1002: A Soap Odyssey

Press, 26 May 1977, Page 14

1002: A Soap Odyssey

By NEVIN TOPP Jefferson Airplane “Flight log (1966-1976)” (CYL2-1255): Captain's log. Star date 2231. Found a strange rectangular object containing two black discs and a booklet near Alpha Romeo. Spock says it is a history of a rock music group(?) called Jefferson Airplane which g-ew with the flowerpower scene(?) in San Francisco in 1966. Amazing fellow Spock. Managed to find a machine that will take the discs. Side A contains a song “White Rabbit,” with nonsensical lyrics. However. Spock says it contains ref 'rences to Alice in Wonderland and drugs. Terrific fellow Spock. After hearing the song Lieutenant Uhura spent the remainder of Side A giggling and dancing around the bridge. Dr McCoy is getting paranoid. Put on Side B. It has a live version ot “Somebody to Love.” off the album Bless its Pointed Little Ears, er, Head. Liked it

very much. But, Spock says the version on the Surrealistic Pillow album is better. That Vulcan mind is astounding. Scottie is getting paranoid. Also on the same side is a song called “Wooden Ships.” Spock says that a group called Crosby, Stills, Nash, and Young played it at a rock festival at Woodstock in 1969. He also says that Jefferson Airplane played “Volunteers” at the same venue. Tremendous fellow Spock. Lieutenant Uhura is getting paranoid. “Hesitation Blues (Traditional)” and “Cornin’ Back to Me” both feature Marty Balin on beautifully played acoustic guitar. Side C features “Pretty as You Feel” and on D “Ride the Tiger” and an unreleased song “Please Come Back (Live),” done by Jefferson Starship. Spock says he thinks it was added to encompass the decade from 1966 to 1976. The rise and fall of flower power. Spock becoming paranoid. Spock says side D

should have included “Miracles” off Red Octopus. He has started doing equations like A equals B plus C — Jefferson Airplane. Scottie has got hold of the ship’s intercom system and is playing fiendish highland music. The ship is becoming paranoid. Bunny Wailer "Blackheart Man” (Island L 36119): Together with Bob Marley and Peter Tosh, Bunny Wailer was one of the founder members of the Wailers 12 years ago. However, Bunny has been content to wait in Jamaica, without touring, and like Peter Tosh has gone in his direction. But then, all the wailers remain friends, as is evident on the “Blackheart Man” album which features Peter Tosh, Bob Marley, and Carlton and Aston “Family Man” Barrett. • With a line-up like that a hard-driving reggae album in the vein of Natty Dread would be expected, but disappointingly it is not.

The backing group take a back seat, while Bunny Wailer pours forth Rastafarianism. The inside cover is shaped in a tablet containing 10 messages (songs) as if Bunny had discovered the 10 commandments.

Almost all the songs expound a Rasta philosophy with little of the personal experiences, which have shaped the songs that Bob Marley plays. There are exceptions. The first two songs on side one “Blackheart Man” and “Fighting Against Conviction,” both involve personal anguish. And “This Train” is equally as good for its backing chorus in an evangelical mood.

The reggae beat is softer, quieter, but spoilt by songs with Rasta philosophy at full blast. If Bunny had stuck to personal experiences interwoven with Rasta overtones, the album would have been successful. The quality of musicianship is high.

Janis lan “Miracle Row” (Interfusion L-36140): Janis lan has swapped orchestral arrangements and acoustic guitar for a softrock approach on Miracle Row.

She is not quite the “society’s child” she once was. Not even an “At 17” or “Water Colours.” But, a glance at the lyrics which are on the back of the album cover, show that her writing is as still elusive and hinting. A matter of reading between the lines. On “Sunset of Your Life” she has moved from concern for the young to that of the elderly, in the only acoustic song on the album. The vocals are superb, particularly in the line “the old ones like to claw and clutch.”

The soft-rock approach pounds through on “I Want to Make You Love Me” and “Take to the Sky,” but it is hard to tell how this new approach goes with her suggestive lyrics. The proof would be in a live show or recording. The final song on the album is “Miracle Row/Maria,” the first half of which bouncily suggests the song about a prostitute, but the second slows, heavy on piano, to the hopelessnesss of the oldest profession. Also there is a hint of lan’s bisexuality, but that requires reading between the lines.