エアプレインのファースト。セカンドが有名でそれほど話題に上らない本作だが、個人的にはこっちのほうが好き。
まず曲の並びがカチッとしていて、それぞれがカッコいい。
あと、キャサディの弾きまくっているのはファーストだと思う。低音をブースト気味にして聞くと痺れます。
テイクス・オフ~アップグレイド・ヴァージョン(紙ジャケット仕様)
仕様 | 価格 | 新品 | 中古品 |
CD, リミックス含む, インポート, 2003/8/19
"もう一度試してください。" | インポート, リミックス含む | ¥1,789 | ¥1,781 |
CD, CD, コレクターズ・エディション, 2013/9/10
"もう一度試してください。" | CD, コレクターズ・エディション | ¥2,655 | ¥3,620 |
CD, インポート, 2009/3/22
"もう一度試してください。" | インポート |
—
| ¥2,999 | ¥6,577 |
CD, オリジナルレコーディングのリマスター, インポート, 1996/1/30
"もう一度試してください。" | オリジナルレコーディングのリマスター, インポート |
—
| — | ¥807 |
CD, 1997/12/17
"もう一度試してください。" | 1枚組 |
—
| — | ¥1,430 |
CD, 限定版, 2005/7/20
"もう一度試してください。" | 限定版 |
—
| — | ¥1,700 |
この商品をチェックした人はこんな商品もチェックしています
ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
1 | エアプレインのブルース |
2 | レット・ミー・イン |
3 | ブリンギング・ミー・ダウン |
4 | イッツ・ノー・シークレット |
5 | タバコ・ロード |
6 | カム・アップ・ザ・イヤーズ |
7 | ラン・アラウンド |
8 | ゲット・トゥゲザー |
9 | ドント・スリップ・アウェイ |
10 | ショーファー・ブルース |
11 | アンド・アイ・ライク・イット |
12 | ランニン・ラウンド・ジス・ワールド (モノ未編集シングル・ヴァージョン) [ボーナス・トラック] |
13 | ハイ・フライング・バード [ボーナス・トラック] |
14 | イッツ・オールライト [ボーナス・トラック] |
15 | ゴー・トゥ・ハー (アーリー・ヴァージョン) [ボーナス・トラック] |
16 | レット・ミー・イン (オリジナル未編集ヴァージョン) [ボーナス・トラック] |
17 | ラン・アラウンド (オリジナル・モノ未編集ヴァージョン) [ボーナス・トラック] |
18 | ショーファー・ブルース (未発表オルタネイト・ヴァージョン) [ボーナス・トラック] |
19 | アンド・アイ・ライク・イット (未発表オルタネイト・ヴァージョン) [ボーナス・トラック] |
商品の説明
内容紹介
Japanese Limited Edition Issue in a Deluxe LP Sleeve Replica of the Original Album Artwork.
Product Description
Japanese Limited Edition Issue in a Deluxe LP Sleeve Replica of the Original Album Artwork.
メディア掲載レビューほか
マーティ・バリンとポール・カントナーを中心に結成され、地元サンフランシスコで急激にファンを増やしていたジェファーソン・エアプレインの記念すべきデビュー・アルバム。シングル「イッツ・ノー・シークレット」「エアプレインのブルース」などを収録。1966年発表。 (C)RS
登録情報
- 梱包サイズ : 14.09 x 12.63 x 1.37 cm; 80.32 g
- メーカー : BMG JAPAN
- EAN : 4988017633465
- 時間 : 1 時間 1 分
- レーベル : BMG JAPAN
- ASIN : B0009S8EW4
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 131,857位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 2,515位ヘヴィーメタル
- - 8,703位ポップス (ミュージック)
- - 24,232位ロック (ミュージック)
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.6つ
5つのうち4.6つ
全体的な星の数と星別のパーセンテージの内訳を計算するにあたり、単純平均は使用されていません。当システムでは、レビューがどの程度新しいか、レビュー担当者がAmazonで購入したかどうかなど、特定の要素をより重視しています。 詳細はこちら
228グローバルレーティング
虚偽のレビューは一切容認しません
私たちの目標は、すべてのレビューを信頼性の高い、有益なものにすることです。だからこそ、私たちはテクノロジーと人間の調査員の両方を活用して、お客様が偽のレビューを見る前にブロックしています。 詳細はこちら
コミュニティガイドラインに違反するAmazonアカウントはブロックされます。また、レビューを購入した出品者をブロックし、そのようなレビューを投稿した当事者に対して法的措置を取ります。 報告方法について学ぶ
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2007年4月24日に日本でレビュー済み
ジェファーソン・エアプレインの代表作は2作目の「シュールリアリスティック・ピロー」というのが定説です。2作目から参加のグレイス・スリックが持ち込んだ「あなただけを」と「ホワイト・ラビット」のヒットによりグループは商業的に大成功したわけですが、その後のバンドの展開を顧みるとスリックのオバサンパワーで無節操に時代に迎合することで商業バンドとして生き永らえただけにしか思えないのはわたしだけでしょうか。スリックおばさんはオリジナルメンバーを全て駆逐したのを機に名前も「スターシップ」に変更、とうとうハイジャックに成功するのでした。それからもNO.1ヒットを放つところがスリックおばさんの凄み。
ところで、この第1作は、このようなおばさん臭からは無縁の実に初々しい作品です。スリックの前任者シグネ・アンダーソンがこの作品を最後に脱退した理由が出産というのも何かほのぼのとした感じで良いです。もちろん、「あなただけを」や「ホワイト・ラビット」のようなポップス史に残る名曲は入っていないかもしれませんが、佳曲で埋め尽くされた本作品は、名盤としての評価の確立した2作目にひけを取らない、隠れた名盤。
ボーナストラックの13. ハイ・フライング・バード は公式に発表されたのが確か74年だったと思いますが、今では代表曲の一つと言えるかも知れません。
ところで、この第1作は、このようなおばさん臭からは無縁の実に初々しい作品です。スリックの前任者シグネ・アンダーソンがこの作品を最後に脱退した理由が出産というのも何かほのぼのとした感じで良いです。もちろん、「あなただけを」や「ホワイト・ラビット」のようなポップス史に残る名曲は入っていないかもしれませんが、佳曲で埋め尽くされた本作品は、名盤としての評価の確立した2作目にひけを取らない、隠れた名盤。
ボーナストラックの13. ハイ・フライング・バード は公式に発表されたのが確か74年だったと思いますが、今では代表曲の一つと言えるかも知れません。
2003年10月25日に日本でレビュー済み
ジェファーソンの処女作。のちのちにサイケロックの雄となるバンドですが、この処女盤では、むしろフォーク・ロックのにおいが強いです。
(1)(2)などは良質なフォーク・ロックですし、とても聴き易いアルバムです。あまりLSDの影響がないアルバムなのですが、これはこれで60年代末を表した佳盤だと言えましょう。サイケデリックな感触を欲するひとにはセカンドアルバム以降をお薦めしますが、このファーストも良いアルバムですよ。
(1)(2)などは良質なフォーク・ロックですし、とても聴き易いアルバムです。あまりLSDの影響がないアルバムなのですが、これはこれで60年代末を表した佳盤だと言えましょう。サイケデリックな感触を欲するひとにはセカンドアルバム以降をお薦めしますが、このファーストも良いアルバムですよ。
2022年7月2日に日本でレビュー済み
このファースト・アルバムは、シグネ・トリー・アンダーソンとスキップ・スペンスが参加した唯一のアルバムということが最大の特徴である。それは、ステージでも盛んに演奏されたIt's No Secretなどのマーティ・バリンを中心としたオリジナル曲よりもむしろ、カヴァー曲に顕著に現れていると思われる。Let's Get Togetherは、カントナー、アンダーソン、バリンがリード・ヴォーカルを分け合って、翌年ザ・ヤングブラッズがGet Togetherとしてヒットさせるヴァージョンとは異なる魅力を引き出していている。もう2つのカヴァー曲はもっと興味深い。ブルースのスタンダードTobacco Roadはアンダーソンのヴォーカルを中心とした独特のムードをもったもので、Chauffeur Bluesは、さらに彼女のヴォーカルの魅力が伸び伸びと開陳される。もしもアンダーソンがこのまま在籍して、グレース・スリックが加入しなければ、彼らの歴史は別の道を歩んでいただろう。それは必ずしもコマーシャルなものとはならなかっただろうが、グループをサンフランシスコ・サウンドのアイドル的存在ではない、いわばもっと土着に根付いた唯一無二の存在にしていた可能性を想像することは十分にできる(もともとローカル・バンドとして売り出された)。それは、いわば、初期のフェアポート・コンヴェンションがお手本としたようなエアプレインのもう一つの未来である。オリジナル曲に関しては、コーラスも多用したフォーク・ロック然とした佳曲が多い。しかし、例えば、It's No Secret のB面としてリリースされたもののTAKES OFFには収められなかったRunnin' 'Round This Worldなどを聴くと、さらにフォークの残り香をたたえていることがわかる。Blues from an Airplaneなどは、ジャック・キャシディの重いベースが印象的な電化サウンドだし、演奏もさることながら、曲じたいがR & RなBringing Me Downなども中には散見されるが、おおむね彼らはロック志向もあるフォーク・グループであったことが分かる。
2023年6月7日に日本でレビュー済み
Amazonで購入
ジェファーソン・エアプレイン のファースト
アルバムである。看板のグレース・スリック
はまだ加入してないけれど。ブルースを根底
に良質なロックを聴かせてくれる数少ない
バンドだと思うし、ドアーズ にも劣らない
素晴らしいロックバンドであると言える。
アルバムである。看板のグレース・スリック
はまだ加入してないけれど。ブルースを根底
に良質なロックを聴かせてくれる数少ない
バンドだと思うし、ドアーズ にも劣らない
素晴らしいロックバンドであると言える。
他の国からのトップレビュー
johnf
5つ星のうち5.0
Jefferson Airplane Before Grace Slick
2024年6月2日にアメリカ合衆国でレビュー済みAmazonで購入
The first Jefferson Airplane album, hopefully titled “Takes Off” was released in August, 1966 and was on the charts a brief eleven weeks, peaking at #128. This was actually not bad for a new group’s first album, but they had to wait until April 1967’s “Surrealistic Pillow” to become a national sensation. Many of the fans who bought that album weren’t aware there was an earlier album. This is understandable because the group had changed lead singers in the interim, with Grace Slick replacing Signe Toly Anderson, and with Slick essentially fronting the band, RCA was understandably not interested in promoting their first LP release.
They were one of the early San Francisco bands, formed in 1965 in the wake of the British Invasion and the end of the Folk Revival. Like many of the new American pop and rock groups, their personnel had mainly been folk singers inspired by the energy of the exploding pop scene. Marty Balin and Paul Kantner, both of whom had been in folk groups, met at Union Street folk club, The Drinking Gourd and quickly decided to form a band with more of a rock sound. There weren’t any real venues for such a group; they were too mature to want to play high school dances like many garage bands did and San Francisco didn’t have a developed teen club scene like L.A. In a brilliant move, Balin convinced two friends to put up money to buy an old pizza restaurant and turn it into a rock club where his band would be the house band. Called The Matrix and located in Cow Hollow, essentially the same neighborhood as The Drinking Gourd, it became a roaring success, the hippest place in town for those who knew.
As is frequent with new bands, there were personnel changes in the beginning. When they decided that they needed an electric bass guitar, upright bass player Bob Harvey was replaced by Jack Casady, a friend of newly recruited guitar player Jorma Kaukonen. Drummer Jerry Peloquin, a former Marine, did not fit in well with the bohemian lifestyle of the other members and was replaced by Skip Spence, a guitarist who quickly learned drums after Balin talked him into joining. From the beginning both Balin and Kantner wanted a female singer, which was unusual at a time when women were most often solo vocalists or parts of the R&B girl group sound. They discovered new San Francisco arrival Signe Toly singing at The Drinking Gourd and this was the group that made this album and lasted until Toly was replaced by Slick in late 1966.
The band was popular from the start at the Matrix, but really packed them in when Ralph J. Gleason, prominent jazz critic and writer for the San Francisco Chronicle and Down Beat Magazine wrote a glowing review. This also brought interest from record labels and an interim period with infamous manager Matthew Katz. In November 1965 they signed with RCA, a move recommended by local singer Rod McKuen. Jefferson Airplane had already become the top band in the city, playing every major “happening” including the first Family Dog concert, “A Tribute To Dr. Strange”, the benefit concert for the S.F. Mime Troupe produced by Bill Graham who also made them the unofficial house band for his new venture, the Fillmore and the first Trips Festival. If there was a big event for the ever growing rock scene, they were there. A band that often opened for them was The Great Society, a group whose lead singer was Grace Slick, giving them the opportunity to sample her remarkable voice. This was important when, in mid to late 1966, Signe, having married the Airplane’s lighting technician, Jerry Anderson, developed second thoughts about touring after she had a daughter. In addition, her husband had a difficult personality and hassled the band over perceived slights to Signe. The band decided they needed Slick as their new singer and with a nice payout, Signe was happy to leave and provide a smooth transition.
But this is the album released before all that, on August 15, 1966 and this is the band that preceded their national fame. The overall sound is more folk-rock than their 1967 rock sound. Marty Balin wrote all of the original songs with Kantner, Kaukonen or Spence as co-composers. He also is the lead singer on more songs than Signe, though they most often sing together in unison or harmony on many numbers, like folk groups often did. Balin had a strongly emotional voice, good for delivering the strong feelings of “It’s No Secret”. Signe had sung blues in Seattle before hitting San Francisco and could really belt out a number like”Chauffeur Blues ”. In an almost alto range she is very effective on lyrical songs like Chet Powers’ “Let’s Get Together ” as well. Here the song is given a Byrds-like guitar arrangement. “Let Me In” is the most rocking track on the album and is the closest to the sound the group would develop. Their take on John D. Loudermilk’s “Tobacco Road ”, a hit for British Invasion group the Nashville Teens is really well done with Balin’s vocal delivery getting the song’s yearning feelings across. “Come Up the Years ” is the most folk-like song on the album, the kind of song future group Pentangle might do.
This was a complicated album in that it had three versions, all in late ‘66. First, RCA had only printed 15,000 copies and those sold out quickly due to Bay Area sales. The label took advantage of having to do a second printing to cut the song “Runnin’ ‘Round the World” because it contained the line, “The times I’ve spent with you have been fantastic trips” and the record and radio industry was really paranoid of anything that might be construed as a drug reference. A third edition had the band re-record “Let Me In’ and “Run Around” changing what the label felt were suggestive lyrics. The Airplane, notably uncompromising in later years, were more amenable with their first album. These songs are included as bonus tracks with the original. unedited lyrics, an important addition to make the CD complete. There is also a solid version of Billy Edd Wheeler’s “High Flying Bird ” with Marty and Signe singing powerfully; the song was popular with the Bay Area folk crowd, particularly Judy Henske’s recording.
All in all this is a solid album, though things were moving so fast that its folk-rock sound was a little dated by late 1966 when psychedelic rock was beginning to make its way onto the radio. They remind me most of We Five (“You Were On My Mind”), a Southern California group who moved to San Francisco because their producer/manager was based there and who also had a female singer. Surprisingly, since it mostly sold on the West Coast, I got this album in early 1967 and really liked it. The Airplane did a series of radio commercials for San Francisco based Levi Strauss.I remember one in particular that went “I am a duck, I can’t wear white Levis” with an eerie organ intro unlike how the band actually sounded since they didn’t have a keyboard. But it was intriguing and mysterious sounding and gave me an early look at Jefferson Airplane.
They were one of the early San Francisco bands, formed in 1965 in the wake of the British Invasion and the end of the Folk Revival. Like many of the new American pop and rock groups, their personnel had mainly been folk singers inspired by the energy of the exploding pop scene. Marty Balin and Paul Kantner, both of whom had been in folk groups, met at Union Street folk club, The Drinking Gourd and quickly decided to form a band with more of a rock sound. There weren’t any real venues for such a group; they were too mature to want to play high school dances like many garage bands did and San Francisco didn’t have a developed teen club scene like L.A. In a brilliant move, Balin convinced two friends to put up money to buy an old pizza restaurant and turn it into a rock club where his band would be the house band. Called The Matrix and located in Cow Hollow, essentially the same neighborhood as The Drinking Gourd, it became a roaring success, the hippest place in town for those who knew.
As is frequent with new bands, there were personnel changes in the beginning. When they decided that they needed an electric bass guitar, upright bass player Bob Harvey was replaced by Jack Casady, a friend of newly recruited guitar player Jorma Kaukonen. Drummer Jerry Peloquin, a former Marine, did not fit in well with the bohemian lifestyle of the other members and was replaced by Skip Spence, a guitarist who quickly learned drums after Balin talked him into joining. From the beginning both Balin and Kantner wanted a female singer, which was unusual at a time when women were most often solo vocalists or parts of the R&B girl group sound. They discovered new San Francisco arrival Signe Toly singing at The Drinking Gourd and this was the group that made this album and lasted until Toly was replaced by Slick in late 1966.
The band was popular from the start at the Matrix, but really packed them in when Ralph J. Gleason, prominent jazz critic and writer for the San Francisco Chronicle and Down Beat Magazine wrote a glowing review. This also brought interest from record labels and an interim period with infamous manager Matthew Katz. In November 1965 they signed with RCA, a move recommended by local singer Rod McKuen. Jefferson Airplane had already become the top band in the city, playing every major “happening” including the first Family Dog concert, “A Tribute To Dr. Strange”, the benefit concert for the S.F. Mime Troupe produced by Bill Graham who also made them the unofficial house band for his new venture, the Fillmore and the first Trips Festival. If there was a big event for the ever growing rock scene, they were there. A band that often opened for them was The Great Society, a group whose lead singer was Grace Slick, giving them the opportunity to sample her remarkable voice. This was important when, in mid to late 1966, Signe, having married the Airplane’s lighting technician, Jerry Anderson, developed second thoughts about touring after she had a daughter. In addition, her husband had a difficult personality and hassled the band over perceived slights to Signe. The band decided they needed Slick as their new singer and with a nice payout, Signe was happy to leave and provide a smooth transition.
But this is the album released before all that, on August 15, 1966 and this is the band that preceded their national fame. The overall sound is more folk-rock than their 1967 rock sound. Marty Balin wrote all of the original songs with Kantner, Kaukonen or Spence as co-composers. He also is the lead singer on more songs than Signe, though they most often sing together in unison or harmony on many numbers, like folk groups often did. Balin had a strongly emotional voice, good for delivering the strong feelings of “It’s No Secret”. Signe had sung blues in Seattle before hitting San Francisco and could really belt out a number like”Chauffeur Blues ”. In an almost alto range she is very effective on lyrical songs like Chet Powers’ “Let’s Get Together ” as well. Here the song is given a Byrds-like guitar arrangement. “Let Me In” is the most rocking track on the album and is the closest to the sound the group would develop. Their take on John D. Loudermilk’s “Tobacco Road ”, a hit for British Invasion group the Nashville Teens is really well done with Balin’s vocal delivery getting the song’s yearning feelings across. “Come Up the Years ” is the most folk-like song on the album, the kind of song future group Pentangle might do.
This was a complicated album in that it had three versions, all in late ‘66. First, RCA had only printed 15,000 copies and those sold out quickly due to Bay Area sales. The label took advantage of having to do a second printing to cut the song “Runnin’ ‘Round the World” because it contained the line, “The times I’ve spent with you have been fantastic trips” and the record and radio industry was really paranoid of anything that might be construed as a drug reference. A third edition had the band re-record “Let Me In’ and “Run Around” changing what the label felt were suggestive lyrics. The Airplane, notably uncompromising in later years, were more amenable with their first album. These songs are included as bonus tracks with the original. unedited lyrics, an important addition to make the CD complete. There is also a solid version of Billy Edd Wheeler’s “High Flying Bird ” with Marty and Signe singing powerfully; the song was popular with the Bay Area folk crowd, particularly Judy Henske’s recording.
All in all this is a solid album, though things were moving so fast that its folk-rock sound was a little dated by late 1966 when psychedelic rock was beginning to make its way onto the radio. They remind me most of We Five (“You Were On My Mind”), a Southern California group who moved to San Francisco because their producer/manager was based there and who also had a female singer. Surprisingly, since it mostly sold on the West Coast, I got this album in early 1967 and really liked it. The Airplane did a series of radio commercials for San Francisco based Levi Strauss.I remember one in particular that went “I am a duck, I can’t wear white Levis” with an eerie organ intro unlike how the band actually sounded since they didn’t have a keyboard. But it was intriguing and mysterious sounding and gave me an early look at Jefferson Airplane.
mauro
5つ星のうち1.0
No es lo que aparece
2022年3月4日にスペインでレビュー済みAmazonで購入
No es 24bit!es cd normal
Garau Giorgio
5つ星のうち3.0
Parzialmente positivo
2014年7月18日にイタリアでレビュー済みAmazonで購入
Musicalmente un buon album, ma suoni mediocri. Incomprensibile la doppia versione dei brani, una stereofonica e l'altra in mono. Rivenditore serio, prodotto consegnato integro, ottimo l'imballo.
J. LeBlanc
5つ星のうち5.0
perfect electric folk
2013年1月21日にカナダでレビュー済みAmazonで購入
pleasantly surprised how much I dug this album...sweet melodies and harmonies, some acid licks from Jorma. You aren't blessed with Grace's oddness yet, but the guitars (lush/jangly) take off the heavens...