Ear Flux

About Patti Smith by Steven Sebring, Dream of Life:

By ROBERT KOEHLER
The titular rocker-poet gets a suitable portrait in Steven Sebring’s “Patti Smith: Dream of Life,” which runs radically against the grain of American-made pop music docs. The result of 11 years of filming (much of it in wonderfully grainy black-and-white 16mm), pic is designed as a stream-of-consciousness experience, following Smith as she revives her music career and considers every aspect of her life. Death, too, plays a stark role, and the textured, thoughtful results may prove too cerebral and abstract for auds beyond Smith’s hardcore followers, but long-term, this will be a loss-leader that gains much respect.

What Sebring — a fashion and pop photographer, painter and commercials maker — doesn’t know about doc filmmaking never hurts the film. Starting in 1995, when Smith recorded her comeback album “Gone Again” and toured with her idol, Bob Dylan, after having not performed live for 16 years, Sebring’s project clearly developed as it went along, and the effect of watching the film is seeing something in the making — like rummaging through Smith’s closet, and stumbling across interesting stuff.

In voiceover, Smith briefly sums up her background as the daughter of Chicago parents (Grant and Beverly Smith, both lovingly seen at home) and the cultural child of ’60s art-political foment. At 23, a fledgling and serious poet, she became friends with artist Robert Mapplethorpe and teamed with him for a series of works that belonged to the early phases of performance art. Other encounters (such as with then-hell-raising playwright Sam Shepard) proved crucial, and led her into rock ‘n’ roll.

“Dream of Life” distinctively treat the particulars of her early career in only glancing references, none of them in chronological order, with Smith sometimes seen obliquely. more…

“Strange days have found us
Strange days have tracked us down
Theyre going to destroy
Our casual joys
We shall go on playing
Or find a new town

Yeah!

Strange eyes fill strange rooms
Voices will signal their tired end
The hostess is grinning
Her guests sleep from sinning
Hear me talk of sin
And you know this is it

Yeah!

Strange days have found us
And through their strange hours
We linger alone
Bodies confused
Memories misused
As we run from the day
To a strange night of stone”

Strange Days

Q isso galera …….nem um Doors até agora………..pararam de gostar? É muito cliché? Põe umas umas raridades ai galera………por enquanto vai o que eu mais gosto…….Waiting for the Sun………

Waiting for the Sun

1. Hello I Love You
2. Love Street
3. Not To Touch The Earth
4. Summer s Almost Gone
5. Wintertime Love
6. The Unknow Soldier
7. Spanish Caravan
8. My Wild Love
9. We Could Be So Good Together
10. Yes The River Knows
11. Five To One

Trilha sensacional do filme de mesmo nome que conta a história de Stuart Sutcliffe, o quinto (e vacilão) Beatle. Mostra os primórdios da banda inglesa em Hamburgo, vale a pena ver. A banda montada pra tocar a trilha do filme tem como integrantes:
Greg Dulli (Afghan Whigs)
Mike Mills (R.E.M)
Dave Grohl (NIRVANA, Foo Fighters)
Thurston Moore (Sonic Youth)
Don Fleming (Gumball)
Dave Pirner (Soul Asylum);
que tocam as músicas da fase inicial dos Beatles com bastante influência do som que rolava na época, do início dos nos 90…….muito bom.
Track list:
01 - Money
02 - Long Tall Sally
03 - Bad Boy
04 - Twist And Shout
05 - Please Mr. Postman
06 - C’mon Everybody
07 - Rock ‘N’ Roll Music
08 - Slow Down
09 - Roadrunner
10 - Carol
11 - Good Golly Miss Molly
12 - 20 Flight Rock
The Backbeat Band

Só continuando a onda ai mais um pouco do post da Helena ai, pra quem baixar e ouvir com carinho o DESIRE, 76, merece ser ouvido tb, de earphone, e de olhos fechados, um dos melhores shows da carreira do camarada.
O show de encerramento da parte de 75 da ROLLING THUNDER REVUE.

1975/12/08, Madison Square Garden, THE KNIGHT OF THE HURRICANE - BOB DYLAN.

From the middle lands they come, creatures void of form, performing their deeds of mercy for breadcrumb sins. Through a glass darkly had they forseen Napoleon, in rags of green and gold, jurneying from the coast of Barcelona whilst, from the mountains of Madrid, came forth the blue eyed boston boy, flagging down the double e’s. And great rejoice was made at their coming for while they sang songs of darkness, songs of light made sounds inside my mind.
Yet the pedlar now speaks of darkness at the break of noom, for while Dylan plays, dead men bemoan the midas touch and though paradise regained the maine event yet would the Knight of the Hurricane bring forth the Final Cut.

Pensando estes dias que tá faltando um pouco mais de MR. DYLAN por aqui e lendo um blog dum amigo meu, o Sérgio, tricolor pernambucano dos mais gente boa, resolvi postar aqui o que seria o primeiro BOOTLEG de rock da história.

A incrível história do “álbum perdido” de Dylan, as lendas em torno dele e como The Great White Wonder inventou o mercado de discos piratas

Não vou copiar o texto aqui, mas na Reportagem por Alexandre Matias (originalmente publicada na Revista Bizz e no site Trabalho Sujo) e que podéis ler no BLOG DO SÉRGIO, dá pra ter uma idéia da história desse vinil que tem rodado o mundo dos começos de 70 pra cá.

Bom, sei que na verdade, o JAZZ já era bem pirateado lá pra meados dos 50, mas de saber de um álbum que saiu assim, por debaixo dos panos (e do nariz da Columbia) e foi vendido como esse foi, quase como se fosse um álbum oficial, nao sei outro nao..

E como todo BOOTLEG que se preza, esse, claro, lá pra meados dos 80, já possuía diversas versões por todo o mundo, chegando a ser editado até em uma versão quádrupla. Já li que são mais de 25 edições distintas, mas seguramente é impossível saber quantas versões existem. A que tenho (1º e 3º de 4 existentes), da Joker, italiana, lançada pela extinta (?) Imagem, carioca, já trás várias músicas que não constavam da versão original, lançada entre 1968 e 1969.

Nessa reportagem da Rolling Stone de 20 de setembro de 1969, buscado no BOBSBOOTS, rola de ter uma idéia um pouco melhor da importancia do disquinho..

LOS ANGELES - More then 2,300 copies of a “bootleg” Bob Dylan album are now being sold in Los Angeles in what may be the entertainment industry’s first truly hip situation comedy.

The simply-produced package … 26 cuts on two plain unmarked discs called “Great White Wonder” was made from tapes never before released by Dylan or by his now rather miffed record label, Columbia.

Rather, it was collected, pressed and currently is being marketed by two young Los Angeles residents both of whom have long hair, a moderate case of the shakes (prompted by paranoia) and an amusing.. MORE..

E do maior acervo de bootlegs do Dylan que conheço..

One of the most famous bootlegs of all time. This is the first bootleg ever to be produced in the rock-and-roll era. Great White Wonder was originally released in the United States in July of 1969. There was little on this piece to identify it to the world. It came out in a blank white gatefold cover, with blank white labels. The only identifying mark whatsoever is the matrix number: GF 001/2/3/4. (gwa 1Aa version 1). The name ‘Great White Wonder’ probably actually began as a joke when retailers needed to come up with a name for this blank white album. The term quickly became synonymous with Dylan in the bootleg world however, and has since been used many, many times to refer to either the man or his work.

Later in the year this famous album was repressed. This second repress, (gwa 1Aa version 2 ) can be identified only by the addition of the number “2″ carved after the matrix on all four sides of the LP.

At about the same time that the album first made its appearance in the United States, a Swedish pressing began circulating in Europe. The differences… MORE..

Bom, deixo aqui duas versões desse pedaço de história da música.

A primeira com 11 músicas, me parece ser realmente tirada do originalzão mesmo..

1969, GREAT WHITE WONDER - SEEMS LIKE A FREEZE OUT, BOB DYLAN

A segunda, já mais extendida, trás várias versões do primeirão e umas coisas a mais…

ps. tirei umas paradas que tavam ai pq pensando depois acho que eu podia tá falando bobagem.. segue:

1969, GREAT WHITE WONDER - GREAT WHITE HOPE, BOB DYLAN

PS. A capinha ai é do selo americano “Contraband” e é provavelmente a primeira capa deste primeiro Bootleg ai.

Outra grande bandinha dos 70, FLEETWOOD MAC.

Disquinho de 71, light, maravilhoso. Se bobear o que eu mais grado deles.

From esse site aqui, os comentários.

Danny Kirwan-Guitar and vocals
Joined Fleetwood Mac 1968 from Boilerhouse, ex Brixton Blues band.

Christine McVie-Piano and vocals
Joined Fleetwood Mac in the Summer 1970, from Chicken Shack.

Bob Welch-Guitar and vocals
Joined Fleetwood Mac in Spring 1971 from various California R&B groups.

Mick Fleetwood-Drums
Original member of the group with Peter Green, 1967. From John Mayall’s Bluesbreakers, and Shotgun Express with Rod Stewart, to name a few.

John McVie-Bass
Founder-member of John Mayall’s Bluesbreakers. From 1963 to 1967. Joined Fleetwood Mac from its inception.

Fleetwood Mac Personnel changes to date:

Mick Fleetwood, Jeremy Spencer, John McVie and Peter Green started group in 1967. Danny Kirwan joined later. Then Peter Green left in 1969. And then Christine McVie joined. Then Jeremy left six months later. Bob Welch joined in 1971.

CD Reissue Liner Notes:

After a series of personnel changes that saw the departure of two of the group’s founding members, Fleetwood Mac rebounded with one of the most significant and satisfying albums of their career. Released in late 1971, Future Games was a breathtaking musical pastiche that heavily featured the musical contributions of the band’s two newest members, American Bob Welch and Christine McVie, wife of bassist John McVie and an essential component to the group’s new sound.

Fleetwood Mac was formed in 1967 when McVie, drummer Mick Fleetwood and guitarist Peter Green left John Mayall’s legendary Bluesbreakers to form their own band. Recruiting Elmore James enthusiast Jeremy Spencer, the group played its first gig in August of that year at the British Jazz and Blues Festival and immediately landed a recording contract. Fleetwood Mac’s self-titled debut was released later that year and was an immediate best-seller, yielding the hit single “Black Magic Woman.”

It was followed by a series of popular and critically acclaimed releases, showcasing not only the band’s consummate blues abilities, but their wide-ranging grasp of a variety of musical styles. On albums such as Mr. Wonderful (1969), Then Play On (1969) and Kiln House (1970), Fleetwood Mac set standards for taut, economical ensemble work as well as dazzling guitar virtuosity and supple songwriting skills.

These LPs also mirrored the band’s rapidly shifting line-up. Founding member Peter Green left the group in 1970, followed a year later by Jeremy Spencer. Danny Kirwan, who had joined the group in time to record their second album, was augmented by keyboardist/vocalist Christine Perfect, formerly of the British blues/rock outfit Chicken Shack. Bob Welch, a Los Angeles-based guitarist and vocalist who had served a stint in an R&B band called the Seven Souls, was recruited as a replacement for Spencer.

It was this line-up - Christine and John McVie, Bob Welch, Danny Kirwan and Mick Fleetwood - that entered the studio in the summer of 1971 to record Future Games. The album’s tune stack ranges from the Bob Welch R&B shouter “Lay It All Down,” to the evocative, jazz-flavored title track to the lilting Christine McVie ballad “Show Me A Smile.” The three Kirwan-penned tunes are special treats. According to one critic, “Woman Of 1000 Years” “floated on a languid sea of echo-laden acoustic and electric guitars,” while “Sometimes” boasted a sparkling country arrangement and “Sands Of Time” accented the band’s formidable melodic prowess.

(C) (P) 1971 Warner Bros. Records Inc. Reprise Records, a division of Warner Bros. Records Inc., a Warner Communications Company.

1971, FUTURE GAMES, FLEETWOOD MAC

reuppado. 1971, FUTURE GAMES, FLEETWOOD MAC

Grace Slick - vocals, keyboards;

Marty Balin - vocals;

Paul Kantner - guitar, vocals;

Jorma Kaukonen - guitar;

Jack Casady - bass;

Spencer Drayden - drums

Mais uma vez, uma bandinha que tem o Jorma e o Casady e ainda tem 3 vocalistas (sendo que um deles é simplesmente a Grace Slick!) devia aparecer mais por aqui.

Greco, deixo ai o show de onde saiu grande parte das faixas do melhor disco deles. Sem frescura. o BLESS IT’S POINTED LITTLE HEAD é simplesmente o MELHOR disco que o J.A. já lançou.

Vai ai o bootleg:

cartazinho básico de algum show no fillmore west, nao propriamente o do bootleg que tá ai.

BAXTER’S STUDIO REHEARSALS 1967
1. Martha
2. Spayre Change

SAN FRANCISCO FILLMORE WEST,October 26, 1968
3. Fat Angel
4. Rock Me Baby
5. Somebody To Love
6. Won’t You Try / Saturday Afternoon
7. White Rabbit
8. Ballad Of You And Me And Pooneil
9. House At Pooneil Corner

De um .txt que recebi de um camarada no soulseek uma vez..

Per Dave: “the studio stuff is great. the live portion is from the same
shows used for Bless It’s Pointed Little Head and as far as i can figure,only Rock Me Baby is
the same as the official release”.

Per Matt: “Jeez, is that an understatement. This disc is un-f’n believable! Martha is superb,
the 24 minute Spayre Change is enough to make me think Baxter’s should have been a double album.
Rehearsals, my ass, Baxters was edited down.

And as for Bless It’s Pointed Little Head, I am sure there is stuff here that would have been
included if the album had been a CD instead of an LP. To me, this disc is like finding the JA
holy grail.”

lsosa54@yahoo.com notes: There is a slight tape warble between the 10 and 11 seconds marks of
Won’t You Try, the start of which is cut. I edited out all the useless silent gaps especially
the original track 2 of the rehearsals (12 secs. of silence!) and the silent gap between
Saturday Afternoon and White Rabbit on the live stuff. I edited out some smaller silent gaps
on the live stuff and cut down the appropriate silence at the end of Martha from 9 secs. to 2
secs. Also edited out a small pop at about 3:05 of White Rabbit.

I then broke up the cut Won’t You Try Saturday Afternoon/White Rabbit into separate tracks and
then did the same for Ballad of You & Me & Pooneil > House at Pooneil Corner. I added a fade
at the end of Somebody To Love during the applause and a fade in to the cut Won’t You Try
Saturday Afternoon to try and ease the transition a bit.

separado em 2 archivos:

Baxter’s Rehearsals & Fillmore West 1
Baxter’s Rehearsals & Fillmore West 2

Mais um saido dos meus velhos cds empoeirados..

Fino.

1972, JAZZ BLUES FUSION, JOHN MAYALL

De quem se resume a nata do gênero aos senhores mestres da decada e da lama a qual o disco pertence, uma pérola:

Tracklist:
01.All Your Love
02.Hideaway
03.Little Girl
04.Another Man
05.Double Crossing Time
06.What’d I Say
07.Key To Love
08.Parchman Farm
09.Have You Heard
10.Ramblin’ On My Mind
11.Steppin’ Out
12.It Ain’t Right

Original mono-version from 1966(releasedate 22nd July 1966)
Stereo-version, released in december 1969

Outro CLÁÁÁÁÁSSICO da dácada de 60. DISCOGRAFIA OBRIGATÓRIA pra quem grada dessa onda de princípios do rock ingles.

Ray Davies é simplesmente um dos grandes genios que a Inglaterra produziu durante os 60. Merece um posto ao lado de Syd Barrett, Brian Jones, David Bowie e Pete Townshend.

From Wikipedia:

The Kinks è il nome di uno dei più importanti gruppi di musica rock degli anni 60. I Kinks erano composti da Ray Davies (1944) cantante e Dave Davies chitarrista e fratello di Ray. A completare il gruppo Mick Avory e Pete Quife. La Band Inglese ha all’attivo brani entrati nella leggenda come “You Really Got Me” (da molti ritenuto il primo pezzo hard-rock della storia, uscita nell’Agosto 1964), “All Day And All Of The Night”, “Till The End Of The Day” , “Sunday Afternoon”, “Dandy”, “Dedicated Follower Of Fashion” , “Louie Louie” , “Lola”, “Village Green Preservation Society”, “Victoria”, “Days”, “Death of a Clown” (cantata da Dave), “Suzanna’s Still Alive” e soprattutto “Autumn Almanac” e “Waterloo Sunset”.

Nel 1968 Ray Davies compose anche le musiche di un’opera rock (che non venne però rappresentata), quasi un anno prima del celebre Tommy di The Who. Negli anni settanta orienteranno la propria attività musicale e concertistica in funzione soprattutto del mercato americano. Ebbero molta influenza su gruppi successivi, come i Clash.

1966, FACE TO FACE - THE KINKS.

Pra quem grada, eu aconselho também que busquem e baixem o 1969 Arthur (or the decline and fall of the british empire). Se bobear mando ele aqui depois tb.

Pra finalizar o final de semana mais esquisito dos ultimos 5 anos, estes senhores ate entao ausentes de nosso querido blog, sugestão muy bien lembrada por um Greco em seu melhor, bebado ao lado de seu barril de 80 litros de chopp ouvindo Mutantes, sabado de noite:

Beatles : Revolver (1966)

Heralding the psychedelic era
The most light-hearted track on Revolver is the childlike “Yellow Submarine.” The song’s inspiration can be traced back to one of Lennon’s school drawing books from the early 1950s[citation needed]. McCartney himself has said that he wrote “Yellow Submarine” as a children’s song for Starr to sing.
Although not credited on the album, the Scottish singer-songwriter Donovan, who had become a close friend of the Beatles, assisted with vocals and with the writing of the song itself. Donovan came up with the line “Sky of blue, sea of green, in our yellow submarine.”[citation needed] Rolling Stones guitarist Brian Jones can be heard clinking glasses in the background, and Beatles road manager Mal Evans also sang on the track. With the help of their EMI production team, the Beatles overdubbed stock sound effects they found in the Abbey Road studio tape library. (George Martin had collected these for his production of recordings of the British radio comedy programme The Goon Show.). From Wikipedia

Track Listing
Side one
1. “Taxman” (Harrison) – 2:39
2. “Eleanor Rigby” – 2:07
3. “Love You To” (Harrison) – 3:01
4. “Here, There and Everywhere” – 2:25
5. “Yellow Submarine” – 2:40
6. “She Said She Said” – 2:37
Side two
1. “Good Day Sunshine” – 2:09
2. “For No One” – 2:01
3. “I Want to Tell You” (Harrison) – 2:29
4. “Got to Get You into My Life” – 2:30
5. “Tomorrow Never Knows” – 2:57

Pensando aqui porque, 457 posts depois, esta perola monstra de todos os tempos do rock n roll planetário ainda não havia figurado aqui, vai saber, tsc, seus, seus analfabetos musicais:

Jamming with Edward is an album recorded by three members of The Rolling Stones with Nicky Hopkins and Ry Cooder at London’s Olympic Studio during the Let It Bleed sessions of 1969, and released on Rolling Stones Records in 1972. The album reached #33 on the U.S charts.
The eponymous Edward was pianist Nicky Hopkins, as in Edward the Mad Shirt Grinder, Hopkins’ star turn on Quicksilver Messenger Service’s album Shady Grove.

Blza, absolutamente qualquer arroto oriundo das sessões que deram luz ao Let it Bleed poderia ser considerado masterpiece musical, não satisfeitos, vem o sujeito la do Buena Vista e o Hopkins, juntam com a galera e fazem isto, 1969. De quebra ainda o encarte rachação, do camaradinha que rí até morrer. Vos deixo a mesa de buteco (inglês) onde Robert Johnson trocou uma ideia com Elvis Presley:
Tracklist
1. “The Boudoir Stomp” – 5:13
2. “It Hurts Me Too” (Elmore James) – 5:12
3. “Edward’s Thrump Up” – 8:11
4. “Blow With Ry” – 11:05
5. “Interlude a la El Hopo (incl. The Loveliest Night of the Year)” – 2:04
6. “Highland Fling” – 4:20

Falando desses senhores, pra mim, o tema do post é tipo Top3, absolutamente imprescindivel.

Jamming with Edward

what can i say dudes?

slow ride…take it easy

Dazed and Confused

Caiu hoje na internet, em primeiríssima mão recebi aqui o link e, presentinho repassado.
Afinal, nós somos fodas.

Shine A Light’ will be released on 7 April 2008.
SoundTrack
MP3 VBR kbps v2-new(standard)Very Good
158 Mb
==========
Documentary)
A Paramount Classics release presented in association with Concert Event Prods. Intl. and Shangri-La Entertainment. Produced by Michael Cohl, Zane Weiner, Steve Bing, Victoria Pearman. Executive producers, Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood. Co-producers, Joseph Reidy, Emma Tillinger. Co-executive producer, Jane Rose. Directed by Martin Scorsese.
With: Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, Christina Aguilera, Buddy Guy, Jack White III, Bill Clinton, Martin Scorsese
From Dirk1 Music

Track list:
Disc: 1
1. Jumping Jack Flash
2. Shattered
3. She Was Hot
4. All Down the Line
5. Loving Cup (feat. Jack White III)
6. As Tears Go By
7. Some Girls
8. Just My Imagination
9. Faraway Eyes
10. Champagne & Reefer (feat. Buddy Guy)
11. Tumbling Dice
12. Band introductions
13. You Got the Silver
14. Connection
Disc: 2
1. Sympathy for the Devil
2. Live With Me (feat. Christina Aguilera)
3. Start Me Up
4. Brown Sugar
5. (I Can’t Get No) Satisfaction
6. Paint it Black
7. Little T&A
8. I’m Free
9. Shine A Light
Parte 1
Parte 2

1908-2008

Bandinha fina, Renaissance. Outra babe hipponga, Annie Haslam. Canta muito. Sonzinho muito bom tb. Este é um dos melhores disco deles. Pra quem não fraga, é um bom começo.

1973, Ashes are burning - Renaissance

aqui uma gravação meio tosca, mas dá pra ver que o tanto que o som é bom.

Power trios são realmente sensacionais… o poder de explorar com 3 instrumentos o potencial sonoro de uma banda é fenomenal… talvez seja porque power trios sempre tem músicos monstros… mas vejam só:

Em 72, titio Jack (tá falado por aqui esses dias!) juntou com Leslie West & Corky Laing pra formar um power trio sensacional… ó os figura aí:

West & Laing tocavam em outro power trio - Mountain - na mesma época que titio Jack tocava no Cream.

Eles lançaram 3 discos, 2 de estúdio e 1 ao vivo e separaram logo após o Live ‘n’ Kickin’ e uma das coisas interessantes é que todos eles cantavam e com estilos de vocal bem diferentes…

deixo aqui o 1º de estúdio - Why Dontcha, de 1972 e o Live ‘n’ Kickin’ de 1974, que tem uma versão destruidora de Politician…

ROCK N ROLL NA VÉIA…

enjoy:
West, Bruce & Laing - Why Dontcha (1972)

West, Bruce & Laing - Live ‘n’ Kickin’ (1974)

é incrível escutar titio Jack neste disco.

Pra quem não sabe:
Jack Bruce, baixista e um dos mentores de uma das maiores bandas do planeta, o Cream.(precisa falar mais alguma coisa?)

Já Robin Trower foi o clássico guitarrista do Procol Harum - banda que em meados de 68 tornou-se uma das maiores influências de um som que estava por vir: o rock progressivo.(depois deixo alguns discos sensacionais do Procol por aqui…). Ele teve um surto após escutar Hendrix tocando, o que mudou seu estilo completamente: dali pra frente nada de long trips na guitarra e sim uma guitarra distorcida, elétrica… blues rock na véia!

Completa a banda o batera Gary Husband, que dele, não sei nada… apenas um batera que completa adequadamente um power trio com dois monstros! …pouca bosta num é né?!

Este disco traz boas lembranças do cream… Tipo na música “Lives of Clay” que é uma espécie de releitura de “Politician”. E a voz de titio Jack??? de horrorizar o tanto que ta igual, ou talvez até melhor que na época do cream…

Coisa nova… de Rock n Roll clássico… muito bom…

Enjoy:
Jack Bruce & Robin Trower - Seven Moons (2008)

Durante os anos 60 os Airplane mantinham uma casa no Haight-Ashbury, aquele bairrozinho de San Francisco do qual sairam provavelmente os melhores sons do rock americano, e o nome deste disco é o endereço desta casa.

Cotinha, este não é o mais clássico deles, e sim uma coletânea, com os melhores momentos das fases do JA, que tem uma obra bastante extensa.

Acho interessante escutar esta coletânea antes de pegar algum cd específico - (ps.: JA é discografia oficial para qualquer pessoa do planeta, então aos poucos vamos disponibilizar todos os discos deles aqui né não Carajazz?) - , uma vez que eles tem fases musicais que são mais marcadas pelo rock psicodélico, outras por uma levada mais folk…

enfim… a grace slick é uma bab, os caras da banda tocam muito e PORRA GALERA BAIXA O SOM DESSA BANDA QUE EU TO TENTANDO APLICAR A MUITO TEMPO QUE VALE A PENA DEMAIS!!!!!

1- “We Can Be Together”
2- “Crown of Creation”
3- “Mexico”
4- “Wooden Ships”
5- “Rejoyce”
6- “Volunteers”
7- “Have You Seen the Saucers?”
8- “Eat Starch Mom”
9- “Pretty as You Feel”
10- “Martha”
11- “Today”
12- “Triad”
13- “Third Week in the Chelsea”
14- “Good Shepherd”
15- “Eskimo Blue Day”
16- The Levi Commercials

Enjoy: Jefferson Airplane - 2400 Fulton Street