ZAP 7854 – Patti Smith “Teenage Perversity And Ships In The Night” has already been reviewed, so next up is:

Jefferson Airplane Almost Sss

A1         Have You Seen The Saucers?         
A2         Crown Of Creation         
A3         Somebody To Love         
A4         Mexico         
A5         Emergency         
A6         The Man    [correct title is Bludgeon of a Bluecoat]    
B1         Wooden Ship         
B2         Greasy Heart         
B3         You Wear Your Dress Too Short         
B4         We Can Be Together         
B5         Volunteers

Side 1: 25:30; side 2 : 24:10 “Exs”

Source: Winterland, San Francisco – October 4, 1970 – KSAN FM radio broadcast

Complete set list:

1	Have You Seen The Saucers		6.52
2	Crown Of Creation			4.07
3	Somebody To Love			7.00
4	Mexico					2.35
5	Up Or Down				7.27
6	Whatever The Old Man Wants		7.17
7	Emergency				5.22
8	Wooden Ships				7.01
9	Bludgeon Of A Bluecoat			5.33
10	Greasy Heart				4.43
11	You Wear Your Dresses Too Short		6.50
12	We Can Be Together			5.36
13	Volunteers				5.49

	Marty Balin		        Vocals
	Jack Casady		Bass
	Joey Covington		Percussion
	Paul Kantner		Vocals, Guitars
	Jorma Kaukonen	Guitars, Vocals
	Grace Slick		        Vocals

wolfgangsvault writes: “One of the most historic occurred on October 4, 1970, when Bill Graham presented the cream of the crop of seminal San Francisco bands on a quadruple bill at Winterland. Beginning with The New Riders Of The Purple Sage and The Grateful Dead, who were then followed by Jefferson Airplane and Quicksilver Messenger Service (augmented by a horn section for the occasion), this night would go down in history for a number of reasons. Although it turned out not to be the case, Bill Graham would publicize this event as Quicksilver’s farewell performance assuring a sellout at Winterland that left many clamoring for tickets. To accommodate the demand, a local television and radio simulcast was devised, but unlike any simulcast that had been attempted before this one had a visionary concept — quadraphonic surround sound! At a time that long predated multichannel broadcasting this was achieved by transmitting live over 2 FM radio stations simultaneously. San Francisco’s TV station, KQED, would broadcast the video signal, the rear audio channels over their sister FM station and San Francisco’s KSAN FM would simulcast the front two audio channels. To experience the quadraphonic mix required listeners to set up 2 FM receivers and two stereo systems in the same room. Conspicuously missing from this monumental night of seminal San Francisco bands was Janis Joplin and Big Brother & The Holding Co, which had parted ways two years prior. Sadly nobody would ever see Janis Joplin again as she passed away this very same night just a few hundred miles away in Los Angeles, a news flash that was intentionally kept from the performers.

Primitive videotapes of this event are rumored to exist in KQED’s archive, but have never been seen and have never surfaced even in part. The same cannot be said for the audio, as numerous recordings were made of the FM broadcasts and within a few months, bootleg vinyl pressings […] began surfacing.”

“Notes edited from Ahuka’s Choice Volume 6: This is one of Jefferson Airplane’s most visible live performances. On Sunday night, October 4, 1970, the Airplane played the first of two headlining evenings at Winterland, sharing the bill with The Grateful Dead, Quicksilver Messenger Service, The New Riders of the Purple Sage (with ex-Airplane drummer Spencer Dryden), and of course, Hot Tuna. The concert was simulcast on KSAN-FM in stereo, and also televised on public television station KQED, with a quadrophonic signal broadcast on KQED-FM. It was to be an historic evening.

Taking the stage with a full beard that made him look even more melancholy, Balin sounded distinctly out of place throughout the show. He steers a resplendent “Have You Seen The Saucers” toward a quiet place, but is abruptly overruled by the band, who proceed to turn it into a lacerating Grace Slick rave-up that seems to be fighting the spectre of Death itself off the stage. It only follows with musicians of this caliber that the concert packs some incredibly hot moments — bassist Jack Casady powerfully upping the ante in the homestretch of “Somebody to Love”, and a rare live performance of drummer Joey Covington’s “Bludgeon of the Bluecoats” (an outcry against police brutality that the band later recorded in the studio with Little Richard, and never released) that is played with such superhuman speed and dexterity by lead guitarist Jorma Kaukonen that Covington actually begs him to slow down — but this is definitely music born under a bad sign. The poignancy of “Wooden Ships” seems to weigh on Balin particularly, and even the good-natured sexual braggadoccio of his white soul number “Emergency” rings hollow. As an extended, chugging “Volunteers” threatens to keep him onstage longer than he can bear, Balin interrupts the jam with “Look what’s happenin’ out in the streets,” forcing the wind-up. As the song careens to its sloppy, aggravated end, Balin sings what would be his last line as an active member of Jefferson Airplane until 1989: “Gotta revolution — oh yeah, and I need a new band!” Marty Balin would not sing again as an active member of Jefferson Airplane until their short-lived reunion album and tour of 1989. (He was coaxed onstage at the Airplane’s final concert at Winterland in 1972 for an encore of “Baby You Wear Your Dresses Too Short.”)

The simulcast of the concert ensured that high quality tapes were in circulation the very next day, and it was not long before bootleg albums surfaced. Both ALMOST STARSHIPSHAPE (Ze Anonym Plattenspieler #ZAP 7855) and TALES FROM THE MOTHERSHIP (Mammary Productions #MM6) were prevented by vinyl limitations from using the entire concert; STARSHIPSHAPE sacrificed “Up or Down”, “The Old Man” and “Bludgeon of the Bluecoat”, and MOTHERSHIP dropped “Crown of Creation,” “Somebody to Love,” “Bludgeon” and “Greasy Heart.” The next night, Jefferson Airplane returned to Winterland without Balin. Joining them was a new member, electric jazz violinist Papa John Creach, recruited by drummer Covington. Black, bald, in his mid-fifties but comporting himself like a much older man, Creach was easy to mistake at first sight for the latest Airplane prank, but when he plugged in and sweetly sawed his way up the neck of his fiddle, it was impossible not to be astounded by his musicality and charmed by his stage presence.”

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