A little nostalgia for the old folks

As we used to say, when this little piece of vinyl was still hot from the press, "It ain't much, but it'll get you off".

Once considered "underground" and "revolutionary", Baxter's is now a genuine roadside attraction, and a valuable thread in the weave of the American experience. Enjoy this gentle breeze from finer days.

How much did/will this change your life?

I used to throw this one on while I was executing psychedelic paintings (tempera paint on poster-board) during sophomore year ('68-'69) at the university.

The first, very long lead guitar note signals the beginning of an epic/epochal journey, which in a way is what this album set out to achieve. It was to be a transformation of the consciousness of our generation, perceived/conceived through what the Airplane offered us through their creativity, experience, and of course their music. It was the herald of a new dawn, a kind of strange bird trumpeting to us of its arrival, and secondarily announcing their new style/sound.

On "The Ballad of You and Me and Pooneil", you almost don't know what Balin and company are singing about, but somehow it makes perfect sense, in a most visionary sort of way. This is excellent, as they don't fall prey to trying to describe the situation too precisely [if you can say/see exactly what it is, you ain't there!] So what you get is the map of the energy currents your soul can follow in order to travel the paths they are marking. Jefferson Airplane are describing and charting the way into and through the region of numinous. (Who really cares whether or not if it's meant to be thought of as drug-induced? It works either way, I'd say).

Dylan never did it any better than this. When Mr. Zimmerman got into a similar mode ["Gates of Eden", "Desolation Row", "The Ballad of Frankie Lee and Judas Priest", et al.), he was busy creating new prophetic religious texts for the New/Now Generation. Bob created a series of alternate worlds staring at us, right in front of us. Or was he semi-transforming what we always see into what we always know, but don't always realize? Again, either way, it works.

Following "Pooneil", there is the relative short interlude of the happy psychedelic party, a sound-space through which meaningful and/or hilarious one-liners, musical passages/quotations and various conversations float, and which segues into the beautiful, very moving "Young Girl Sunday Blues".

Even more amazing is the beginning of the second suite, the song "Martha", during which we succumb to some of the most beautifully poetic lines imaginable, all which compassionately conspire to take us higher and deeper into and through the new vista. "Martha she speaks to me from a feather in the meadow . . . " This is the one song that starts with an acoustic guitar ostinado, which continues throughout. (A little ways in, it's heavily overlaid, in most a friendly manner, by offerings from the lead electric.)

These first couple of suites, Grace is given free rein to use her voice as an accompaniment instrument (Marty does most of the lead singing). Grace was sort of serving the function of a second lead guitar, of course timbrally different. I wonder if Yoko Ono learned how to sing listening to these pieces? Grace does a great job here. Then, later when she takes the lead on the two severely satirical pieces ["Last Wall of the Castle" and "Two Heads"] her voice assumes its usual, masterful [powerful] attitude. These two songs (and to some extent all of 'side two') more or less forecast what's to come next (album #4: 'Crown of Creation'), where satirical and apocalyptic energy/imagery kick in furiously.

Here on 'Baxters' there's not yet too much trouble in paradise . . . Middle America is witnessed as something outside of the new hippie way. Alienation has acted in its own way to create the [beautiful] alternate to what was referred to at the time as the Death Culture. But by splitting humanity/America into two camps, we were led in a way to the partial dissolution of this new vision, as most had our feet planted somewhat in both worlds. 'Crown of Creation' dives headfirst into this fray. Please stay tuned.

The Airplane Crashes and Burns

Yes, this album embodies the drug culture of San Francisco 1967. Yes, this album is unique. Yes, this album is aggressively anti-commercial. Does this mean this is a good album? Unfortunately No. That is unless you've lived during the era (in which case this album has nostalgic value), tripped-out during it (apparantly what this was designed for) or are still tripping out. Otherwise, what you will discover is a meandering mess of self-indulgence thrown together by musicians discovering what it's like to have free reign in the studio and dithering around with every nob and button they could find. If that excites you or if you think the excess of Frank Zappa is genius, then maybe you'll love this album. On the other hand, if you were expecting to hear some great songs from the late 60's that still hold resonance today (as you will on the Airplane's Surrealistic Pillow, Crown of Creation or Volunteers albums) you've come to the wrong place because all you'll get here are two or three very good songs in the midst of an anarchist jumble of annoying, time-consuming nonsense that should never have been recorded and released to an unsuspecting and growing fanbase. Oh yeah, did I forget to mention that the album's meant to be this way because it's all about the whole LSD and drug experience and what it means? Sorry, but unlike a number of reviewers here, I don't look upon that as a *good* thing but as a disgusting, self-destructive misuse of life that has done enormous harm to people's lives (exactly how many years did it take Jorma to break his heroine habit and after how many near-death experiences?). Granted, a number of amazing albums have been written and produced with its musicians on drugs. Sadly, this isn't one of them. It's no coincidence that Marty Balin only co-wrote one song here and his presence is sorely missed. Thankfully, the follow-up, Crown of Creation, took the knowledge they gained on this release and coupled it with good compositions to produce not only one of their finest efforts, but one of the best albums of the era.