Bass Guitar Airplane

Bass Guitar Airplane

bass guitar airplane

Learn & Master Piano with Will Barrow was recently released in November of 2007. The course was developed by Legacy Learning Systems. This is the same company that developed the highly successful guitar training course Learn & Master Guitar. I was anxiously awaiting the arrival of the new Learn & Master Piano course in the mail. Originally the course was to be released in October but the shipping date was pushed back a month so that Legacy Learning Systems could finish pressing all of the DVD’s.

I finally received the course in early December and couldn’t wait to check it out. Upon opening the packaging I found a small crack in the included binder. This had me a bit concerned that the DVD’s and CD’s included with the course might be scratched or damaged as it was apparent that the shipping company didn’t handle the package with care. I’m glad to say everything was fine. No scratches or scrapes on any of the disc’s.

The course includes:

14 DVDs,

5 Play Along CDs

104 Page Lesson Book

The 14 DVD’S are organized into 28 sessions:

1. First Things First

2. Major Progress

3. Scaling The Ivories

4. Left Hand and Right Foot

5. Minor Adjustments

6. Upside Down Chords

7. The Piano as Singer

8. Black is Beautiful

9. Black Magic

10. Making The Connection

11. Let it Be

12. Breaking Up’s Not Hard to Do

13. Rockin’ the Piano

14. A Bit of Beethoven

15. Pretty Chords

16. The Dominant Sound

17. Getting The Blues

18. Boogie-Woogie and Bending

19. Minor Details

20. The Left Hand as Bass

21. The Art of Ostinato

22. Harmonizing

23. Modern Pop Piano

24. Walkin’ the Blues & Key Shakin’

25. Ragtime, Stride and Diminished

26. Jazz Piano

27. Hot and Cool Piano

28. Building Bridges

The course starts out with a brief introduction by the course instructor Will Barrow. Will explains what will be needed for the course (basically just an 88 key piano or workstation) and talks briefly about how the course will move along.

I noticed that the production quality is excellent right from the start. Having taught piano, guitar and bass I was curious to see how they would film the course in a way that the student could always see what keys or chords were being played. Legacy Learning Systems has done a great job with this. Whenever Will is playing the piano a virtual keyboard shows up on the screen above the normally shown camera angles of the keyboard. I really love this feature because not only is it very easy to see what notes are being played but students will have the added benefit of seeing the actual names of the notes and the chords on the screen.

In addition to the visual help from the virtual keyboard, the course also included little tid bits of information for the student to remember. Mr. Barrow refers to these as “nuggets” and they appear from time to time when they apply to what is currently being taught. I think it’s really smart way to get really important details across without having the student overwhelmed by too much information at once.

The course isn’t really designed for children but I think any young adult would be comfortable going through the lessons. I would like to state the course is really aimed at teaching adults, so if your thinking about buying it for anyone under the age of 14 you might want to look else where.

Learn & Master Piano isn’t cheap. It’s $249 the last time I checked for the full course. Legacy Learning Systems often has sales on their products so if you see it at $249 check back in a day or so because they are known for having weekly sales.

Thanks for reading!
Jason

Jason Ericson has been a musician for over 25 years and has played professionally and taught students of all ages over the last 10 years. Learn about Learn & Master Piano here: http://www.pianocoursereviews.com/Learn-and-Master-Piano-Reviews.htm

How Do I Make My Guitar Amp Sound 1960′s-ish?

I’m 15 and I love 1960′s bands like Jefferson Airplane, The Doors, and The Beatles. I want to make my amp sound like it’s from that era. (Well, sound more like Jorma Kaukonen or Paul Kantner from Jefferson Airplane, but anyways…) What should I set the Treble, Middle and Bass to? And, should I use Overdrive or Clean? Thanks

More treble and middle. Also get a tube amp. The sound is much warmer than a transistor and more tonal. They also diddnt even have transistor amps back in the 60′s

Jefferson Airplane – Wooden Ships

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Jefferson Airplane Takes Off $6.99 This reissue of TAKES OFF contains the complete album in both mono and stereo. In order to preserve the integrity of each complete album, there is a 10 second gap between the two versions. This CD issue restores the original last song on TAKES OFF, “Runnin’ ‘Round This World”, deleted shortly after the original release of this album in 1966.Jefferson Airplane: Marty Balin, Signe Toly Anderson (vocals); Paul Kantner (guitar, vocals); Jorma Ludwik Kaukonen (guitar); Jack Casady (bass); Alex “Skip” Spence (drums).Recorded at RCA Victor’s Music Center Of The World, Hollywood, California .Includes liner notes by Jeff Tamarkin and Ralph J. Gleason.This newly remastered 2003 deluxe edition contains bonus tracks.Jefferson Airplane: Marty Balin, Signe Toly Anderson (vocals); Paul Kantner (guitar, vocals); Jorma Ludwik Kaukonen (guitar); Jack Casady (bass); Alex “Skip” Spence (drums).Originally released on RCA Victor (3584). Includes liner notes by Jeff Tamarkin.There is a reason why the Jefferson Airplane was the first nationally renowned proponent of San Francisco rock. As much as they bucked establishment values, the sextet offered a musical mixture of California folk-rock and white blues that was nevertheless easier to digest than the sounds of their contemporaries. TAKES OFF, their debut recording, made before Grace Slick joined the band, goes to great lengths to establish them as the obvious next step on a pop staircase of the Beatles, Byrds, and Rolling Stones.Signe Anderson and Marty Balin’s distinctive, folky harmonies give TAKES OFF a lived-in warmth and a loved-in counterculture vibe that defined the times. Covers of John D. Loudermilk’s infamous “Tobacco Road” and The Youngbloods’ ’60s anthem “Let’s Get Together” may have symbolized their community’s alienation from their parents’ values, but the Airplane versions were less calls to arms than sympathetic pats on the back. However, Jorma Kaukonen’s boppy R&B guitar leads and Jack Casady’s free but steady bass lend the Airplane’s debut some heavy rock muscle.

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One Hot Minute $5.21 At the time of its release, One Hot Minute was viewed as the beginning of a new direction for the Red Hot Chili Peppers. Guitarist John Frusciante had departed and former Jane’s Addiction guitarist Dave Navarro joined the ranks after some false starts with short-lived replacements. Band chemistry here isn’t quite up to past standards. Navarro stretches out throughout the album, imbuing tunes with …

Jefferson Airplane: Bark [Vinyl LP] [Stereo] STEREO VINYL LP! Jefferson Airplane: Bark! 1971 Grunt Records Release! TRACKS: A1. When the Earth Moves Again; A2. Feel So Good; A3. Crazy Miranda; A4. Pretty as You Feel; A5. Wild Turkey; B1. Law Man; B2. Rock and Roll Island; B3. Third Week in the Chelsea; B4. Never Argue With a German If You’re Tired or European Song; B5. Thunk; & B6. War Movie….

Quicksilver Messenger Service (First Album) [Vinyl LP] [Stereo] [1979 Capitol 'Green Line' Reissue] STEREO VINYL LP! Quicksilver Messenger Service: Quicksilver Messenger Service (First Album)! 1979 Capitol ‘Green Line’ Reissue of this 1968 Release! TRACKS: A1. Pride of Man (4:08); A2. Light Your Windows (2:38); A3. Dino’s Song (3:09); A4. Gold and Silver (6:41); B1. It’s Been Too Long (3:02); & B2. The Fool (12:06)….

Audio-Technica ATH-M30 Professional Headphones $47.99 A perfect choice for project studio engineers, home recordists and recording musicians, Audio-Technica’s ATH-M30 dynamic stereo headphones offer the highest level of sonic accuracy in a design engineered to provide maximum comfort for hours of listening. The headphones’ low-profile, closed-back design provides exceptional clarity and superior isolation in high-volume listening situations. Features…

Fiio E3 Headphone Amp $4.00 The E3 Portable Headphone Amplifier from Fiio is a compact and portable headphone amplifier that allows you to increase the play time of your music player and improve the audio quality. It also has a bass boost function for enhanced bass. The amplifier has standard 3.5mm input and output connectors, providing compatibility with a variety of headphones and music players. Simply place the amplifier …

Direct Sound EX29 Extreme Isolation Headphones (Black) $109.95 Extreme Isolation Headphones are the only isolation headphones that do not leak sound into microphones during recording. No bleed of click tracks or recorded tracks. The only passive isolation headphones that can be worn for long periods of time without ear or head fatigue weighing only 11.5oz. The headband is stretchable over time and does not need to be tight on your head to block sound. Custome…

Hot Tuna concert at Winterland on 30 Apr 72 $9.98 This benefit concert for the California Marijuana Initiative featured Copperhead, Stoneground and Dan Hicks and the Hot Licks on a bill with headliners Hot Tuna. There is probably no Hot Tuna album more universally loved than the band’s 1972 release, Burgers. The disk effectively struck a perfect balance between the acoustic and electric extremes that had come to define the two, distinct facets of the band – aside from featuring some of their most captivating material. This concert captures the band at that exact point in time – playing with a creativity and competence more viable than ever before. With Papa John Creach’s electric violin and Sammy Piazza’s drums augmenting Kaukonen and Casady’s distinctive sound, these performances are full of raw expressive energy. Unlike earlier and later permutations of the band that often jammed on almost anything and everything they played, however, the group here focuses on more concise, precise arrangements. This more conservative approach reveals the true beauty of much of their material while allowing one to appreciate the incredible musicianship of Kaukonen and Casady; their interplay and control of dynamics is, at times, astounding. Following their introduction, the band gets things off to a rousing start with several classic songs including “Candyman,” “Been So Long” and “Uncle Sam’s Blues.” Following a break to tune up and allow some stage announcements to be made, the group brings Papa John Creach to the fore and perform his showcase instrumental “John’s Other,” to rapturous applause. They then launch into the new Burgers material, beginning with the searing blues tune “Ode To Billy Dean,” featuring scorching guitar work from Kaukonen. Next up is possibly the most beautiful and fully realized instrumental that Jorma ever wrote: “Water Song.” Much like his classic Airplane instrumental “Embryonic Journey,” this composition features outstanding finger picking guitar work, punctuated by Casady’s contrapuntal bass pla

Jefferson Airplane – Crown of Creation $18.99 Jefferson Airplane: Marty Balin, Paul Kantner, Jorma Kaukonen (vocals, guitar); Grace Slick (vocals); Jack Casady (bass) Spencer Dryden…

Jefferson Airplane – Crown of Creation $4.99 Jefferson Airplane: Marty Balin, Paul Kantner, Jorma Kaukonen (vocals, guitar); Grace Slick (vocals); Jack Casady (bass) Spencer Dryden…

Jefferson Airplane – Crown of Creation [Remaster] $19.99 Jefferson Airplane: Marty Balin, Paul Kantner, Jorma Kaukonen (vocals, guitar); Grace Slick (vocals); Jack Casady (bass) Spencer Dryden…

Jefferson Airplane – Last Flight [Remaster] $15.99 Jefferson Airplane: Paul Kantner (vocals, guitar); Grace Slick (vocals); Jorma Kaukonen (guitar); Jack Casady (bass guitar). Recorded…

Jefferson Airplane – Plastic Fantastic $14.99 Jefferson Airplane: Paul Kantner (vocals, guitar); Marty Balin, Grace Slick (vocals); Jorma Kaukonen (guitar); Jack Cassady (bass…

Jefferson Airplane – The Essential Jefferson Airplane $13.99 Jefferson Airplane: Paul Kantner (vocals, guitar); Marty Balin, Grace Slick (vocals); Jorma Kaukonen (guitar); Jack Casady (bass…

Jefferson Airplane concert at Fillmore Auditorium on 02 Oct 66 $9.98 This particular run of shows featured Jefferson Airplane opening a bill that featured the Paul Butterfield Blues Band and legendary bluesman Muddy Waters. Jefferson Airplane was beginning to diversify their sound, allowing Jorma Kaukonen and Jack Casady to experiment more. Vocalist Signe Anderson, who had helped to establish the group’s identity, would depart a few weeks later. Following Bill Graham’s introduction, they begin in humorous form, with a brief nod to The Rolling Stones’ “(I Can’t Get No) Satisfaction” before launching into an engaging improvisational jam. This jam is utterly unique and displays the band’s growing confidence and willingness to create new music on the fly. The band is certainly reaching for new territory here. They would continue to experiment by opening with improvisations relatively often in the weeks to come. The “Tobacco Road” that follows has considerably more dynamic instrumentation than its studio counterpart, with Casady, unlike the majority of bass players, clearly becoming a major force in the groups overall sound. In addition to several other tracks from the group’s debut album, we’re also treated to an embryonic takes on Marty Balin’s “Don’t Let Me Down” and “Go to Her,” both new additions to the band’s ever-growing live repertoire. Played for the first time two nights before, Donovan’s homage to San Francisco and Jefferson Airplane in particular, “Fat Angel” is given its second live reading. It again features Paul playing acoustic guitar and while not as spacey or evolved as this number would inevitably become, it’s a sure sign that the group’s approach is diversifying and becoming far more adventurous. After acknowledging the other bands that will be performing on the bill, they close with “High Flying Bird,” before relinquishing the stage to Muddy Waters Blues Band. Written by Alan Bershaw

Jefferson Airplane concert at Fillmore West on 26 Oct 68 $6.98 This Fillmore West set was recorded at the peak of the classic lineup’s powers, as their fourth album, Crown of Creation, was climbing up the charts. Playing to a hometown audience, this set is arguably even better than their live album, Bless It’s Pointed Little Head, recorded around the same time. They open with a cover of Donovan’s “Fat Angel,” now transformed into a ragafied journey into deep space with Jack playing rhythm guitar and Marty on bass. They follow with a “Rock Me Baby” that points in the direction that Jorma and Jack would take with Hot Tuna the following year. Strong versions of their two biggest hits, “Somebody to Love” and “White Rabbit,” follow, but due to a reel change, “Won’t You Try,” which falls in between, is mostly missing. They then stretch out and conclude with one of their greatest performances. The extended improvisational treatment given to “Ballad Of You Me & Pooneil” includes a ferocious bass solo by Jack. Following the reprise, they dive directly into “House At Pooneil Corners.” This is an inspired pairing up of songs that combines for a truly powerful performance. Written by Alan Bershaw

Jefferson Airplane concert at O’Keefe Center on 05 Aug 67 $5.98 This run of shows represents one of the first Jefferson Airplane and Grateful Dead excursion outside the United States. Bill Graham financed the presentation of these two seminal San Francisco bands for a week of shows at Toronto’s O’Keefe Center. On this last day of the run, both early and late shows were performed. This recording is Jefferson Airplane’s afternoon show which is relatively short but features an excellent performance. By August of 1967, Grace Slick had been fully integrated into the band and her confidence level had dramatically increased since her initial shows in late 1966. She was quickly becoming the visual focal point – as well as an icon – of the San Francisco music scene. The band’s sound was changing as well, heading in a far more experimental direction. The sessions for their most challenging and exploratory album, After Bathing at Baxter’s, were still in progress, and the heavy psychedelic flavor of those sessions was permeating the sound of the group’s live performances. This afternoon set begins appropriately enough, with the band’s current hit single “Somebody To Love.” While played very close to the studio arrangement, it’s apparent that a new, heavier sound is beginning to emerge in this version. Casady’s bass playing and Kaukonen’s guitar techniques are becoming more aggressive and distinctive. Kaukonen’s “She Has Funny Cars” exemplifies this further before the band ventures into new material. These are possibly the earliest surviving live recordings of “Two Heads” and “Young Girl Sunday Blues” in existence – two songs that would be featured on the Baxter’s album later that year. “Two Heads,” one of Slick’s earliest original contributions to the group, reveals her gift for writing intriguing lyrics that work on multiple levels; it’s fascinating hearing both of these songs in their early, embryonic states. Donovan’s homage to San Francisco, “Fat Angel” – with its summary line “Fly Jefferson Airplane, gets you there on time” – is u

Jefferson Airplane concert at Winterland on 07 Oct 66 $6.98 This Friday evening Jefferson Airplane set, sandwiched between sets by the Grateful Dead and the Butterfield Blues Band, began a memorable three-day run at Winterland and the Fillmore Auditorium. At this point in time, Spencer Dryden had recently replaced original drummer, Skip Spence, who had moved on to found Moby Grape. Original female vocalist, Signe Anderson, was still on board, soon to be replaced by Grace Slick. The group was clearly forging ahead into new territory, beginning to leave their folk roots behind. Dryden and Casady were beginning to develop into one of the most powerful and original sounding rhythm sections in all of rock music. Their contribution was inspiring the other bandmembers to take a more adventurous approach. This new approach is evident from the start of their set. Following Bill Graham’s introduction, the group immediately launches into an improvisational jam, clearly a departure from the tight vocal arrangements of their early material. This particular jam is utterly unique among Airplane improvisations. Jorma Kaukonen’s distinctive guitar takes it to another level, but it’s the newly surfacing confidence level of the rhythm section that propels this along. We’re even treated to an early bass solo from Casady, something that would begin to occur more frequently in the years to come. The remainder of the set focuses on tighter song structures, vacillating between material off their debut album, like “Don’t Slip Away,” “And I Like It” and the set closing “It’s No Secret” and non-album staples of their early live repertoire, like “High Flying Bird,” “Go To Her” and a cover of Donovan’s “Fat Angel.” The latter Donovan number is particularly interesting here, as it is still in the early phase of development. Paul Kantner is still performing it on acoustic guitar, giving it a mellower feel than later fully electric excursions. Kaukonen and Casady’s spacey interplay again comes to the fore here and it’s a mesmerizing performance. Followi

Jefferson Airplane concert at Winterland on 15 Apr 70 $9.98 This is the second set of a marathon show, with Jefferson Airplane sharing the bill with Quicksilver and the Grateful Dead. Here we have the Jefferson Airplane in full flight as the ’60s are fading into the ’70s. Those turbulent times were reflected strikingly not only in the Airplane’s music, but also within the personal makeup of the group itself; this distinctive version of the band had already begun to splinter. From the opening number “We Can Be Together,” off their controversial album Volunteers, the politically charged tone is set. The volume just increases as they launch into “Mexico,” their new single written about President Nixon’s marijuana importation initiative, Operation Intercept, which salutes the legendary pot dealer Charlie and LSD chemist (and former Grateful Dead soundman) Owsley Stanley. Four older classic Airplane songs come next, with instrumentals foreshadowing the aggressive lead guitar attack and thundering bass of electric Hot Tuna soon to come. The following tune, “Come Back Baby,” exemplifies this sound, with Kaukonen taking charge on vocals. “Emergency” perpetuates the tone, as Kaukonen and Casady cook and sizzle behind Marty Balin’s lead vocals. The set continues with the B-side of the “Mexico” single, “Have You Seen the Saucers.” This song can be seen as a precursor to the science fiction epics Paul Kantner would be obsessed with in coming years, and with which he’d later achieve great artistic success with “Blows Against the Empire.” The group allows a girl named Hell’s Angel onstage to rant for a moment, before Grace leads the group through an extended jam on “Somebody To Love.” Things mellow out a bit as the group sails off on a dreamy take of “Wooden Ships” that gradually builds in intensity as the song progresses over nine minutes. An impassioned take of “3/5 of a Mile” keeps the energy level high, up until they close the set with the searing anthem “Volunteers.” With the audience now buzzing from sets by two of the great

Jefferson Airplane concert at Winterland on 22 Sep 72 $9.98 This final performance of the original Jefferson Airplane is not only a great show, but is the only known Airplane concert to include so much material from their last two albums, Bark and Long John Sliver. Additionally, the group performs rare material from Papa John Creach’s early solo albums, as well as a track from Grace and Paul’s first album, Sunfighter. At this point in time, there were two distinct creative factions operating within the band: Slick and Kantner’s collaborative material comprising the one, and Kaukonen and Casady’s making up the other. Listening to this concert, one can clearly hear where the two factions were headed. The show begins with another classic Bill Graham introduction of the band members and they launch directly into a rip-roaring version of “Somebody To Love” to get things going. A new song by Kantner, “Twilight Double Leader,” follows, and the high energy level is quite apparent. A beautiful – and sadly the last – version of the classic “Wooden Ships” to feature Kaukonen’s searing guitar and Casady’s thunderous bass is up next, followed by Grace and Papa John’s collaboration on “Milk Train.” The audience then gets a real treat, as the band performs an extremely rare live version of “Blind John,” the captivating song that Kantner, Slick and Freiberg contributed to Grateful Dead drummer Mickey Hart’s first solo album. Next, the band essentially morphs into electric Hot Tuna for a smoking blues version of “Come Back Baby.” More new material surfaces in the next three songs, including the rarely performed title track to their final album and the only known live performance of Slick’s “Son Of Jesus.” Fans of early electric Hot Tuna will be delighted by the next 25 minutes of the show, beginning with “Papa John’s Downhome Blues,” a track from Creach’s self-titled debut album, followed by an incredible version of “Eat Starch Mom.” This song began as a searing jam for Kaukonen and Casady. Grace later added lyrics for the versi

Jefferson Airplane concert at Winterland on 26 Oct 69 $9.98 On this final night of the run, The Jefferson Airplane closed the show, following sets by Sons Of Champlin and the Grateful Dead. The recording begins in progress with “Good Shepherd,” Jorma’s showcase song on the Volunteers album. That album’s material features prominently in this set, as excellent performances of “We Can Be Together,” “Wooden Ships” and “Eskimo Blue Day” are all performed. Early on in the set is the last documented performance of “Wild Thyme,” one of the band’s more obscure After Bathing at Baxter’s tracks, which was not often performed in concert. Also representing that album is a beautiful rendition of Kantner’s “Martha” and the set closing “Ballad Of You Me & Pooneil,” the latter clocking in at over ten minutes and featuring an astounding bass/drums jam from Casady and Dryden. Grace Slick’s sarcastic wit was never more scathing than on “Greasy Heart” and Jorma’s squawking guitar compliments her perfectly in a powerful performance. Jorma also performs the classic “Come Back Baby,” which would soon become standard fare for Hot Tuna the following year. It’s interesting to hear this number in the context of the Airplane. This night includes two numbers that would shed light on the direction Marty Balin would soon be heading both in and outside the band. First is an embryonic live performance of “Drifting,” a song written by Jesse Osbourne. Balin would record this song with Bodacious DF on their self titled album release of 1973, but here it is almost four years earlier. Also of interest is Balin leading the band through the bluesy “You Wear Your Dresses Too Short.” This is also notable for being the first time this song was performed in a standalone manner, instead of surfacing within a pre-existing jam. Here Balin really takes charge on the vocals and delivers an impressive performance, much of it improvised. As the energy level increases and the song begins to propel itself into the stratosphere, he wisely backs off and lets the musicians fly.

Kbc Band $48 Used – High Quality Content by WIKIPEDIA articles! The KBC Band was formed in 1985 by former Jefferson Airplane (later Jefferson Starship) members Paul Kantner (guitar and vocals), Marty Balin (vocals and guitar) and Jack Casady (bass). Other members included Keith Crossan (saxophone, guitar & vocals), Tim Gorman (keyboards and vocals), Mark ‘Slick’ Aguilar (guitar and vocals) and Darrell Verdusco (drums). Their debut LP, “KBC Band,” featured the moderate hits “America,” which found renewed inte

Kbc Band $35.64 Used – High Quality Content by WIKIPEDIA articles! The KBC Band was formed in 1985 by former Jefferson Airplane (later Jefferson Starship) members Paul Kantner (guitar and vocals), Marty Balin (vocals and guitar) and Jack Casady (bass). Other members included Keith Crossan (saxophone, guitar & vocals), Tim Gorman (keyboards and vocals), Mark ‘Slick’ Aguilar (guitar and vocals) and Darrell Verdusco (drums). Their debut LP, “KBC Band,” featured the moderate hits “America,” which found renewed inte

Marty Balin concert at Savoy on 06 Oct 81 $9.98 Marty Balin is best known as the co-founder and soaring tenor voice of the Jefferson Airplane, and later, Jefferson Starship. This show, recorded in the fall of 1981, was captured on Balin’s first post-Starship solo tour and features mostly material from his successful debut album, Balin. He had assembled a cracker-jack touring band that included Johnny DeCaro on guitar and percussionist Steve Forman. By the time he recorded Balin, he had made a pretty drastic musical transformation since his earlier days as the “cynical” member of the legendary San Francisco psychedelic-rock band. Gone were the sharp-tongued anti-war protest songs with the piercing vibrato electric guitar solos of Jorma Kaukonen, and the thunderous bottomed-out bass of Jack Casady; and noticeably absent were the signature harmonies he’d made with Grace Slick and Paul Kantner. Balin, instead, had become one of the most popular contemporary singers of adult love songs, charting hits with names like “Hearts” and “Atlanta Lady.” Nevertheless, this show demonstrates Balin’s still formidable abilities as fire-tongued rock ‘n’ roller. Consider crunchers like “Out On The Fringe” and “What Do You People Like?” (the latter which he’d written and contributed to a science fiction film that never came out). Balin, for the most part, picks up right where he left off with the Starship, when he was pushing the band to the top of the charts with love songs like “Miracles” and “Count On Me.” Listening to this show a quarter century after it was recorded, Balin still sounds great, and the songs are solid – even if the instrumentation (especially the keyboards and guitar) does sound dated. As was common in the early ’80s, there is an overabundance of raspy synthesizers and metallic Journey-like electric guitars. Born Martyn Jerel Buchwald in Cincinnati, OH, Balin moved with his parents to the Bay Area at an early age. He grew up in San Francisco, and after attending college there, changed his name to Marty Balin and

Synapse GT-PRO Deluxe Left Handed Bass $420 Nothing looks like a Steinberger and nothing performs like one either! The Spirit GT-Pro guitar features the same distinctive body-shape as the award-winning Steinberger GL Series and features the trademark headless neck with the patented Double-Ball tuning system. Other features include the patented LOCKING R-Trem system with direct-pull, 40:1 ratio machine heads, three (HB- SC-HB) Steinberger pickups and folding leg rest for playing comfort while sitting. And the GT is perhaps the world's most "travel-friendly" and convenient guitar ever made. It comes complete with a heavy-duty gigbag and, being only 30" in length, fits anywhere including airplane overhead luggage bins. Includes gig bag.

The Definitive Concert $13.98 This hour-long concert, shot in Vancouver, Canada, in 1983, finds the latter day Jefferson Starship (that is, the edition of the band in which Mickey Thomas has replaced Marty Balin as co-lead singer with Grace Slick) running through numbers from such albums as Freedom at Point Zero (1979), Modern Times (1981), and Winds of Change (1982), with a few glimpses of earlier times (“Somebody to Love” and “White Rabbit” from Jefferson Airplane, “Ride the Tiger” from 1974′s Dragon Fly). This is an efficient seven-member arena rock band, with Slick and Thomas backed by Paul Kantner, David Freiberg, and Pete Sears, who switch around from guitar to bass to keyboards, plus lead guitarist Craig Chaquico and drummer Donny Baldwin, all of them chiming in with vocals here and there. The show makes few concessions to filming, although cameramen are allowed to roam the stage, ignored by the musicians, except Slick, who stares into the cameras and mugs on occasion. There is an annoying framing device that intrudes periodically, a comic video jockey named Mike MacDonald, as well as some extraneous stock footage during the performances (e.g., excerpts from the John Barrymore silent film of Dr. Jekyll and Mr. Hyde during “Find Your Way Back”). The result is hardly definitive of what Jefferson Starship is capable of, but it is an enjoyable early-’80s rock show. ~ William Ruhlmann, Rovi

The New Riders of the Purple Sage concert at Academy of Music on 24 Nov 73 $9.98 This King Biscuit broadcast was compiled from two sets on the same night at New York’s Academy of Music in 1973, just after the band had released its landmark album, The Adventures Of Panama Red. The line-up had solidified and no longer contained members of The Grateful Dead. Like their counterparts in the San Francisco scene such as the Dead, the Airplane, and Hot Tuna, the New Riders had found an audience in the pioneer fans of what would become the “jam band” movement. The group was enjoying its biggest commercial success during this period and, although they often opened for the Dead, by 1973, their audience was there for the music of the New Riders as much as the headliner. This recording contains the usual variety of material, ranging from originals “You Should Have Seen Me Runnin’,” “Groupie,” “Glendale Train,” and “Sutter’s Mill,” to fun and interesting covers, in this case, Rick Nelson’s “Hello Mary Lou,” Chuck Berry’s “School Days,” and Frankie Ford’s 1959 gem, “Sea Cruise.” The New Riders Of The Purple Sage began as an off-shoot of the Grateful Dead extended family, and started as an after-hours jam band started by singer-songwriters David Nelson and John Dawson that allowed Dead founder Jerry Garcia to explore his deep country-rock leanings and his desire to play pedal steel. The band initially featured a blend of established and little-known players based in the Bay Area, including three Dead members (Garcia, drummer Mickey Hart, and bassist Phil Lesh). Before the band recorded in 1970, Lesh and Hart were gone, due to too many musical obligations with the Grateful Dead. That left John Dawson on vocals and guitar, David Nelson on lead guitar and vocals, and Dave Torbert on bass and vocals to make up the core of the New Riders. Buddy Cage, a Canadian pedal steel player who had worked with Ian & Sylvia, was taking over pedal steel guitar duties for Garcia whenever Garcia was not available to sit in. Eventually he would become the band’s permanent peda

The New Riders of the Purple Sage concert at Fillmore East on 15 May 70 $5.98 These 1970 NRPS sets are particularly interesting, as the band is still in the formative stages of its career. Jerry Garcia plays pedal steel guitar on everything, and ex-Airplane drummer Spencer Dryden had recently signed on, as had bass player and creative force Dave Torbert. They were still, in many ways, very much a part of the extended Grateful Dead experience, and a year away from releasing their first album, but with Dryden and Torbert replacing Lesh and Hart, respectively, the NRPS were becoming a real band in their own right. Dawson and Nelson’s repertoire already included early versions of much of the material that would later be recorded on the first NRPS album, and several of those first efforts are included in this set. The band kicks off the set with “Six Days on the Road,” before romping through four classic songs destined for their first album. These are a little less developed than they would ultimately become, but a unique, immediately captivating sound emerges nonetheless. The craftsmanship of these songs is indeed impressive – both instrumentally and lyrically. They cover a country standard, “Fair Chance to Know,” in fine style before beginning another original, “Last Lonely Eagle.” Unfortunately, the tape runs out during this last song, ending the set prematurely and leaving the recording incomplete. Fortunately for this fresh, distinctive ensemble, however, the best was yet to come.

The New Riders of the Purple Sage concert at Fillmore East on 15 May 70 $9.98 These 1970 NRPS sets are particularly interesting, as the band was still in its formative stages at the time. Jerry Garcia plays pedal steel guitar on everything, and ex-Airplane drummer Spencer Dryden had recently signed on, as had bass player and creative force Dave Torbert. They were still very much part of the extended Grateful Dead experience, and a year away from releasing their first album. But with Dryden and Torbert replacing Lesh and Hart, respectively, they were becoming a genuine band in their own right. Dawson and Nelson’s repertoire already included early versions of a good amount of the material that would later be recorded on the first NRPS album, much of which is included in this set. Following Bill Graham’s introduction, the band opens with Chuck Berry’s “Brown Eyed Handsome Man,” followed by the soon-to-be radio hit off thier first album, “Louisiana Lady.” Several other interesting covers are featured, including the country tunes “Can’t Pay the Price” and “Workingman’s Blues,” not to mention a tasty cover of Creedence Clearwater Revival’s “Lodi.” Four songs that would be featured on the first NRPS LP the following year are also showcased. Repeated from the early show is the ever-popular dope smuggling song, “Henry,” as are “I Don’t Know You” and “Last Lonely Eagle,” the latter in its entirety, passionate, and with an extended pedal steel solo from Garcia. The highlight, however, is unquestionably the lovely version of “All I Ever Wanted” during the middle of the set, probably the most beautiful song Dawson ever wrote. No matter what you call ‘em, this is a beautifully complementary, historic lineup featuring many of the most accomplished and passionate country-rock musicians of their day. If for no other reason, the show is remarkable as a testament to the endless variety of stylistic paths such competent musicians could travel and explore – so long, that is, that they kept the drive to saddle up.

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