Marty Balin’s “Young Girl Sunday Blues” is the only close to normal song on the album. His superb tenor voice carries the song along and would increasingly make one wish that he would have been more active in the studio.
The group attacks to the very end. “Won’t You Try/Saturday Afternoon” combines an early use of guitar feedback and harmonies by the group. Slick, Balin, and Kantner have always been underrated in their ability to weave their voices together into an intricate sound.
After Bathing At Baxter’s is a unique album as it will take you on a trip of the ear and mind. No matter what state of mind you may be in or out of; it still remains an interesting listen over four decades later.
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Article comments
1 - Glen Boyd
You write:
Marty Balin’s “Young Girl Sunday Blues” is the only close to normal song on the album.
I'm not sure what you would call "normal" in the mid to late sixties, but what's clear is that, like a lot of groups back then, the Airplane were interested in experimenting with their sound, and moving past the hits of Surrealistic Pillow.
While parts of Baxters work, and others clearly didn't, I think the record holds up quite well as a great example of Bay Area psychedelia. I'm particularly surprised you make no mention of the instrumental track, "Spare Chaynge," which contains some great feedback laden guitar and bass interplay between Kaukonen and Casady (who for my money is still one of the best rock bassists of all time -- and Jorma's no slouch on guitar either).
By the time of their next record, Crown Of Creation, the experimental jamming of Jorma and Jack on songs like "Spare Chaynge" would coalesce nicely into a more solid mix with the four and five minute songs of Balin, Kantner, and Slick, giving way to songs like "Greasy Heart" and "Lather."
But I'm sure you'll tell us all about that, right?
-Glen
2 - JC Mosquito
If you ignore the filler jam on side two, Baxter's is JA's finest hour.