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Jefferson StarshipRed Octopus

Label:Grunt (3) – BFL1-0999
Format:
Vinyl, LP, Album, Stereo, Indianapolis Pressing
Country:US
Released:
Genre:Rock
Style:

Tracklist

A1Fast Buck Freddie
BassPete*
Lyrics ByGrace Slick
Music ByCraig Chaquico
PianoDavid*
3:28
A2Miracles
Bass, Electric PianoPete*
OrganDavid*
Words By, Music ByMarty Balin
6:52
A3Git Fiddler
BassDavid*
KeyboardsPete*
Written ByJohn Creach-Kevin Moore-John Parker
3:08
A4Ai Garimasu (There Is Love)
BassPete*
PianoGrace*
Synthesizer [Arp]David*
Words By, Music ByGrace Slick
4:15
A5Sweeter Than Honey
Bass, KeyboardsPete*
3:20
B1Play On Love
BassDavid*
Lyrics ByGrace Slick
Music ByPete Sears
Piano, Organ, ClavinetPete*
3:44
B2Tumblin
BassPete*
KeyboardsDavid*
Lyrics ByMarty Balin, Robert Hunter
Music ByDavid Freiberg
3:27
B3I Want To See Another World
Music ByPaul Kantner
OrganDavid*
Piano, Bass, OrganPete*
Written ByKantner/Slick/Balin
4:34
B4Sandalphon
BassDavid*
Music ByPete Sears
Synthesizer [Arp], Piano, OrganPete*
4:08
B5There Will Be Love
Bass, PianoPete*
Lyrics ByMarty Balin, Paul Kantner
Synthesizer [Arp]David*
Written By [Lyrics By]Paul Kantner & Marty Balin
Written By [Music By]Paul Kantner & Craig Chaquico
Written By [Sleeve Order]Kantner/Balin/Chaquico
5:04
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Companies, etc.

Credits

Notes

"I" stamped in runouts denotes an RCA Records Pressing Plant, Indianapolis pressing.
Runout is etched except for Kendun, "I", and trailing characters, which are stamped.

Issued in an embossed sleeve with metallic gold foil, and a full-color inner sleeve with lyrics.
Recorded and Mixed at Wally Heiders, San Francisco

Ⓟ1975, Ⓒ1971 Grunt Records. Manufactured and distributed by RCA Records.

In some runouts, the final "A" may appear instead like "Λ".

Barcode and Other Identifiers

  • Rights Society: BMI
  • Rights Society (B2): ASCAP
  • Price Code (Spine): 0698
  • Pressing Plant ID (Stamped ɪ in runout): I
  • Matrix / Runout (Side A label): BFL1-0999-A
  • Matrix / Runout (Side B label): BFL1-0999-B
  • Matrix / Runout (Side A runout, variant 1): BFL1 ̷B̷F̷L̷1̷-̷1̷ 0999 - A - 3S KENDUN-B I A2
  • Matrix / Runout (Side B runout, variant 1): BFL1 ̷B̷F̷L̷-̷1̷1̷ 0999 - B - 3S KENDUN-A I B4
  • Matrix / Runout (Side A runout, variant 2): BFL1 B̶̷L̶̷F̶̷-̶̷1̶̷ ̶̷ 0999-A-4S KENDUN-B I A1
  • Matrix / Runout (Side B runout, variant 2): BFL1 B̶̷L̶̷F̶̷-̶̷1̶̷ ̶̷ 0999-B-3S KENDUN-A I A3
  • Matrix / Runout (Side A runout, variant 3): BFL1 B̶̷L̶̷F̶̷-̶̷1̶̷ ̶̷ 0999-A-3S KENDUN-B I A2
  • Matrix / Runout (Side B runout, variant 3): BFL1 B̶̷L̶̷F̶̷-̶̷1̶̷ ̶̷0999-B-10S KENDUN-A I A2
  • Matrix / Runout (Side A runout, variant 4): BFL1 - 0999 A- 110̶̸̲̅S KENDUN -A- I A 1
  • Matrix / Runout (Side B runout, variant 4): BFL 1- 0999 - B 10S KENDUN -A- I A 2
  • Matrix / Runout (Side A runout, variant 5): BFL-10999-A-10S KENDUN-A I A10
  • Matrix / Runout (Side B runout, variant 5): BFL-10999-B-4S KENDUN-B I A 5
  • Matrix / Runout (Side A runout, variant 6): BFL-10999-A-10S KENDUN A I A 3
  • Matrix / Runout (Side B runout, variant 6): BFL ̷B̷F̷L̷10999-B-3S KENDUN A I B
  • Matrix / Runout (Side A runout, variant 7): BFL-10999-A-10S KENDUN-A I A7
  • Matrix / Runout (Side B runout, variant 7): BFL1 ̷B̷F̷L̷-̷1̷1̷ 0999 - B - 3S KENDUN-A I A 2
  • Matrix / Runout (Side A runout, variant 8): BFL1 ̶B̶F̶L̶1̶-̶1̶ 0999 - A - 3S KENDUN-B I A1
  • Matrix / Runout (Side B runout, variant 8): BFL1 ̶B̶F̶L̶1̶-̶1̶ 0999- B - 3S KENDUN-A I A5
  • Matrix / Runout (Side A runout, variant 9): BFL1 - 0999 A- 11̶0̶ S KENDUN -A- I A 1
  • Matrix / Runout (Side B runout, variant 9): BFL 1- 0999 - B 10S KENDUN -A- I A 1

Other Versions (5 of 106)

View All
Title (Format)LabelCat#CountryYear
New Submission
Red Octopus (LP, Album)Grunt (3)FTR 2002UK1975
Recently Edited
Red Octopus (LP, Album)Grunt (3)BFL1-0999Spain1975
Recently Edited
Red Octopus (LP, Album)Grunt (3)BFL1-0999Italy1975
Recently Edited
Red Octopus (LP, Album, Quadraphonic)Grunt (3)BFD1-0999US1975
New Submission
Red Octopus (Cassette, Album)Grunt (3)BFK1-0999Canada1975

Recommendations

Reviews

  • McHomie's avatar
    McHomie
    This is certainly better than what followed...Slick and Balin both sound fantastic. The songs are all over the place. "Fast Buck Freddie" is a nice rockin' intro, "Miracles" is a lovely ballad, and Paul Kantner's "I Want To See Another World" recalls the Airplane era of the band. As others have mentioned, this pressing sounds really good - dynamic, clear, well balanced, and very full bodied. My copy plays nice, a trace of light surface noise here and there, but mostly clean.
    • TheCrimsonKing91203's avatar
      Y'know this album sucks pretty badly but the mastering on this record sounds pretty solid. The bass is cut loud and there's great instrument separation with nice, straight forward vocals. Basically a pile of shit with ice cream sprinkles.
      • immanipper's avatar
        immanipper
        Edited one year ago
        Actually a pretty decent and enjoyable mid 70s piece, the original LP also sounds mostly great, though the vocals are a bit on the hot-side, particularly during Fast Buck Freddie and Sweeter Than Honey.

        Edit: I managed to find a pressing with KENDUN-B in the runouts, and it absolutely smokes the KENDUN-A cut sound wise. It's a lot cleaner and more open, whilst also keeping the punch of the A-cut. The vocals are also much less prone to distortion on said cut as well.
        • extremesam's avatar
          extremesam
          Audio speaking, "Miracles" has the most dynamics of any vinyl record I've ever heard. Starts out very softly then builds to a loud crescendo. Don't crank up the volume when you start playing this song.
          Amazingly, it doesn't distort. Overall, I find the whole album average but you gotta' give em' credit for showing up anyway.
          • streetmouse's avatar
            streetmouse
            Edited 5 years ago
            The Starship fully embrace Corporate Rock ...

            Marty Balin was back as a full-time member of the band, on an album that was surprisingly the best selling record of any incarnation of the Jefferson Airplane. I however was not a fan.

            Red Octopus never came off as a cohesive engagement, Grace Slick got her prerequisite songs, Pete Sears got his featured moments, Papa John Creach was given his instrumental, and the rest of the band had their featured moments, reminding me more of the Beatles White Album, a mere collection of songs, rather than a group achievement. Of course, the number “Miracles,” with its lush string arrangements fit perfectly with the times, was the FM radio hit, and certainly brought into the fold listeners who’d completely overlooked the radical Jefferson Airplane (Starship), or knew nothing of their past drug fueled incarnation and simply liked the song, one that featured a less radicalized version of the band.

            I could go on and list the other shortcomings of the album, Paul Kantner’s embarrassing lyrics, the inaudibility of Papa John (though who knew what his place in the band was for sure), with the remaining material coming off as mostly filler, a mere shadow of who this band had once been, proving that all it took was one single radio friendly hit to make this album a best seller. Matter of fact, it was a long held rumor in 1975, as good acid was drying up, (laughing) that Red Octopus was the product of a fifth column of CIA agents, riding under the guise of the Jefferson Starship, all designed to sap the intelligence out of the American counterculture movement, moving the Jefferson Airplane into the middle of the road and onto a downhill slide into oblivion.

            Pete Sears will attempt to tell you that, “In my opinion this was the best album we ever made,” and if that’s not a downright bit of revisionist history, he goes on to say, “The band was in full swing, unpretentious, with an album filled with sincere and original writing.” Though methinks he was referring to the tour supporting Red Octopus, where they would stretch out many of these arena rock songs into ten minute jams laced with improvisations, and not the actual record itself … a far cry from the psychedelic morning maniac music of Woodstock, just six years earlier.

            *** The Fun Facts: The octopus logo was done by Craig Chaquico who was fresh out of art school, who drew the artwork in the control room between breaks, it was then given to a major art department to be fleshed out and polished up. Craig played vintage 1950’s Les Pauls through a vintage Fender Bassman amplifier on the record.

            Review by Jenell Kesler
            • vext01's avatar
              vext01
              I think I have a version of this not on Discogs.

              It's released by EMI and the upper right corner of the front cover has a "fame" marking.

              Does anyone know anything about it? Shall I add it?
              • cleanvinyl's avatar
                cleanvinyl
                Anyone watch the video, doubt he could have found a more warped copy of such a inexpensive record. :-)
                • tid03000's avatar
                  tid03000
                  On the back cover of mine it's stamped in gold "NOT FOR SALE" with "DEMONSTRATION" stamped through that
                  • Texasbear's avatar
                    Texasbear
                    I know that I have seen a red vinyl version of this album. Has anyone else seen this in Red vinyl?
                    If anyone has or knows the country of the pressing or the catalog # , I really would appreciate it.
                    Thanks,
                    Texasbear

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