JEFFERSON AIRPLANE-SURREALISTIC PILLOW-RCA 1ST PRESS RED SPOT MONO RD.7889 1967
£
25
$
33
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Description
JEFFERSON AIRPLANE-SURREALISTIC PILLOW TYPE SINGLE LP-MONO LABEL/PRESSING INFO RCA VICTOR RED SPOT 1ST PRESS WITH DECCA GROOVED LABELS AND MATRIX NUMBERS T2PP-9331-3K & T2PP-9335-1K CATALOGUE NUMBER RD 7889 YEAR OF RELEASE 1967 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE- CLOUT & BAKER LAMINATED NO FLIPBACK INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s) EXCELLENT+ ( CLEAN with just LIGHT playwear and LIGHT surface handling marks,plays well throughout with a nice crisp DECCA MONO reproduction with only a light background noise in some of the quiet bits) LABELS
EXCELLENT ( CLEAN LABELS with NO writing stickers,rips or tears and some LIGHT spindleusage)
SLEEVEFront board and Inner Gatefold EX+ CLEAN with NO writing stickers,no rip or tears.The laminate is bright and shiny and not heavily dulled and worn by handling and storage,and with just a light pressure mark ,and some light creasing. Rear board EX CLEAN with NO writing rip tears or other user adornments .The white board has a bit of light ageing and handling wear ,and a bit of light watermarking along the top edge. Flipbacks N/A N/A Spine EX Complete and uncrushed has a bit cracking along its length but with no laminate loss and clear lettering at either end. Edges EX BOTH top and bottom edges have very light wear with no laminate loss Opening EX LIGHT wear and LIGHT usage Corners EX ALL 4 CORNERS have just LIGHT wear INNER /EXTRAS
N/A
DETAILSSurrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit -- literally -- like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964.
And decades later the album still comes off as strong as any of those artists' best work. From the Top Ten single "Somebody to Love" to the sublime "Embryonic Journey," the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist).
Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn't represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn't record for official release any of the group's shows from the same era, when this material made up the bulk of their repertory.
That way the live versions, with the band's creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than "Today," which he'd actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band's ability to do a straightforward song.
The group never made a better album, and few artists from the era ever did.
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