Jeffersons Reviewed
The latest billing of the Jefferson Starship brand name has so much additional information that it couldn’t all fit on the ticket. But then again it’s only natural for this lengthy lineup to bill tours extremely specifically, given the variety of names through the years. From the 1960s rise of Jefferson Airplane to its retooled Jefferson Starship throughout the ’70s, and what simply became known as Starship in the ’80s, fans would literally need a flow chart to keep up with the countless members associated with these entities. And even after years of dissension that led to lawsuits and then rekindled friendships, there’s still a variety of acts on the road with the words “Jefferson” and “Starship” on marquees.
The purpose of the Jefferson Starship & The Jefferson Airplane Family Galactic Reunion was not only to feature those acts’ beloved hits and psychedelic trips down memory lane, but also to recall the general vibe of the ever so popular “San Francisco Sound” in general. So with that in mind, the roster was fleshed out to include the following: Jefferson Airplane/Jefferson Starship founder, rhythm guitarist, and co-singer Paul Kantner; current Jefferson Starship members Slick Aguilar, Chris Smith, Linda Imperial, and Diana Mangano; Tubes cofounder Prairie Prince; Quicksilver Messenger Service cofounder David Freiberg; Country Joe McDonald of Country Joe & The Fish; and original Grateful Dead pianist Tom Constanten. In the “Where’s Waldo?” game of who doesn’t seem to belong, Prince is the odd man out considering “She’s A Beauty” ruled the ’80s with those certain new-wavers, though he has served time with the group for the past 10 years or so.
Among the most notable absentees are Marty Balin (due to “family considerations”) and Grace Slick (who retired from touring in 1989). Obviously Mickey Thomas (one of the other singers tagged to the Starship moniker on a separate tour) and all his “We Built This City” glory were not invited to the party, especially considering early Airplane followers refuse to even acknowledge that period.
With that sorted out (deep breath) the House Of Blues crowd was sparsely spread out looking to reclaim a slice of youth and see how the material would translate decades later. Glancing onto the stage that evening was like dipping back to the heyday of the hippie movement, and though everyone was much older and grayer, the spirit of free love, peace, and musical improvisation prevailed. Of course those first two vibes, coupled with radio appeal, were best captured by a handful of smashes for which the Jefferson contingency is most known. Among them were the keyboard enhanced “Jane” and the immortal “Somebody To Love,” both packed with enough instrumental electricity, vocal shrieks, and rippling distortion to properly transport all through the desired time warp. Of course “White Rabbit” earned an even more thunderous response, making visions from the classic Surrealistic Pillow come alive without the need for narcotic enhancement.
However, the performers only hinted at the commercial, turning the majority of their marathon set into jam sessions steeped in Woodstock-styled experimentation. In actuality that comparison is fitting given Kantner, McDonald, and Constanten are all alumni of the original 1969 event, and they still have stamina in their veins. While the venue was practically perfect from a sound perspective, the indoor environment was truly a distant second to an open field and festival grounds, and as a result, much of the improvisation turned tedious. One of the most overblown examples was a rendition of The Beatles’ “While My Guitar Gently Weeps,” carried by Aguilar’s endless guitar shredding. A tribute to Jerry Garcia with “Loser” was also trying, while the group’s very own “Have You Seen The Saucers” never knew when or quite how to end.
For those wondering how Mangano held up to Slick, she did just fine from a vocal perspective, despite lacking some of the charisma and personality of the icon she replaced. Though it would be ideal to have her original pipes back, Slick’s later performances paled in comparison to what they once were, so this was the next best option. As for opening sets by Constanten and McDonald, they were much less eventful, merely stretching out the evening’s duration with soggy material. Though Constanten collaborated with the newer Airplane/Starship add-ons and then later supplemented McDonald, time has not been well to either player.
A special “Circle Of Gold” was set up giving diehards access to a sound check, after show autograph session and a soundboard recording of this very concert. Whether people paid for that pricey package or just settled for general admission, they got most of their money’s worth and at least had the opportunity to relive San Francisco’s glory years. So in that sense, the Jefferson Starship & The Jefferson Airplane Family Galactic Reunion achieved lift off, but after three-and-a-half-hours from the curtain’s rise to closure, it just didn’t know when to land.
—Andy Argyrakis
Category: Live Reviews, Weekly
