Surrealistic Pillow Reviews

• Surrealistic critques from tripped out reviewers...

  
  By A2PSNP60BTKEY7 on 2003-12-27
  This latest CD incarnation of Jefferson Airplane's second album, Surrealistic Pillow, is the third U.S. version to be issued by RCA/BMG. I have owned all three versions. The first CD version was in the mid-80's when CD technology was in its infancy. Many of us were abused by the major labels as they exploited us by charging premium prices for CDs of classic albums mastered from very bad (as in worn out) LP masters that were never intended nor engineered for the dynamic range capability of the compact disc. At any rate, all of the criticism about the first version is valid. It is easily identified because it has shoddy packaging as well and the old Airplane label moniker, GRUNT. The second version wasn't issued as an individual CD until 2001. It was significantly improved and included liner notes from Jefferson Airplane/Starship historian Jeff Tamarkin. The "audio restoration" for that one was done by BMG engineer, Bill Lacey. This CD was originally part of a four disc boxed set, and it included both mono and stereo versions of the album. Interestingly, the credits list two different engineers for the digital transfers of each version (stereo by Eddie Tallia and mono by Mike Hatry).
  The third and most recent reissue of Surrealistic Pillow is part of BMG's Heritage series which is supposed to be as close as they are going to get to mimicking the fine reissue works of competing labels like Rhino (WEA), Hip-O (Universal), and Legacy (Sony). In fact, BMG Heritage contracted with independent engineer, Bob Irwin, to do the latest Jefferson Airplane remasters (also includes - Takes Off, After Bathing At Baxters, and Crown of Creation). Bob Irwin's past remastering credentials includes the fabulous Legacy reissues of The Byrds classic catalogue. If you have heard those albums, then you know he has high standards. His work on Surrealistic Pillow is not an exception, despite the belly aching criticism some other Amazon reviewers have written. Irwin is based at the independent label, Sundazed when he's not doing contract jobs.

  For those who say that this latest CD sounds hideous, I think they protest too much. This is as good as it is going to get as long as they use the original two-track stereo masters. The only other possible way to improve the sound is to remix from the multi-tracks, and that rarely happens if the record is a classic. The biggest exception to this was the reissue of the Who's catalogue in the late 90's, but Pete Townshend himself was involved with approving each remaster. While I thought they sounded great, there was a lot of protest from fans that they did indeed sound different. When the Beatles catalogue was being prepared for CD transfer by George Martin, he remixed the earliest albums, but wisely chose to leave the later albums as was. It is possible to make an old two-track master sound good if the LP EQing is removed and the dynamic range is expanded. The late engineer/producer Gus Dudgeon (he engineered early albums by Moody Blues, Bowie, and produced many classic Elton John albums as well as remastered his entire catalog) wrote a very interesting technical article about the remastering of older albums and how it can and should be done. It can be found by searching on Google. His remastering of the 70's Elton albums is flawless.

  So, my opinion is that the 2003 CD of Surrealistic Pillow is the best there can and will be using the original mixes. The packaging has been restored with all the original elements and there are 6 bonus tracks including mono single mixes of the classics, "White Rabbit" and "Somebody To Love". Therefore this is the definitive remaster...unless Paul Kantner and Marty Balin are allowed to remix the multi-tracks with a very good engineer.
  
  

• Remastered????

  
  By A2CNCDCBPQSGX2 on 2003-11-22
  This "remastered" CD (the domestic CD with 4 bonus tracks and the 2 mono tracks) still does not sound very good! Let me first state that I own three different CD reissues of Surrealistic Pillow as well as the '73 stereo LP, the DCC reissue stereo LP, AND the Sundazed mono LP. Out of all of these versions only the Sundazed LP and the 1973 Stereo LP sound decent. I even transfered those LPs to CDR to listen to in my car rather than suffer through any of those official CDs. I have the first reissued CD from a few years ago that has both the stereo and mono versions - great artwork, but terrible sound. I have the import CD version with the 4 bonus tracks - slightly better sound, but still a disgrace. And I have this most recent 2003 October/November released CD that is advertised as "remastered from the original master" (has the 4 bonus cuts plus the 2 mono cuts)- still, no significant difference soundwise from the other previously issued CDs. Where does that leave a true fan who simply wants to hear a decent sounding recording of this historic LP? Well, basically you need a clean stereo LP from the 60's or the 70's or the Sundazed Mono LP! Note: the stereo DCC LP sounds the same as the CDs - very dissapointing! What is the problem here? In case you think I am some sort of an audiophile fanatic - let me point out a couple of obvious problems. Clue number one - on this CD, the 4 bonus tracks from the same studio sessions sound much cleaner than the regular album cuts. What does that tell you? It tells you the master tapes are still missing for the main album cuts. Clue number two is that there is DISTORTION on the vocals throughout this CD. Anytime the music gets loud and you crank it up a bit you hear slight distortion, especially on the background vocals. Folks, this is basic stuff. Clue number three - why does RCA continually, and apparently endlessly, reissue Surrealistic Pillow? Answer - because they still can't get it right. This album needs to be remastered and REMIXED. If the mixed down 2 track stereo master is shot, then they have no alternative - they need to completely remix this album. Assuming of course they have not lost the original tracks. There is hope here however, hidden in the last cut on this CD - after the mono White Rabbit track - is an undocumented instrumental track from the album without vocals. So, apparently they do have the backing tracks! O.K. then RCA, why don't you bite the bullet and remix the album?
  
  

• For the Hippie in All of Us

  
  By AZ4HSDCAGDKFG on 2006-06-28
  Unlike, say, the Doors or the Jimi Hendrix Experience, Jefferson Airplane really is a "'sixties band." The group's hippie ethos was and remains omnipresent, the very core of its sociomusical importance. Thus it is that the Airplane's most celebrated and probably greatest album, SURREALISTIC PILLOW, sounds a lot more dated now than many other classic records from 1967 - though still less so than SERGEANT PEPPER. But as even a cursory listen proves, the flower children had a lot more to offer than free love and cheap acid.
  Right from the heavily reverbed drums opening "She Has Funny Cars," PILLOW is a powerfully expansive and entertaining experience, and its overt sense of its own time and place does nothing to weaken it. The hard-rocking "Somebody to Love" is still a rousing blend of psychedelic swagger and pop accessibility, "D.C.B.A. 25" a lovely folk-rock gem which can wring a nostalgia for the Summer of Love even from one who wasn't there. It's a pair of beautiful ballads, however - "Today" and the magnificent "Comin' Back to Me" - which are really the album's highlights. Singer Marty Balin's lovely, emotive tenor has never quite gotten the credit it deserves; but his performances on these two songs make clear that it was he, rather than the overhyped Grace Slick, who truly was the voice of Jefferson Airplane. Not that Slick doesn't do some fair work of her own, on flute and keyboards as well as at the mike: "White Rabbit" may sound corny from the smarmy vantage of 2006, but put it up against any of the tripe currently being peddled as worthwhile music on FM radio and it's nothing less than high art.
  This 2003 remaster of PILLOW sounds good - though not great, perhaps, as the original album appears to have been rather muddily recorded - and adds seven bonus tracks, a couple of which are indeed good enough to have been on the LP itself. Hippie or not, you're sure to find something you like here, as people have been doing for nearly forty years. Peace!
  
  

• Only If You Need The Bonus Tracks

  
  By on 2003-08-31
  All the accolades afforded this album over the years are well justified--and if you're reading this, I'm sure you've heard (and likely experienced for yourself) them all. This is truly one of the greatest albums not only of the Sixties & the folk-rock/psychedelic era, but of the entire pop music era period! That said, I'm afraid we've yet to see the ultimate cd issue of this masterpiece--though this latest one offers the added attraction of four songs not on the original LP, three of which were cut during the "Pillow" sessions. Airplane aficianados are well familiar with all these tracks (scattered through various compilations over time), but in fact, the extra tracks are really the only reason to purchase this edition of the album, if you don't already own one of the more recent issues. The real killer in the bonus bunch is "Go To Her," a showcase for Marty Balin's soulful wail, and a song more than deserving of inclusion on the original album. You'll also hear Jorma Kaukonen step out front on an original blues "in The Morning," as well as on an excellent reading of Lightning Hopkins' "Come Back Baby," the latter actually recorded a few weeks after the album came out. Further, there's an unlisted bonus cut at the end, an instrumental run-through of "B.C.D.A. -25," on which Paul Kantner's 12-string rhythm playing takes the spotlight.
  All that said, I want to caution you: If you're looking for an improved-quality recording of this album over the gold disk, the 1996 issue or the 2001 issue, you ain't gonna get it here! That's not to say it doesn't sound good, rather to say it's not been improved upon. Fans are well aware of the differences between the mono and stereo mixes of the album: It's great to have both, but this version only has two of the mono mixes (the two monster hit singles.) As for the standard stereo mix, all the tape hiss is still there, not to mention the early fade-outs on the tracks which go on a little longer on the mono album. I've thought for quite a long time that this album begs to be remixed, from top to bottom, from the original four-track masters. Perhaps that'll be done someday--either after someone gets smart or after someone dies! Fact is, the bonus tracks (all of which are in stereo outside of the two singles) are technically of higher quality than those from the original album.
  In the meantime, to reiterate: If you have one of the above-mentioned issues of this album, the bonus tracks are really the only reason you may want to purchase this one. They were my reason; I needed them and am quite pleased with them. And oh yes: The liner notes are very good--with stories behind and recording info about--all the tracks, but of course, you can't play the liner notes!
  
  

• Forget "Sgt. Pepper", THIS Is The Real Deal

  
  By A3GMS5XLDOIAJF on 2003-10-28
  This is one of the albums that led to the famous Summer Of Love in 1967. If you ask me, Jefferson Airplane and The Doors were the two greatest rock bands of the 60's, and probably of all time. This was also the first album they made with Grace Slick, the greatest singer that ever lived, period. The Goddess Of Rock.
  The moods on this album vary. Some of it is cheery, happy and flower-powerish, and some of it is gloomy and dark. All members of the band were great at what they did. I seriously consider this to be in the top five greatest rock albums ever, maybe even #1.

  "SHE HAS FUNNY CARS": Excellent, upbeat and reassuring ("Your mind's guaranteed, it's all you'll ever need"). Great psychedelic guitar outro from Jorma. Killer vocal harmonies.

  "SOMEBODY TO LOVE": Now what can I say about this masterpiece? I can NEVER get tired of this one. Grace sings with tremendous passion, enough proof that she was the greatest ever.

  "MY BEST FRIEND": One of my favorites on the album. This tune is simply irresistable. Wonderful, relaxed atmosphere. I'm in paradise every time I hear it.

  "TODAY": One of the loveliest ballads ever written. The final verse, which is a duet between Grace and Marty, is priceless.

  "COMIN' BACK TO ME": Another amazingly beautiful song. The poetic lyrics are brilliant and very profound.

  "3/5 OF A MILE IN 10 SECONDS": We're back to fast, grooving rock for this one! It should be played very loud.

  "D.C.B.A.-25": The only lead vocal by Kantner on the album, and it's a great song. Very melodic, and it makes me feel so good every time I hear it.

  "HOW DO YOU FEEL": The album's weakest track. Not bad at all, but not nearly as good as the rest of the album. The flute playing by Grace is fantastic, and the vocal harmonies are marvelous.

  "EMBRYONIC JOURNEY": Some would call it 'filler', but not me. It shows Jorma's stunning acoustic skills and his ability to go from gentle to rough in a split second.

  "WHITE RABBIT": Timeless. Spooky. Haunting. Euphoric. Grace's vocals practically give chills to the listener.

  "PLASTIC FANTASTIC LOVER": Great way to close the album, with a pounding, upbeat jam. Marty said that this song is about television and how too many people are addicted to it.

  "IN THE MORNING": Fabulous blues jam. Jorma proves that the band is definitely not limited in style. Features great harmonica and guitar.

  "J.P.P. MCSTEP B. BLUES": I'm not really a big fan of this one, but it's an okay song.

  "GO TO HER": This one is excellent. It's far better than the version they recorded with their original singer, Signe Anderson. Such a hypnotizing song.

  "COME BACK BABY": Whoa! Dig those crazy wah-wah licks, Jorma!

  The mono versions of "Somebody To Love" and "White Rabbit" aren't anything to write home about, 'cause they sound practically the same as the originals. But the other four bonus tracks are definitely worth having.

  This might be the greatest rock album of all time. Screw The Beatles. Screw The Stones. Hear the roar of the Jefferson Airplane!
  
  

• Airplane fans can rest easier with this Pillow
  By A2TJ2X1S2XHX2 on 2003-09-03
  Excellent re-mastering of this great album and really the first decent sounding CD of "Surrealistic Pillow". Not only do the original tunes get the red carpet treatment here, the bonus tracks are excellent additions as well. A long blues jam is included with "In the Morning" and "J.P.P. McStep B. Blues" sounds better than ever, a previous version was included on the "2400 Fulton Street" collection. There's also a hidden track at the end of the CD that will pleasantly surprise.

  New liner notes are well written adding insight to the recordings. Additional photos from the sessions used for the original packaging are included. This re-master has been a long time coming and should move to the head of the class of the JA catalog! A must for any Airplane fan or for those wondering just what the buzz was all about in 1967.
  
  

• "...too many days I've left unstoned..."
  By AGKPTMTR3UX1R on 2006-06-13
  Most of the members of Jefferson Airplane have always said that Jerry Garcia played on, sang on, named and produced SURREALISTIC PILLOW, facts denied by RCA's named producer Rick Jarrard and Airplane drummer Spencer Dryden. Hence, Garcia was never given producer's credit; but he was named as "spiritual advisor" to the album. As metaphysician to the acid-rock age, Dr. Garcia did a great job. SURREALISTIC PILLOW spawned not one but two classic anthems of the Summer of Love (for those of you too young to know, that would be 1967), "Somebody To Love" and "White Rabbit," covers of songs originally sung by The Great Society. Thus, not only did Jefferson Airplane attain flight speed (their first album, JEFFERSON AIRPLANE TAKES OFF literally got them off the ground), but it ensured them a permanent place in the Rock pantheon as the definitive interpreters of "the San Francisco sound."
  
  While SURREALISTIC PILLOW is not the prime example of the band's preferred overtly political, dense musical style (that would be their fourth album, CROWN OF CREATION), SURREALISTIC PILLOW is, far and away, their best work. A group with intense internal stresses, this album found the band in a fleeting moment of dynamic suspension. The Airplane would never sound so unified and yet so eclectic ever again. SURREALISTIC PILLOW has wandered, but not too far, from Jefferson Airplane's folk/blues/vocal harmony roots. Although they sing and play together, each member of the band has a distinctive sound, all of which mesh perfectly on this album.
  
  "She Has Funny Cars" opens the album with a jungle beat, wailing guitars, and offbeat lyrics, immediately followed by the anthematic "Somebody To Love" (written by Darby Slick but sung by Grace Slick). Grace's voice has been described by some as "steely" and by others as "a silken-sailed clipper ship," and everyone is both right and wrong. The former I. Magnin model's powerful contralto both challenges and invites her bandmates (and the listener) to keep pace, being all at once playful, petulant, demanding, ingenuous, and erotic.
  
  "My Best Friend" is a nice vocal harmony number that goes well with whatever everybody was smoking that long-ago summer; and "Today" and "Comin' Back To Me" are paeans to lost love, the former from the perspective of the leaving party, and the latter from the one left behind (and still tear-inducing).
  
  The oddly named "3/5 of a Mile in 10 Seconds" and "DCBA-25" are drug songs, pure and simple, from that innocently luminescent time where no harm was done to anyone, the consciousness expanded, and God was seen on a daily basis. Both songs presage the Airplane's emergent distinctive style, musically and thematically.
  
  "How Do You Feel" revisits the tenor of "My Best Friend," to be followed by what many people consider the best song on the album, guitarist Jorma Kaukonen's brief (less than two minutes), beautiful, complex, finger-picking instrumental masterpiece, "Embryonic Journey."
  
  The original album closes with the Lewis Carroll-inspired cautionary drug anthem, "White Rabbit" and then singer Marty Balin's "Plastic Fantastic Lover," which he claims to be about television, but transcends itself into a song about free love.
  
  The bonus tracks "In The Morning," "JPP McStep B. Blues," "Go To Her," "Come Back Baby" and mono AM radio mixes of "White Rabbit" and "Somebody To Love" were all recorded during the SURREALISTIC PILLOW sessions, but never used. Each spotlights and highlights the amazing talents of the members of Jefferson Airplane, and each has its rightful home on this disc.
  
  SURREALISTIC PILLOW belongs next to The Beatles' SGT. PEPPER'S LONELY HEARTS CLUB BAND, the Beach Boys' PET SOUNDS, Jimi Hendrix's ARE YOU EXPERIENCED?, Cream's DISRAELI GEARS, and The Doors' THE DOORS as a definitive addition to the canon of ageless rock albums released in that one amazing year of 1967.
  
  
• Warning New CDs Severely Volume Compressed
  By A3NP64T379IVLL on 2007-07-17
  Buyer beware. Most CD companies today use digital hyper compression to make their remastered recordings sound as loud as possible. This results in very harsh sounding music. There are few music companies that still produce good sounding oldies rock.
  
  The CD companies are completely clueless of the need to preserve the original hi-fi sound of the original LP recordings and have now affectively destroyed the rock oldies portion of the music business.
  
  Anyone wanting original full range sound today is advised to purchase a CD recorder (such as Denon etc) and convert their LPs to CD.
  
  
• Bob Irwin gets it (nearly) right
  By A3DIPWH4ESVLFJ on 2004-08-05
  After reading the other reviews on this sight I decided to toss my 2 cents into the well: This 2003 expanded remaster is the best stereo version of SP to be issued on cd. It is far more natural than the previous RCA/BMG editions, notably the rather murky-sounding 1995 gold-disc, and the nearly indistinguishable version released a few years later, both of which contained the reverb-heavy stereo mix followed by the much different mono mix. As listener who wants the closest thing to the original master-tape possible, this beats the stereo/mono set hands down. There is, of course, perceptable hiss on the original master, and to remove it would be to remove subtle musical information as well.(This is why I preferred the DCC version of the Beach Boys' Pet Sounds to Capitol's sterile revision.) The chief drawback of this latest version of SP--for some fans--is that Sundazed svengali Bob Irwin has chosen to include only the stereo mix, adding several bonus cuts from the same period, some of which were originally on the JA's swansong "Early Flight" (1974), a superb rareties set itself reissued in 1997, and now out of print. I would have preferred an upgrade on that title to having its tracks dispersed amongst the new reissues; those tracks are indeed excellent, and with them out of the way there are a few previously unissued delights (tho not as many as are included on "Takes Off"), and 2 mono single versions.
  Repeating the formula of including both mono and stereo albums, minus the excellent bonus material, was one option, but Irwin's re-do of the mono mix can be easily found on his own Sundazed label's 180-gram vinyl reissue, which is exceptional (as are their Otis, MG's, and Love reissues, to name a few), and both the mono master and all original LP cover art have been meticulously reproduced (it is quite inexpensive and available directly from the label's website).
  So, for my money, the new SP cd upgrade is as close to the original stereo first pressing (good luck tracking that down for under three figures, let alone in mint condition) as we're likely to get unless a SACD is made.
  To re-mix a classic like this, as Zappa and Elvis Costello attempted a decade ago with their own catalogs, would eventually date the sound (hey, early 90's drums!)and re-writes history. Careful, very occasionally deployed eq to eliminate specific tape flaws are all I want done to a seminal album. And neeedless to say, though the band would "sound" better on subsequent recordings ("Crown Of Creation," for example) the music on "Surrealistic Pillow" is classic!
  
  
• The beginning of the psychedelic era
  By A32XSKO7TOI0BH on 2007-05-11
  When Pillow was released in 1966 it was in the vanguard of the West Coast psychedelic movement. Those of us who immediately seized upon the Airplane as unique and exciting have probably played this record hundreds of times. As I listen again tonight I wonder whether I can be at all objective. For instance, one fellow reviewer referred in his review to the two Marty Balin ballads, Today and Comin' Back to Me as "cheesy." I have always really loved these songs. However, were I hearing them today for the first time would I, too, dismiss them as lightweight pieces of fluff? Of course it is impossible to say. It is just a thought!
  
  Jefferson Airplane was truly a collaborative effort. Of the band members Jack Casady alone has no writing credits. Only he and the drummer Skip Spence do not participate in the vocals. The scope of the music is very wide. The record features the aforementioned ballads, straight rockers and folk rockers along with the famous psychedelia of White Rabbit. One of the additional tracks, In the Morning, reveals that the band could do a very creditable job on a bluesy song.
  
  Surrealistic Pillow was one of the great LPs of the sixties. It is most definitely a record of and for the times. It could only have been released between late '66 and early '68. It captures for me the genesis of one of my favourite periods of music - the fabulous West Coast psychedelic era - the heady days of Grateful Dead, Quicksilver, Moby Grape and The Doors. The music does, at times, sound a little dated. This is hardly surprising. After all, it was recorded over forty years ago. To put this in perspective one has only to realize that the first talking movie was released just thirty-nine years before Pillow!
  
  
  
• White Rabbit Gets You There On Time
  By AOYLVUVF5VZTU on 2005-06-16
  This album really marked the start of the Jefferson Airplane, when they found their voice. True, they had already released Jefferson Airplane Takes Off, with such treasures as It's No Secret, Come Up The Years and Don't Slip Away. These featured the powerful folk rock vocals of Signe Tole Anderson and Marty Balin, but had been recorded back in late 1965 and the band were to find their métier as spokespersons for the psychedelic generation, not as electrified tambourine-bashing folkies, however good, and had been changing direction throughout the tumultuous social upheavals of 1966.
  
  Signe Tole Anderson left the band to have a baby, performing her last gig with the band on 15 October 1966 at the Fillmore in San Francisco CA. The following night at the same venue new member Grace Slick stepped into her shoes, and on 31 October 1966, less than three weeks later, she went into the RCA Studios in Hollywood with the band to begin work on the album that became Surrealistic Pillow. When the sessions were completed on 22 November, Jefferson Airplane Takes Off was only just appearing in the shops but was already obsolete.
  
  Grace Slick had been singer with the Great Society and came with two songs she used to perform with them. Someone To Love (written by her brother-in-law Darby Slick)was rearranged and reworked as Somebody To Love to become the first single taken from the album after its release, and a million-selling US Top Five hit. The other was its follow up, her own Carrollian ode, White Rabbit, another million seller. If Jefferson Airplane had never released anything but White Rabbit, their place in the hall of fame would be beyond doubt.
  
  Both signified the direction their music was to take. However, Surrealistic Pillow is probably the most rounded of all the Airplane albums in terms of group members' contributions as it also features songs by Marty Balin, Paul Kantner, Jorma Kaukonen and ex-drummer Skip Spence. These included the surreal She Has Funny Cars, beautiful ballads like Today and Comin' Back To Me, the Donovan-esque protest song Plastic Fantastic Lover and the more psychedelically experimental DCBA-25 and 3/5ths Of A Mile In 10 Seconds. It also featured the magnificent virtuoso guitar instrumental Embryonic Journey, written by Jorma Kaukonen in 1962.
  
  The bonus tracks are mostly outtakes from the album sessions and are all excellent. Additionally, there is a stray Lightnin' Hopkins cover arranged by Jorma Kaukonen, recorded in March 1967, the month after Surrealistic Pillow was first released; and the reverb-free mono single mixes of Somebody To Love and White Rabbit which some prefer.
  
  This re-issue edition has been produced and mastered by Bob Irwin, who remastered the Byrds albums so successfully, although there has been some doubt as to whether he had access to the original multi-tracks. The sound is certainly superior to the 1987 German pressing I was familiar with, though the timings are consistently shorter by a couple of seconds than on that edition, suggesting some speed correction may have been made?
  
  British purchasers wishing to replace ancient vinyl records should note that the original British album, released 7 months after the US version, dropped a couple of tracks in favour of older recordings from the first album, which RCA had never released here
  
  
• The Quintessential Summer Record
  By A3GFWX9A7PTVDV on 2005-07-27
  (note..this review pertains to the original 12" LP, not the remastered CD)
  
  When I picked up a slightly worn, vinyl copy of Jefferson Airplane's 1967 masterpiece Surrealistic Pillow, I simply thought I was adding a classic rock staple to my little collection. What I ended up getting was what I am here to declare as the ultimate summer record.
  I was moderately familiar with Jefferson Airplane through my Janis Joplin phase. During the `Haight-Ashbury movement' of the sixties, up and comers like Janis, Country Joe and the Fish, the Grateful Dead and Airplane were considered neighbors by today's standards. As a group, these bands brought the hippie mindset to middle America, beginning firstly with Jefferson Airplane and the success of singles like "Somebody to Love" and "White Rabbit".
  I really didn't know much else about the Airplane beyond the tidbits I just shared with you. If you find yourself in the same spot, I highly suggest listening to this entire album, for it will trigger a curiosity within like no other.
  When I listened to this album for the first time, I did it in probably the best way there possibly could have been. I listened to it whilst doing absolutely nothing on a lazy summer afternoon. After track one, "She Has Funny Cars", came the roaring, two minute and fifty-four second pile driver that is "Somebody to Love". The person I was with during this amazing listening session immediately recognized it and seemed to share my opinion that this was a great record.
  And so it was.
  
  1. She Has Funny Cars- - This fantastic album opener is something you would expect to cue up at the beginning of one of those `flashback to the sixties' scenes in a film; a camera panning slowly through the doors of a San Francisco club. The vocal stylings of Marty at first seem a bit bland, but once the wonderful Grace Slick begins to echo, you know that what you are hearing is a unique and innovative sound.
  
  2. Somebody to Love- - Clearly the biggest hit from the album. The fiery Miss Slick brings the passion to this classic song. Her voice is truly a classic in itself, somehow making a sexy, maniacal growl a beautiful sound at the same time.
  
  3. My Best Friend- - This song in particular is what really brings the memories, past and present, of summer in all of it's light, fluffy glory. It really resounds the style of the time, with sounds resembling the Byrds, who were also a popular group during the period. A simple little ditty, with great harmonizing and musicianship.
  
  4. Today- - A slow, heat-stricken ballad. The song-writing talents of the Airplane are displayed brilliantly here.
  
  5. Comin' Back to Me- - Another ballad, more beautiful than the last. Grace Slick shows the extent of her talents here by adding the recorder as an accompaniment to the guitar slowly being picked. Excellente.
  
  6. 3/5 of a Mile in 10 Seconds- - Despite the cumbersome nature of it's title, "3/5 of a Mile" flows quite well. Truly a group effort.
  
  7. D.C.B.A.-25 - - Not one of my favorites. A bit muddled, but still a good contribution to the album's sound as a whole.
  
  8. How Do You Feel- - Ah. Visions of hippies run through the mind...A cool song which I'm sure a lot of people didn't mind getting high to . "Look into her eyes/ She's coming away/" . Perfect song for the overall `laid-back' vibe of the record.
  
  9. Embryonic Journey- - A short little instrumental clocking in at a minute and fifty-one seconds. To me, it seems as though it exists to prepare the listener for the harshness of "White Rabbit", which follows.
  
  10. White Rabbit- - The classic stoner anthem still rings out loudly and proudly to this day. Never had hippie culture been displayed so bluntly to the rest of the world. A truly eerie song (I recall hearing it for the first time a few years ago and being dumbfounded. "Did she just say `you've just had some kind of mushroom'? Holy god.") that is an enjoyable and stimulating time from beginning to end.
  
  11. Plastic Fantastic Lover- - In my opinion, this little rocker, though a good song, wasn't the best closing piece the album could have had. The true, hippie-vibrant sound seemed to fade after "How Do You Feel", and took a darker turn with "White Rabbit" . This song is still quite a winner though, and doesn't take away from the record's ambiance and `time-machine' affect on today's listeners.
  
  Overall: This album is summertime perfection. It's perfect for all occasions, whether you be speeding down a deserted highway, or are being a happy, sluggish couch-potato with the ones you care about most.
  The leadership of Grace and Marty truly give Surrealistic Pillow it's timeless sound and ability to transport you to a `cooler' time. This album is, without question, a masterpiece, and I hope to God I am able to find another copy of this, for fear that my record will be worn out by the end of the summer.
  
  -Candace, 16, Seattle
  
  
• THis IS a Must Have...Grace is WONDERFUL...
  By A2DNSUB5590GXP on 2004-04-11
  The Airplane's first album had a great female singer, and it was a pity she quit. But then they gained Grace, and they went Psychedelic and well it all worked out fine didn't it?
  Grace was beautiful, and Grace could sing her ass off, and well, Marty Balin writes really beautiful songs, man. Jorma just got better too: Embryonic Journey is a flagship song in my book...Classic Psychedelia doesn't get any more classic!
  
  
• comparison...
  By A18ZC4NAZ5L5UR on 2005-02-03
  i have an earlier cd of this, but was intrigued by the remastering and the additional tracks.
  
  disappointed, to say the least. the remastering is...louder. compressed, to the point where everthing smears, and the (originally over-used) reverbs bury over everything. the mastering could have been more subtle, more respectful of the limitations of the original record (rather than a modern paint-by-numbers mastering)
  for me at least, the earlier cd is cleaner, clearer.
  
  as for the bonus tracks: whatever.
  
  am giving this to my brother, and keeping the older cd
  (altho the booklet in the new one was fun to read)
  
  
• So So - 60s
  By A1C2KS8OYA1ADG on 2007-03-10
  Funny thing, time. As I remembered this album, it was really extra cool when it was first released; listening to it now on my recently purchased CD, it's simply alright. 'Guess "Feeding Your Head," as Grace said, is still compulsory with listening to it now. Oh well. I suppose Alice still knows?
  
  A couple classic cuts makes it worth the sale price. But, it's a valid example of the old adage. . ."You Can Never Go Back."
  
  
• Quintessential hippie classic...
  By A3TSPLFYU2UMW0 on 2005-10-21
  Exploding into the USA charts in early 1967 with two incredibly powerful singles, "Somebody to Love" & "White Rabbit", Jefferson Airplane were the most commercially successful of all the "new wave" San Francisco groups for good reason: they could play, they could sing, and they could write unforgettably good songs. And "Surrealistic Pillow", from which both singles were drawn, shows just how impressive they were before success and group politics took their toll.
  
  Opening with the magnificent "She Has Funny Cars" - with its, for the time, bizarre song structure, driving drums & guitars, and wonderful vocal interactions between Grace Slick & Marty Balin - the album is an almost perfect example of everything that was good about "hippie" music. Moving effortlessly between progressive rock ("Somebody to Love", "3/5 of a Mile in 10 Seconds" & "Plastic Fantastic Lover"), wistful introspection ("Today", "Embryonic Journey" & "Coming Back to Me") and barrier bending innovation ("She Has Funny Cars", "D.C.B.A. - 25" & "White Rabbit") it captured a group at the peak of their powers, born out of and immersed in a world where they were encouraged to push their music into totally new areas. And underpinning it all is the "atmosphere" of San Francisco in its fleeting period when hippie ideals really were musically relevant... nothing from the Airplane, or indeed any of their San Francisco contemporaries, caught the feel of the time & place as well as "Surrealistic Pillow" and, like all classic albums, it remains as interesting and listenable today as it did all those years ago.
  
  
  
• "WHITE RABBIT" - from Jefferson Airplane's 1967 debut "Surrealistic Pillow".
  By A14KAJ02ARIWE7 on 2007-05-08
  ONE OF THE MOST PSYCHADELIC SOUNDTRACKS OF ALL TIME, JEFFERSON AIRPLANE'S "WHITE RABBIT" is a 2:47 minute-long song which is mind breaking and hallucinogenous in nature.
  Originally released in 1967, in the album "SURREALISTIC PILLOW", during the height of the SUMMER OF LOVE, this song has been part of the soundtracks of renowned movies such as "PLATOON" (1986) and "FEARING AND LOATHING IN LAS VEGAS" (1998), usually being inserted in a drug-related context.
  
  Whether characters on the previously mentioned movies are smoking pot or dropping acid, "White Rabbit" is highly regarded as a song which builds itself through a powerful narrative concerning the experimentation of mind-altering treats and the awkward sensations one gets as the drugs take effect. This idea is clear from the initial lines "Ones who make you larger, and Ones who make you small", which is arguably a direct association to uppers and downers, who make you feel powerful (larger) or depressed (small).
  
  In addition to an intensive description of the side-effects provoked by drug use, the song has made a reputation among counter-culture freaks for providing junkies and hop-heads a powerful mood enhancer. Such intensity is felt as the song reaches its peak or simply when it "peaks". This part of the song has lead singer Grace Slick singing her lungs out, and thus providing listeners with an extra "helping hand" to get real high. Acid takers are infamous for always having a tape loaded with tripy tunes from the 60's era at hand. White Rabbit, of course, is one of those tracks.
  
  Prior to joining the San Francisco based musical act "Jefferson Airplane", lead singer Grace Slick had already countlessly performed this song and contemporary hit "Somebody To Love", in her former band called "GREAT SOCIETY". Both "White Rabbit" and "Somebody To Love" are arguably JEFFERSON AIRPLANE'S greatest hit tracks in addition to 1969's mega-hit "Volunteers". "Volunteers" of course, was part of FORREST GUMP'S soundtrack album particularly the part depicting the 60's era and the U.S's lugubrious involvement in Vietnam.
  
  ***** - FIVE STARS!!!
  
  
• "How Does It Feel" to own one of the best ever?
  By AT8TIN5JKHO2V on 2007-06-20
  As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
  
  When the Rock & Roll Time Capsule is unearthed, somewhere after the time man has finally succeeded in destroying the planet proudly displayed will be Jefferson Airplane's "Surrealistic Pillow." Yes, Jerry Garcia will receive full credit for musical advisement, playing, and creative direction.
  
  It seems a bit bizarre and without rational that the same people that grew up listening to eight track tapes, cassettes, and non-virgin vinyl recordings (Only Japan had used the technology of virgin vinyl in pressings LP's) woke up one day and have criticized the fidelity of every album being produced. A review should be about the contents of the songs. There is nothing wrong with the sound here and the addition of the bonus tracks are even further incentive for ownership.
  
  The second flight of the Jefferson Airplane showed two changes in personnel. Signe Anderson the female vocalist on the first record had left to start a family and Grace Slick from the Great Society was the finest replacement possible. Drummer Spencer Dryden (Never got the credit he deserved for his tasty rhythmic patterns) was now part of the band (Skip Spence's next stop was "Moby Grape).
  The album opens with one of the finest tunes the Airplane would construct. "She Has Funny Cars" with the perfect riff and strong vocals gets the listeners attention from the opening notes.
  
  "Somebody To Love" one of two songs Grace brought with her from the "Great Society" is tremendous with the Airplane treatment. Make no mistake about it the "Great Society" performed a fine version. The J.A. fine-tuned things a bit and this version has been a stable of rock and roll Airplane for over 40 years. A great side note that Marty Balin told me for my Jefferson Airplane book. Grace also suggested a tune that the "Great Society" performed live "Sally Go Round The Roses." Their interpretation of the song is as good as any ever from a stage or studio. The Airplane would tell her two out of three isn't bad. Her next gem would be later on.
  
  "My Best Friend" is light and on the poppy side. Some enjoy its place here and others feel it is not one of the stronger inclusions. I have to agree with the later. A good tune but when you are compared to Olympian efforts it can be overlooked.
  
  "Today" is one of the finest songs ever penned. Marty Balin's vocal quality and pure emotion made time stop. All ears were glued to the speakers the first time the lyrics were heard. It is nothing short of spectacular.
  
  "Comin Back To Me" is another example of Marty's captivating sound. Give him a ballad, rocker, or rhythm and blues standard and he can excel.
  
  "3/5 Of A Mile In 10 Seconds" is another rocker. If the following doesn't grab you by the neck nothing will "Do away with people." Jorma's guitar in conjunction with the lyrical content is superb.
  
  "D.C.B.A. 25" is poetry in motion. Paul Kantner's choice of words is able to balance the fine line of incredible articulation but not over the head of the listener. He can phrase sentences repeatedly with such command of the language that our attention doesn't divert for a micro-second. Sadly this wonderful tune never made it to the J.A. stage.
  
  "How Do You Feel" There are multi layers of superlative presentation. The words, the vocal delivery, and Grace's incredible nuances. Listen to the tune twice in a row. The first time will knock you off the chair for its beauty. The second you'll feel her amazing accompaniment with the perfect phrasing.
  
  "Embryonic Journey" One of the best instrumentals ever devised. Jorma's fingers display magic. This would be the first tune he would pen entirely by himself. It seems unfathomable that the results could be this earth shaking. To this day it is requested at every Hot Tuna and solo gig he is a part of.
  
  "White Rabbit" was the other tune the "Great Society" performed. People often debate is it better than "Somebody To Love"? Why not call it a tie.
  
  "Plastic Fantastic Lover" ends the musical odyssey as it began, with an upbeat rocker and captivating sounds. If Marty Balin didn't take the vocal helm it wouldn't seem right.
  
  This pressing has bonus tracks (Only one rare) but it gives even greater perspective to the musical output of the band. Two in particular to check out if you aren't an avid fan and not aware of Jorma's perfect vocal inflections when he is singing the blues or folk, are "In The Morning (His original) and "Come Back Baby" (Lightnin' Hopkins). I mentioned there is one rarity. A hidden track contains an instrumental "D.C.B.A. 25."
  
  As the legendary rock and roll photographer, Don Aters often says, "It is what it is." That is one of the finest ever.
  
  Enjoy the music and be well,
  Craig Fenton
  Author of the Jefferson Airplane book "Take Me To A Circus Tent"
  
  
  
  
• Marty Balin's best album!
  By A1AFKAV50TOB43 on 2003-08-26
  Make no mistake: Jefferson Airplane was a group effort. Grace had the hits, Paul had the sci-fi/political vision, and Jorma had the superb blues-based guitar licks. But founder Marty Balin had the oh-so-sweet love songs, and given great material, created timeless, transcendent classics. His two solo vocal efforts here, "Today," and "Comin' Back to Me," are two of the most achingly beautiful songs of the psychedelic era. His vocals help lift other songs such as "She Has Funny Cars" and "3/5 of a Mile in 10 Seconds" into the stratosphere. However, as stated previously, the Airplane was a group effort and Marty was never as good on his solo releases or even on his later (excellent) material for Jefferson Starship. Both Grace and Paul provide outstanding support, and Grace, of course, has two excellent songs of her own, "Somebody to Love" and "White Rabbit," that she brought from her previous group, the Great Society. Although Grace and Paul asserted themselves more in later years and the Airplane released several first-rate albums after this one (most of which carried a more pronounced political bent), Surrealistic Pillow was probably their best all-around effort. So, if you just know this band from their later Jefferson Starship/Starship work, then you will want to start your Airplane collection with this masterpiece of psychedelic hope and idealism.
  
  
• You must be joking.....
  By ASKLDWSID7P3X on 2005-02-16
  An absolutely amazing album that you will listen to over and over and over again. If you do not know this album you are missing out on one of the greatest albums of all time. Every single song is priceless. This is one you can just let keep spinning and spinning and it enjoy it the entire time. I'm nothing short of awed by this album every time I hear it.
  
  The bonus tracks on this version completely ruin the album though. Buy the original version of the album that ends with "Plastic Fantastic Lover".
  
  Over and out
  (The Professor recommends: "Cheap Thrills" by Big Brother & The Holding Company)
  
  
• Jefferson Airplane's Most Consistent Album!
  By A1XP7P3X9MRE5H on 2005-04-21
  "Surrealistic Pillow" was Jefferson Airplane's second album, and the first to feature Grace Slick. Slick brought to the band two outstanding songs from her earlier carreer, "Somebody to Love" and "White Rabbit!". These two songs along with "My Best Friend", "DCBA-25", "How Do You Feel" and "Plastic Fantastic Lover" make it the most consistent J.A. album, and in my opinion the one that has aged the best.
  
  Some later J.A. albums like "Volunteers" somehow suffer from sounding like the band was taking themselves too seriously at the time. Most songs are catchy pop/rock tunes; still with room for musical experiments, indicating that this was a band that did not want to stay within the limited frame of doing 2-3 minute pop songs.
  
  It's one of the few J.A. albums ( if not the only one ) where all tracks are still worthwhile listening to here almost 4 decades later.
  
  
  The songs are written by all band-members (except Cassidy) in various combinations with lead singer Marty Balin as the main contributor.
  
  Among the fine bonus tracks Skip Spece's "J.P.P. McStep B. Blues" was the biggest positive surprise for me; like "My Best Friend" almost folk-music.
  
  
  
• Quintessential Airplane
  By A2WJSVSBXEYEF on 2005-08-20
  I was born the year this album was released, and quite frankly it has the power to produce a longing desire in me that is so intense that I would be worried about health effects; if the feeling wasn't so good.
  
  To the independent mind, to the seeking spirit, to the self-examined soul, this album is a giant honey pot filled with the fruit of psychedelic bees.
  
  The music is like an audible glimpse of the gravitational field that pulls between love and death, and at times the members of the Airplane seem to be just channels, through which flows life's rarest, dearest and most mysterious elixer.
  
  The indescribably subtle power that so many know in Jerry Garcia also flows through and out of this album, and anyone who has decided to stand with the kind, loving people of the planet needs to own this.
  
  
• "We Built This City On Rock-n-Snore"
  By AJF67AYNX88GU on 2006-07-21
  It's 2006, and I can't sleep. To whom do I turn? How about our old friends the Jefferson Aeroplane! Who would have thought that five wimps and one tambourine-shaking dingbat could still cure insomnia after all these years? And you don't even need a prescription! Without wasting too much energy or space, all I can say is that these lovable losers sound more hilarious now than ever. A revolution? How about a little depth, common sense, and musicianship? These cornballs never displayed any of that. The Jefferson Aeroplane were a practical joke that was never very funny. One star for the psychedelic dullards who thought they were a real band. -DW
  
  
• The ultimate flashback from Madonna
  By AJTMAGJN54P9E on 2007-03-23
  This just had to be one of my very first amazing albums (showing my age) and today sounds even better! You will not believe it and when you put this cd on (your neighbors will be aghast-- in a good way) it is so totally, it will definitely blow your mind! and we all need a little of that now and then don't we? so get it you won't be sorry unless youre an idiot with zero for personality and can't recognize what you are about to hear is a classic, historical, lp with unbelieveable music, lyrics, sounds, harmony, these voices & music, arrangements make this lp a classic icon for sure! THE END. MY FRIEND, but can you dig it? totally ....................you have nothing to loose, but your mind. :)Trust me and don't miss out on it. Get it!!!!!
  
  
• An alltime classic with an excellent sound.
  By AGDF3UMMT64SJ on 2004-12-28
  What more could one want? I especially liked the addition of the two mono versions. I wish there was also a vinyl scratching effect to get more nostalgic!
  
  
• WOW! The remastering is A+++ quality. A GREAT release!
  By AMWL7XIWIPXEZ on 2005-01-24
  Having bought the late-90s "remastered" version, I had later improved upon the sound quality with my own audio enhancing software because, let's face it, that "remastering" was utterly flat and hissy. Yuck. I was quite impressed to see the new version on the shelves. Curious, I bought it and gave it a try. RCA has done a top notch job at cleaning and restoring these. That alone is worthy...
  
  But for me, the other selling point here were the bonus tracks (that you'll find on every album.)
  
  For Surrealistic Pillow, a highly acclaimed album though somewhat tame at times compared to later albums (such as Volunteers, which is superlative in its poise and approach), keep an ear open for "Somebody to Love", "White Rabbit", "My Best Friend" (somewhat bubblegum/saccharine lyrics, but the music is to die for), "3/5 of a Mile in 10 Seconds", "D.C.B.A. - 25", "White Rabbit", and "Plastic Fantastic Lover". These are the best, and it's amazing what doesn't date after 39 years...
  
  And having seen the videos to many of these songs, one has to wonder what has happened to talent over the last 30-some years. It seems talent has been replaced with lip-gloss, hair bleach, having a sister or more that looks like you so the cash can keep flowing in, the ability to get married and divorced within hours of each, and no real talent at all because real talent inspires individuality and creativity and those elements cannot be controlled...
  
  
• Psychedelic pop masterpiece
  By A3T9IX8EDFDX4G on 2005-02-27
  Jefferson Airplane's Surrealistic Pillow is their most successful album and widely recognized as one of the best albums of the psychedelic era. This is the first album featuring vocalist Grace Slick whose image and strong vocals helped make the band become '60s superstars. However, the former vocalist from The Great Society's biggest contribution to the band are the two songs she brought with her, "Somebody To Love" and "White Rabbit", two of the best singles from the late '60s, which became the band's biggest hits.
  
  Unlike their future releases, Surrealistic Pillow puts less emphasis on their stellar musicianship and more emphasis on writing good songs. Strong tracks such as "My Best Friend", "D.C.B.A.-25", and "How Do You Feel" with their memorable melodies and excellent harmonies actually sound closer to bands like The Mamas and The Papas than to the psychedelia that the Airplane were known for. Marty Balin's songs are all very good whether it's the reminiscent folk of "Comin' Back To Me", the haunting ballad "Today", or the hard rockers "She Has Funny Cars", "Plastic Fantastic Lover", and "3/5 of a Mile in 10 Seconds." Although his playing is lower in the mix than on future releases, you can already hear Jack Casady forming his own signature style as his bass work is a highlight on "3/5 of a Mile in 10 Seconds", "Somebody To Love", and "Plastic Fantastic Lover." Rounding out the original tracks is Jorma Kaukonen's memorable acoustic instrumental "Embryonic Journey" which recently gained exposure to a whole new generation as it was played in the closing moments of the Friends series finale. As with all of the band's classic albums, Surrealistic Pillow has been remastered and includes several bonus tracks. "In The Morning" and "Come Back Baby" are great blues songs which highlight Kaukonen's stellar guitar playing while "Go To Her" and "J.P.P. McStep B. Blues" are more in line with the psychedelic pop that comprises the original tracklist. There are also mono versions of the hits "Somebody To Love" and "White Rabbit." Overall, a classic '60s album that along with Volunteers is their best work. Highly recommended.
  
  
  
• AWESOME CLASSIC AND ANYTHING ELSE YOU CAN SAY
  By A13OD50LTDL2CQ on 2005-08-07
  ONE OF THE BEST ALBUMS EVER RECORDED ...FILLED WITH MEMORIES (AND I WAS ONLY 2 AT THE TIME)..A REALLY REALLY 60'S TRIP BACK IN TIME TO THE DAYS OF EXTREME MELODY, HARMONY, PAIN, HATE, RIOTS IN THE STREETS, WARS, COOL CARS, 16 YEAR OLD CHICKS RUNNING AWAY FROM HOME, BLACKS NOT BEING ABLE TO VOTE, DYSFUNCTION, EXTREME SADNESS...ITS ALL HERE..BABY...AND ITS ALL WAITING FOR YOU ....ARE YOU READY TO TAKE THE JOURNEY...ARE YOU READY TO TAKE MY HAND?...WELL CLOSE YOUR EYES THEN...AND LETS JUST LET THE VOICE OF GRACE AND MARTY TAKE US BACK...START COUNTING BACKWARDS NOW FROM 10 , 9 , 8 ....AND WE WILL BE THERE SOON
  
  
• Wow! The mono version of the album is amazing!
  By A3S98L5B1SR9P1 on 2005-10-03
  Jefferson Airplane's "Surrealistic Pillow" is a masterpiece, indeed. The reviews here can tell you that. It is also one of my favorite albums of all time, and to be honest, I prefer the mono versions of the songs myself. As another reviewer said: "The mono version sounds more like the band would sound live. The stereo version sounds fat, reverby, and sounds 'produced'". I agree. There is definitely a difference. In particular, the mono versions of "Somebody to Love", "She Has Funny Cars", "Today", and "White Rabbit" lack the stereolized echo. For those interested: there's a CD of this album that was released in 2001 that features both stereo and mono versions. It doesn't feature the bonus tracks that are on the 2003 CD, but it sounds GREAT!
  
  
• Is This The Mamas and Papas?
  By A331GRLYN05SGQ on 2005-11-20
  Of all the Aiplane records ever made, this contains some of the best vocal harmonies heard since the Beach Boys and the Mamas And Papas.The one song that I can do without is "Comin' Back To Me" by Marty Balin.Grace Slick IS the Jefferson Airplane with this release.
  
  

• Volunteers
• Crown of Creation
• After Bathing at Baxter's
• Disraeli Gears
• Jefferson Airplane Takes Off