Jefferson Airplane Surrealistic Pillow Full Album Torrent

And the psychedelic echoes of Jefferson Airplane's 'Surrealistic Pillow'. Edward Sharpe and the Magnetic Zeros new album will be released July 23rd on. Relix Magazine hailed it as “an album full of undeniable folk-rock hooks, gospel.

Bio If you sought comparisons for Edward Sharpe and the Magnetic Zeros forthcoming self-titled album, you would hear the soulfulness of The Supremes’ ‘Where Did Our Love Go’, the raw exuberant pop of The Beatles ‘Yellow Submarine’ and the psychedelic echoes of Jefferson Airplane’s ‘Surrealistic Pillow’. But at its roots, the album shows a band evolved and hopeful for the future.

Some tracks from this new release were originally recorded as the bookend piece to their sophomore album, Here, but in their last year of touring, this collection of songs was reimagined, taking on their own shape. They are upbeat, boisterous and passionate, with gospel chorus harmonies, raw, wailing vocals, and deep-in-the-pocket rhythms.

“Better Days” mirrors perfectly the feelings of a country emerging from several years of tough times as the light of hope begins to peak through. It may be their most earnest work yet. Each release by this incredibly talented family of 10+ seems different and transformed from the last, while still maintaining the principles they arrived with—community, exploration and self-relevance.

Frontman Alex Ebert, who produced this new album himself, shared, “these songs mean everything to me. It’s the rawest, most liberated, most rambunctious stuff we’ve done.” Edward Sharpe and the Magnetic Zeros new album will be released July 23rd on Community Music. Edward Sharpe and the Magnetic Zeros formed in 2007 after singer Alex Ebert met fellow singer Jade Castrinos outside of Little Pedro’s in downtown Los Angeles.

In 2009 the 10-member troupe released their debut album, Up From Below, which featured the hit “Home” as well as fan favorites “40 Day Dream” and “Janglin”. The band has spent the past few years touring the world while winning over audiences at festivals like Coachella, Bonnaroo, Lollapalooza, Leeds, Austin City Limits and more.

Their follow up album, Here, was released in May 2012 and featured the tracks “Man On Fire” and “That’s What’s Up.” The album debuted at #1 on the Independent Music Chart and #5 on Billboard Top 200 Chart the week after its release. Relix Magazine hailed it as “an album full of undeniable folk-rock hooks, gospel overtones, infectious lyrics, orchestral swells and a whole lot of love.” Entertainment Weekly declared, “they’ve got so much heart, they can crush hipster irony with one squeeze of the accordion.” The album was listed at number seven on Rolling Stone’s “Best Albums of 2012” List.

Every day, more music is released. Most of it will be quickly forgotten, some of it will resonate with an audience, and a very, very small percentage will be listened to for years to come. An even smaller subset can fairly be said to embody a particular moment in time. Surrealistic Pillow, the second release by the, is one of those special albums. Released in early 1967 by a group of hippies who also happened to be extraordinary songwriters and musicians, it is both a classic and a reflection of its era. Nearly a half century later, one can look back on early 1967 as a point when the potential for change was palpable.

The idea that society could be improved by applications of peace, love and psychedelic drugs was not considered completely ridiculous. The ethos of the era, centered on the Haight-Ashbury neighborhood of San Francisco, embodied by bands like the Airplane and the, who released their debut album a month after Surrealistic Pillow (which featured cameos and unspecified spiritual and musical guidance from Jerry Garcia), ultimately led to changes in society – and, by virtue of the law of unintended consequences, some of those changes were positive and some were negative. Even the Airplane’s album title was perfect; a non sequitur (derived from a comment by Garcia) that was consistent with the psychedelic era of Strawberry Alarm Clocks and Chocolate Watch Bands, but also described the listening experience. In part because the band had so many creative forces, and in part because no one was telling them they needed to focus their sound to fit a narrow playlist, the music was a mix of sappy love songs, folky tunes, rock anthems, blues, instrumentals, and oddly cynical songs. Of course, drug references abounded, most famously on the allegorical “White Rabbit,” sung by new member Grace Slick, improving on the original version she had done with the Great Society (who also did the original “Somebody to Love”). Slick’s powerful vocals, when added to those from Marty Balin and Paul Kantner, joined with one of the great guitar/bass combinations of all time, boyhood friends Jorma Kaukonen and Jack Casady, and strong drumming from new member Spencer Dryden (and the contributions of Garcia) to create something that worked, both individually and as a whole. Although the Airplane would go on to create other good albums, and many great songs, the tensions among the members, fueled by egos, musical disagreements and various substances, meant that they never again reached the heights of Surrealistic Pillow.

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