite do it. I think all the session players (Kenny Aronoff, brothers from the Paich and Porcaro families, etc.) and the production by Ron Nevison added to this.

Lyrically, they’re still doing the same thing they did in the 60s, but hearing hippy lyrics in this 80s production style is odd for some reason, especially on the songs “Summer of Love,” and “Now is the Time.” Maybe they thought this was going to be the new sound of the band (Hippy Cheese?) Maybe they were trying to evolve the whole thing yet again. They tried hard, and it does show. While it’s not unlistenable, it’s not very memorable.

Line Up:

• Grace Slick – vocals, keyboards
• Paul Kantner – vocals, guitars
• Marty Balin – vocals
• Jack Casady – bass
• Jorma Kaukonen – vocals, guitars
• Lots of session players including Kenny Aronoff on drums

 

Jefferson Starship

Blows Against the Empire (1970)

This is the first record that contains the includes Starship in the moniker. It was originally intended as a Paul Kantner solo project to keep him busy while the Airplane was on hiatus dealing with internal problems. This is why it’s credited to Paul Kantner and Jefferson Starship, which was just a loose term and not an actual band name. Hardcore folks probably don’t consider this a real Jefferson Starship album, since the band itself hadn’t reformed from the ashes of the Airplane yet. That would be another four years. This album is also a concept album, kicking around some counterculture concepts which was a common Kantner thing to do. The concept had something to do with hijacking a “starship” and that’s most likely where the name come from.

As for the album, it’s obviously a showcase for Paul and Grace. It plays out like a science fiction story, as it was meant to be. There are some cool moments, and it shows what happens when you take some of the Airplane and let them do something different. It’s not really that different, truth be told, but it’s a good example of a creatively free project consisting of music, story, and artwork. It should be applauded for that alone. “Have You Seen the Stars Tonite” is a nice little ditty. The end result, however, isn’t anything I will want to hear on a regular basis.

Line Up:

• Paul Kantner – vocals, electric and acoustic guitars, banjo, bass machine
• Grace Slick – vocals, piano
• Jerry Garcia – banjo on “Let’s Go Together” and “The Baby Tree”; pedal steel guitar on “Have You Seen the Stars Tonite”; sound effects and vocals on “XM”; lead guitar on “Starship”
• David Crosby – vocals and guitar on “A Child Is Coming” and “Have You Seen the Stars Tonite”; backing vocals on “Mau Mau” and “Starship”
• Peter Kaukonen – lead guitar on “Mau Mau”
• Jack Casady – bass on “A Child Is Coming” and “Sunrise”
• Harvey Brooks – bass on “Starship”
• Joey Covington – drums and vocals on “Mau Mau”; congas on “Hijack”
• Bill Kreutzmann – drums on “Let’s Go Together”
• Graham Nash – congas on “Hijack”; sound effects on “Home”; backing vocals on “Starship”
• Mickey Hart – percussion on “Have You Seen the Stars Tonite”; sound effects and vocals on “XM”
• David Freiberg – backing vocals on “Starship”
• Phill Sawyer – sound effects on “Home” and “XM”

 

Dragonfly (1974)

Most folks consider this one to be the actual start of the Jefferson Starship era. I really enjoy all the sci-fi associations, and this album has a great cover. Lots of important changes to the line up happened this time around. David Freiberg and Pete Sears came on full time, as did newcomer Craig Chaquico. Marty Balin was persuaded to add lyrics and sing on one song, but wouldn’t fully rejoin until the next album. His song “Caroline” is only a ballad in name. It’s a pretty upbeat love song and one of the better cuts on the album. “Ride the Tiger” has always been the standout for me. Papa John Creach’s “Devil’s Den” gives Slick a fun vocal playground. The bass in “Come to Life” has a Motown vibe and Sears emulates the bouncy lines just as well as Casady. Kaukonen is hardly missed as Chaquico fills the guitarist’s shoes with ease. “Hyperdrive” is pretty prog-rock and out-of-the-box for this band. There are some great guitar and violin solos, foreshadowing the hits that were yet to come.

It’s clear they all grew during the hiatus between Airplane and Starship albums. Things sound heavier and more fun on these songs. They seem to have decided to forego the constant political and social messaging in favor of good old-fashioned rock and roll. The production quality is much better here. The riffs are more engaging. It’s like comparing an actual airplane to a starship. It’s a great beginning to a newly transformed band, and warrants some repeat listening.

Line Up:

• Grace Slick – lead (3, 5, 8) and backing vocals; piano (3)
• Paul Kantner – lead (1, 7) and backing vocals, rhythm guitar
• David Freiberg – lead (2, 6) and backing vocals, keyboards (1, 2, 4), piano (5, 6), organ (7, 8), bass (2)
• Papa John Creach – electric violin (1, 2, 5–8)
• Craig Chaquico – lead guitar
• Pete Sears – bass (1, 3–8), piano (2, 4, 7, 8), harpsichord (4, 8), backing vocals
• John Barbata – drums, percussion
• Marty Balin – lead vocals (4)

 

Red Octopus (1975)

The Starship hits its stride and orbits the charts. As a little kid, I remember hearing “Miracles” on the radio a lot. I didn’t even know who they were yet, but I liked the song. Marty Balin really knew how to deliver an accessible hit. This album brought him back into the fold full time, and it was a great idea. His harmonies with Grace Slick are always tight. “Fast Buck Freddie” is another stand out track with great lead and backing vocals. “Sweeter Than Honey” could show up on a Humble Pie album and no one would know the difference. “I Want to See Another World” sounds almost like Black Sabbath or something. This is a pretty diverse and interesting album to listen to. Repeat listens for sure.

Line Up:

• Marty Balin – lead vocals (2, 5, 7, 10), backing vocals
• Grace Slick – lead vocals, (1, 4, 6), piano (4), backing vocals
• Paul Kantner – lead vocals (8), rhythm guitar, backing vocals
• Craig Chaquico – lead guitar, backing vocals
• Papa John Creach – electric violin
• David Freiberg – organ (2, 8), bass (3, 6, 9), ARP synthesizer (4, 10), keyboards (7), backing vocals
• Pete Sears – bass (1, 2, 4, 5, 7, 8, 10), electric piano (2, 11), keyboards (3, 5), acoustic piano (6, 8–10), organ (6, 8, 9), clavinet (6), ARP synthesizer (9), backing vocals
• John Barbata – drums, percussion, backing vocals

 

Spitfire (1976)

The band’s transformation began with Red Octopus, but was solidified with this album. They were no longer underground heroes. They were all-out rock stars. The eclectic nature of the songs (a result of their large roster) was definitely working for them. They were less preachy and more mainstream, but in a good way. There’s only so much you can say about the counterculture once it’s gone.

“Cruisin’” is a great opener with its mix of blues, funk, and rock. It’s probably tied with “Dance with the Dragon” for my favorite track on the album. “With Your Love” is a worthy successor to “Miracles” from Balin. In fact, I’m not sure there’s a weak tune on this one. They all have something to offer. I like it more than Octopus.

Line Up:

• Grace Slick – lead (3, 7) and backing vocals, piano (5, 7)
• Marty Balin – lead (1, 4, 6, 9) and backing vocals
• Paul Kantner – lead (2, 5) and backing vocals, rhythm guitar
• Craig Chaquico – lead guitar, backing vocals
• David Freiberg – keyboards (1–4, 6, 9), ARP synthesizer (5), bass (7, 8), backing vocals
• Pete Sears – bass (1–6, 9), piano (2, 5b), Mellotron (3), keyboards (4, 8), organ (5a, 7), Moog (5a, 7)
• John Barbata – drums, percussion, backing and lead (8) vocals

 

Earth (1978)

The late 70s were in full swing here. There are some lush string arrangements and more prominent synthesizer parts, typical of the music of the time. They were coming down from a few successful records and probably could have continued if not for the internal troubles in the band. Slick and Kantner’s tensions took hold. Balin was not thrilled with things either, including the recording process.

That said, “Count on Me” is still a good song, one I remember hearing on the radio a lot when I was growing up. “Take Your Time” and “Love Too Good” are standouts for Slick, whose voice was really starting to peak. It’s a solid rock album. The first half is the better half, in my opinion. It remains listenable, but seems to peter out towards the end.

They’ve always had an association with science fiction, which I enjoy. Star Wars was released to great success and you can see the influence right there on the cover of the album. The font is very similar to the Star Wars font. After the success of the film, and after the release of this album, the band was asked to appear in the much-maligned Star Wars Holiday Special on television. They performed “Light the Sky on Fire” but Grace Slick had already departed so she was able to dodge that bullet. Slick left after some mishaps in Germany on a tour that ended up being canceled. Balin left after the Star Wars stint on television. It was time to evolve once again. And evolve they did.

Line Up:

• Grace Slick – lead vocals (1, 3, 5, 7), backing vocals, piano
• Marty Balin – lead vocals (2, 4, 6, 8), backing vocals
• Paul Kantner – lead vocals (9), rhythm guitar (1, 4, 5, 7), backing vocals
• Craig Chaquico – lead guitar, rhythm guitar (1, 4, 5, 7), backing vocals
• Pete Sears – bass guitar (5, 8, 9), electric piano (1), organ (1–4, 6, 7), Moog synthesizer (1, 5, 9), piano (2–4, 6, 7), celeste (2), clavinet (4, 6), backing vocals
• John Barbata – electric drums, drums, congas, percussion, backing vocals
• David Freiberg – bass guitar (1–4, 6, 7), organ (5, 8, 9), backing vocals

 

Freedom at Point Zero (1979)

I cannot lie. This is where the Starship really takes off for me. Mickey Thomas is one of my favorite singers. The addition of Thomas and Aynsley Dunbar on drums was a solid choice. Grace Slick’s presence is noticeable, but after this album’s success, she worked her way back into the band starting with the next album. This band is tight. The guitars are sharp enough to cut your dinner for you.

I don’t need to tell you that “Jane” is one of their best songs to date, but I will because it’s worth repeating. It hits you right in the gut. The riffs, the piano, the perfect tenor lead vocal, the reggae-style bridge – it’s all there. It’s a timeless song I’ll always want to hear. “Just the Same” and “Rock Music” are also good tracks that showcase Thomas’ vocal prowess and Chaquico’s guitar work. The rest of the songs are fine, but I view this album as the foundation for the next two superior albums. It was a great way to introduce a new era for the band.

Line Up:

• Mickey Thomas – lead (1, 3–9) and backing vocals
• Paul Kantner – lead (2, 9) and backing vocals, rhythm guitar, keyboards (3)
• Craig Chaquico – lead guitar, rhythm guitar
• David Freiberg – bass (1, 2, 4, 6, 8) synthesizer (3, 5, 7, 9), backing vocals
• Pete Sears – bass (3, 4 (intro), 5, 7, 9), piano (1, 2, 4, 6), electric piano (6), organ (6, 8), rhythm guitar (8), backing vocals
• Aynsley Dunbar – drums, percussion

 

Modern Times (1981)

The 80s have arrived. Grace Slick has returned. Things feel better.

“Find Your Way Back” captivated me at 11 years old and it still does it for me today, even more so than “Jane” if we’re being honest. What a fantastic song. The guitar harmonies are pure perfection. As for the vocals, this is a song I often use as a vocal exercise just to see if I can pull it off. I’m hardly ever successful. “Stranger” was my other favorite. I loved the drums and by this time, Mtv had arrived, so there were cool visuals to enjoy. It was one of the first times I remember a music video that brought an album cover to life. It was very exciting for an 11-year-old kid. “Save Your Love” and “Stairway to Cleveland” are some other highlights. This album is a straight up rocker and very enjoyable. I go back to it quite often.

Line Up:

• Mickey Thomas – lead (all tracks) and backing vocals, spoken word (9)
• Paul Kantner – lead (9) and backing vocals, rhythm guitar, Oberheim Eight Voice synthesizer (9), keyboards (2), spoken word (9)
• Craig Chaquico – lead guitar, rhythm guitar, synthesizer (1, 6, 7), steel drums (6), spoken word (9)
• David Freiberg – bass (1, 6, 8), piano (2), synthesizer (2, 5), organ (3), backing vocals, spoken word (9)
• Pete Sears – bass (2–5, 7, 9), piano (1, 3, 4, 8), synthesizer (2, 4, 8), Moog (8)
• Aynsley Dunbar – drums, percussion, marimba (6), synthesizer (7)
• Grace Slick – co-lead vocals (2), backing vocals (3, 4, 8, 9)

 

Winds of Change (1982)

This one is hands down my favorite Jefferson Starship/Airplane album from any era. When this hit, I was at the impressionable age of 12 and I just took to it immediately. I had taped the songs off the radio for a mixtape before I could get the album. MTV had just come out the year before, and I was already loving the videos for “Stranger” and “Find Your Way Back” that aired constantly from Modern Times.

Mickey’s voice, especially when paired with Grace’s, just carried the whole thing for me. I think this was her vocal peak, also. The guitar work by Chaquico floored me as well. The solos all over songs like “Keep on Dreamin’” and “Can’t Find Love” still blow me away when I hear them. They are so melodic and fun. The title track had some great synth work, but also had an underlying acoustic that reminded me of the old Airplane days a little; not so much when I was small, but later in life when I listened to it all as an adult. “Be My Lady” was the big single which is great, but not the best track on the record in my opinion. In fact, it was the non-single they played on the radio called “Keep on Dreamin’” that I found to be more appealing. I’m not sure why they didn’t release that one. “I Will Stay” has a soulful sound reminiscent of “Let it Be” by the Beatles. “Out of Control” was another favorite of mine when I was a kid. It’s complete and enjoyable chaos with Grace Slick busy being Grace Slick. Speaking of Slick, “Black Widow” is a dark track loaded with cool synth, sass, great guitars, and a killer groove.

Again, the space theme dominated the artwork. I loved the cover depicting a pixelated wolf barking not at the moon, but at a colorful Saturn. It looked like a video game of some kind. Maybe it was just right place, right time, or just nostalgia, but this album really speaks to me. I never tire of it.

Line Up:

• Mickey Thomas – lead (1–4, 6, 9) and backing vocals
• Grace Slick – lead (1, 5, 7, 9) and backing vocals
• Paul Kantner – lead (8) and backing vocals, rhythm guitar
• Craig Chaquico – lead guitar, rhythm guitar
• David Freiberg – vocals, bass (3), keyboards (1, 2, 5, 6, 8), organ on (9), synthesizer (9)
• Pete Sears – bass (1, 2, 4–9), keyboards (3, 4), synthesizer (7, 9), piano (3, 8)
• Aynsley Dunbar – drums, percussion

 

Nuclear Furniture (1984)

I feel like the bubble had burst by now. While this is a good record, there’s definitely something off about it. As the 80s progressed, album production got bigger until everything sounded enormous. Drums were louder, drum machines and synths were more prominent, guitars were more compressed and lower in the mix, vocals were drenched in reverb and delay, and so on.

While it’s definitely listenable, this album just never grabbed me the way the previous releases did. In fact, nothing they’ve done after this could ever measure up. From here on in, it was all about hits and random musical moments. “No Way Out” turned out to be a number one hit, and “Layin’ It on the Line” is a good tune. I like them both. “Magician” is very forgettable synth pop. A big guitar solo at the end can’t really save it. The deep cut “Assassin” isn’t bad, but didn’t need the synths. “Shining in the Moonlight” is a more rock-driven track, reminiscent of the previous two albums.

This was the end of this particular era of the band with the departure of Paul Kantner not long after the album’s release. When the dust cleared, the band transformed yet again into just Starship.

Line Up:

• Mickey Thomas – lead (1–5, 8, 9, 11) and backing vocals, spoken word (11)
• Grace Slick – lead (3, 5, 7, 8, 10, 11) and backing vocals, spoken word (11)
• Paul Kantner – lead (5, 6, 11) and backing vocals, rhythm guitar, banjo (11), spoken word (11)
• Craig Chaquico – lead guitar, spoken word (11)
• David Freiberg – keyboards (2, 6, 8, 9, 11) Moog (5, 8), piano (9), backing vocals, spoken word (11)
• Pete Sears – bass, synthesizers (1, 3–5, 10) piano (5), backing vocals, spoken word (11)
• Donny Baldwin – drums (1–6, 8–11), hand claps (1, 9), roto toms (1, 4, 5, 11), backing vocals, spoken word (11)

 

KBC Band (1986)

When Kantner left Jefferson Starship after Nuclear Furniture, he put this band together with ex-members Marty Balin and Jack Casady. There was a lawsuit over the use of the band name and Starship was allowed to continue without the “Jefferson” prefix. The name was supposed to be retired according to the lawsuit, so perhaps this was Kantner’s answer to Starship.

It was 1986 so I guess this had to sound a little bit like the 80s. Still, it’s a bit of an interesting project that feels more like the ensemble that it is, especially when the vocalists trade off on songs like “Mariel.” “It’s Not You, It’s Not Me” is a decent mid-tempo 80s rocker. “Hold Me” sounds like a mix of older (Red Octopus) Jefferson Starship and the more guitar-driven early 80s sound. There are also a lot of things like sax and harmonica that fill out the sound. The record has a good energy to it. It’s not all great, though. Songs like “No More Heartaches” and “Wrecking Crew” sound like leftover Loverboy tracks. “America” (which was a single) was a little too preachy and long in the tooth. “Dream Motorcyle” is a little ridiculous.

That said, it’s not as bad as you might think. That’s probably because of that mix of old and new Jefferson Starship sounds, with a dab of late 80s thrown in. Also, Balin is a decent singer. I might even like this record better than the album that this one led to: the 1989 Jefferson Airplane reunion album.

Line Up:

• Paul Kantner – vocals, rhythm guitar
• Marty Balin – vocals, rhythm guitar
• Jack Casady – bass
• Mark “Slick” Aguilar – lead guitar, background vocals
• Keith Crossan – saxophone, background vocals
• Tim Gorman – keyboards, background vocals
• Darrell Verdusco – drums, background vocals

 

Windows of Heaven (1998)

In 1988, Paul Kantner decided it was time to re-launch the Jefferson Starship band. Somehow he convinced Marty Balin and Jack Casady to come along for the ride. This was not a bad idea, since Kantner’s vocals have never been the best. Marty, however, still has it going on, and Jack Casady’s bass once again dominates these tracks fantastically. Diana Mangano does a great job vocally also, though she provides a different sound than Grace Slick. She’s a little more Broadway, I would say. Slick had more sass.

“Goddess” sounds eerily like “Miracles.” Songs like “See the Light” and “Let it Live” sound a lot like Santana. Sounds like that’s the vibe they were going for, and it’s not bad. Lots of percussion and biting guitar riffs. There’s a good blend of rock and folk. This is what the 1989 album should have sounded like.

I had never heard this album (or any other of the Jefferson Starship albums from 1998 on) but I was pleasantly surprised! These are not bad songs. I’m not sure they’re memorable or making me want to hear them all again, but they are great for just popping on in the house.

Line Up:

• Marty Balin – vocals, acoustic guitar
• Jack Casady – bass
• Paul Kantner – vocals, acoustic and electric 12-String guitar, glass harmonica, synthesizer, banjo
• Diana Mangano – vocals
• Slick Aguilar – lead guitar
• T Lavitz – piano, synthesizer, Hammond B-3 organ
• Prairie Prince – drums and percussion, Celtic drum, electronic and alien percussion, marimba, rainstick

 

Jefferson’s Tree of Liberty (2008)

This is an interesting project, and one that marks the last with founding member Paul Kantner who would pass away in 2016. The ever-rotating line up brought back members David Freiberg and Donny Baldwin. Prairie Prince played on the album, but Baldwin did the tour. Diana Mangano was replaced by Cathy Richardson, who still doesn’t measure up to Slick, but has a bit more soul than Mangano.

It’s essentially an album of cover material. There are covers of protest songs, Irish folk songs, and other Americana. It’s mainly acoustic, and you’ll hear lots of acoustic guitars, piano, banjo, and percussion. Kantner took some of these tunes and added his own lyrical and/or musical changes to them. One notable example is a combining of John Lennon’s “Imagine” with Bob Marley’s “Redemption Song” called “Imagine Redemption.” Quite the creative mash-up! On the songs he sings, Kantner’s voice is well-suited for this material. It’s a fitting send off to a socially conscious guy.

I enjoyed listening to this one quite a bit. Another pleasant surprise. Speaking of surprises, Grace Slick shows up for a very Jefferson Airplane sounding cameo on a bonus track aptly titled “Surprise Surprise.”

Line Up:

• Paul Kantner – vocals, 12-string acoustic guitar, banjo, glass harmonica, ‘George Harrison’ lead guitar, 12-string electric guitar
• David Freiberg – vocals, acoustic guitar, washboard guitar
• Cathy Richardson – vocals, harmonica, acoustic guitar
• Chris Smith – piano, bass, squeezebox, drone, pennywhistle, string synthesizer
• Slick Aguilar – tremolo and ‘Soldano’ electric guitar on “Genesis Hall”, lead guitar on “Maybe for You”
• Prairie Prince – drums, snare, kick, bodhran
• Donny Baldwin – drums (supporting tour)
• Darby Gould – vocals on “Genesis Hall”, “In a Crisis”, and “The Quiet Joys of Brotherhood”
• Diana Mangano – vocals on “Royal Canal” and “Commandante Carlos Fonseca”
• Marty Balin – acoustic guitar and vocals on “Maybe for You”

 

Mother of the Sun (2020)

Jefferson Starship finally touches down on their final album to date before going fully into nostalgia mode. Paul Kantner died in 2016, so this album is the only one not to feature him thus far. It’s a stripped-down version of the previous line up, basically.

This one just doesn’t sound like Jefferson Starship to me. It’s like they’re trying, once again, to evolve into a different band. This isn’t a foreign concept to this group, but the end result, while pleasing to the ear, bears little resemblance to the former incarnations. In fact, it’s pretty much an EP with one song repeated (just longer) and a live version of an old Jorma Kaukonen song.

So it’s not the best send-off to the Jefferson Starship name, but it allows the band to tour endlessly and who knows, maybe a new album will pop out one day.

Line Up:

• Cathy Richardson – lead vocals (1, 2, 4, 7), backing vocals, guitar, keyboards
• David Freiberg – lead vocals (3, 6), backing vocals, guitar
• Jude Gold – lead guitar
• Chris Smith – keyboards
• Donny Baldwin – drums, backing vocals
• Pete Sears – bass (1, 3, 4)
• Greg Panciera – bass (2, 7), shaker (1)
• China Kantner – backing vocals (4)

 

Starship

Knee Deep in the Hoopla (1985)

After Nuclear Furniture, Paul Kantner left the group. There was a lawsuit over the name resulting in the remaining members forming a band just called Starship. After starting to make this album, Davie Freiberg left, not happy with the production efforts. The five remaining members forged ahead with their new radio-friendly sound that was relevant at the time. Nearly all of the tracks were written by people outside the band. Love it or hate it, it worked.

It’s not the most satisfying album, but if you’re looking for cheesy pop fun, this is it. It sounds like the soundtrack to just about every 80s movie out there. I miss the arena-type rock they had, but this is a totally different band now. With the heavy guitars mostly replaced with synths, Mickey’s soaring vocals are the big saving grace here.

The thing to remember here is that they were trying something new. They were trying to be relevant and change with the times. They were trying to get a few hits under their belt. It’s not the awful album people make it out to be now, and it’s certainly the best of the three 80s albums they released.

Line Up:

• Mickey Thomas – co-lead vocals (1, 9), lead vocals (2, 3, 5–7), backing vocals
• Grace Slick – co-lead vocals (1, 9), lead vocals (4, 8), backing vocals
• Craig Chaquico – guitars
• Pete Sears – bass guitar, synth bass
• Donny Baldwin – drums, electronic drums, backing vocals

 

No Protection (1987)

The group was reduced to a four piece at this point, since Pete Sears left and bass duties were taken over by session players and synths. He did play on the album’s big hit, though. The formula and the end result were pretty much the same as they were on the previous album, though: fewer guitars, more synth, more drum machines, tight sounds, focus on the vocals and melodies.

I actually don’t mind the opener “Beat Patrol” or the upbeat “Girls Like You” at all, poppy as they are. They’re upbeat and not too sappy, like the big power ballad “Nothing’s Gonna Stop Us Now.” My favorite track, however, is “It’s Not Over (‘Til It’s Over).” Too bad this album is front loaded with all the good stuff. It starts to lose momentum halfway through and totally peters out with the duet ballad “Set the Night to Music” which later became a big hit for Roberta Flack. Ballads sold records at the time, unfortunately. I like a good ballad, but this one isn’t great. Of the two Diane Warren songs here, “Nothing’s Gonna Stop Us Now” is the better one. As with Hoopla, this one’s hit or miss with about 50% of it being enjoyable.

Line Up:

• Mickey Thomas – lead vocals (1–6, 8, 9, 11), backing vocals (1, 2, 6, 7, 10, 11)
• Grace Slick – lead vocals (1, 2, 6, 7, 10, 11), backing vocals (1–6, 8, 9, 11)
• Craig Chaquico – guitar, backing vocals (5, 8–11)
• Donny Baldwin – electronic drums (1, 3, 4, 7, 8, 11), drums (5–7, 9, 11), backing vocals (2, 4, 7–11)

 

Love Among the Cannibals (1989)

I can’t say the formula has changed much here, but the line up has. Grace Slick jumped Starship. There are some other folks listed on keyboards and bass also. It would be a last hurrah for this incarnation of the band, however. Mickey Thomas would rearrange it in 2013, but with a new roster.

The sound of the album is better here. The opener called “The Burn” sounds more like a straight-ahead rock tune for a change. The big single “It’s Not Enough” is standard fare. While listening to the album, the track “I Didn’t Mean to Stay All Night” came on and I thought I was listening to Def Leppard for a second. Mutt Lange has a way of making all his backing vocals sound like they’re sung by the same people regardless of the group. I’m not sure if I should be impressed by that or not.

This album fizzles out too, but it definitely has less of a synth-pop feel than the previous two efforts, so that’s a plus. At least there are more guitars and solos. When I worked in record stores, I remember this one being in the bargain bin after some time and I didn’t pay it much attention. Listening to it now, it’s not so bad, but nothing I want to have on repeat.

Line Up:

• Mickey Thomas – lead vocals
• Craig Chaquico – guitars
• Donny Baldwin – drums, backing vocals
• Mark Morgan – keyboards
• Brett Bloomfield – bass, backing vocals

 

Loveless Fascination (2013)

Well, it’s been a while. This time, Mickey Thomas is back, but with an entirely new band. By the time this album rolled around, the 80s sound was long gone. Hence, more guitars. The production is more modern, though there’s still a little 80s in there somewhere. Mickey’s voice is a little rougher/raspier but it’s still him and he still sounds great, albeit just slightly different.

I wasn’t expecting the album to be this interesting. The tracks, “It’s Not the Same as Love” and “What Did I Ever Do” are pretty great. The rest of it is pretty fun too. It’s not a bad record at all. I was expecting more cheese, but it’s actually pretty dark and heavy at times. It devolves into power ballads towards the end, though. It sounds nothing like the old Starship, but that doesn’t really matter. The album didn’t do much and ended up being just a one-off.

Line Up:

• Mickey Thomas – lead vocals, guitar; production (tracks 8, 10)
• Stephanie Calvert – lead vocals
• Darrell Verdusco – drums, backing vocals
• Phil Bennett – keyboards, backing vocals
• Jeff Adams – bass, vocals
• John Roth – guitar, backing vocals