Jefferson Airplane Live 1967. Four partial shows in 1967. Unknown venues.
-Setlist Show I:
01. Fat Angel
02. In The Midnight Hour
03. Leave You Alone
04. High Flyin' Bird
05. Today
-Setlist Show II:
01. She Has Funny Cars
02. Don't Let Me Down
03. Let Me In
04. Run Around
05. Don't Slip Away
06. Fat Angel
07. Come Back Baby
-Setlist Show III:
01. Jam
02. She Has Funny Cars
03. Fat Angel
-Setlist Show IV
01. The Other Side Of This Life
02. Get Together
03. Let Me In
04. White Rabbit
05. Come Back Baby
06. Plastic Fantastic Lover
07. Today
08. Go To Her
09. This Is My Life And I Like It
-Lineup:
Grace Slick: vocals
Marty Balin: vocals, percussion
Paul Kantner: vocals, guitar
Jorma Kaukonen: lead guitar
Jack Casady: bass
Spencer Dryden: drums
Jefferson Airplane, was an American psychedelic rock band best known for its biting political lyrics, soaring harmonies, and hallucinogenic titles, such as Surrealistic Pillow and “White Rabbit.” Jefferson Airplane was an important standard-bearer for the counterculture in the 1960s, but in its later incarnations it had hits with more mainstream material in the 1970s and ’80s.
The band was started in the mid-1960s by former folk musicians; in late 1966, however, edgy-voiced ex-model Grace Slick and the harder, rumbling rhythms pouring from bassist Jack Casady and drummer Spencer Dryden transformed Jefferson Airplane into a dance band with a social conscience. It was the first San Francisco-based band to land a major label contract. Their second album, Surrealistic Pillow (1967), produced two Top Ten singles, “White Rabbit” and “Somebody to Love,” both cowritten by Slick for her previous band, the Great Society, and drew hordes of fans to San Francisco’s Summer of Love pageantry. The city’s Haight-Ashbury neighborhood had become the center of the burgeoning hippie counterculture, but the commercialism and crime that rapidly overtook that bohemian enclave in the love fest’s wake were reflected in the bittersweet brilliance of Jefferson Airplane’s fourth album, Crown of Creation (1968).
Playing live at venues such as the Fillmore Auditorium, the band developed its crowd-pleasing version of the improvisational jamming that became the hallmark of the San Francisco sound pioneered by the Grateful Dead, Big Brother and the Holding Company (featuring Janis Joplin), and Santana, among others. Casady, Dryden, and guitarist Jorma Kaukonen slashed and soared through extended psychedelic blues while songwriters Paul Kantner, Slick, and Marty Balin did not so much harmonize on as cohabit melodies and lyrics. The best onstage document of their approach, Bless Its Pointed Little Head, was one of two albums released in 1969; the other, Volunteers, was a call for youth revolt, a reaction to the police riots of the 1968 Democratic National Convention in Chicago. In addition to its agitprop title song, the album included the postapocalyptic “Wooden Ships,” cowritten by Kantner, David Crosby, and Stephen Stills. Volunteers was Jefferson Airplane’s final creative peak.
The band, its membership constantly shifting, released albums for 20 years as Jefferson Airplane, Jefferson Starship, and Starship. Although it experienced commercial success-most notably with 1975’s chart-topping Red Octopus and its Top Ten single “Miracles”-the band never recaptured the moment when its music stood for something more, when Jefferson Airplane spoke for change on behalf of the culture that produced it. In 1996 Jefferson Airplane was inducted into the Rock and Roll Hall of Fame. In 2024 the U.S. Library of Congress added Surrealistic Pillow to the National Recording Registry, a list of audio recordings deemed “culturally, historically, or aesthetically significant.”
(britannica.com).