專輯介紹：
"傑斐遜飛機"樂隊是由男歌手馬特·巴林（Marty Balin）於1965年建立起來的搖滾樂隊，共6人。起先他們在俱樂部演奏一些民謠搖滾和披頭士的歌曲，後來與RCA唱片公司簽約，發行專輯《傑斐遜飛機起飛》（Jefferson Airplane Takes Off ，1966）但銷路不佳。
不久，他們采用了迷幻搖滾風格，與吸毒文化相聯系，而且由於吸收了一位女歌手格瑞斯·斯利克（Grace Slick，1939年出生），情況才發生了變化。1967年，他們的第二張專輯《超現實主義枕頭》（Surrealistic Pillow）取得了巨大的成績。Balin以他帶有搖滾力量又不失和諧音律的情歌《Somebody To Love》（有人去愛）和《White Rabbit》(白兔)征服了數以萬記的觀衆。而這兩首經典作品作爲單曲推出後，銷量都突破了百萬。
"傑斐遜飛機"被稱爲嬉皮士時代"舊金山聲音"最主要的代表，成了美國最負盛名的搖滾團體之一。"傑斐遜飛機"隨後發行的迷幻搖滾專輯，如《萬物之冠》（Crown Of Creation，1968）、《志願者》（Volunteers，1969）、《吠叫》（Bark，1971）等，也都很受歡迎。雖然其中沒有一首單曲進入"最佳十首"，但對舊金山很多樂隊來說，這是很尋常的。他們不在乎排行榜，甚至有的還把"上榜"看作是一件不光彩的事情。
70年代初，"傑斐遜飛機"的人員又有變動，其骨乾除斯利克外，還有保羅·坎特納（Paul Kantner ）。他們改名爲"傑斐遜（星際）飛船"（Jefferson Starship）。1975年巴林（"傑斐遜飛機"的創立人，後離隊）回到樂隊。過了三年，巴林和斯利克都退出"傑斐遜飛船"（斯利克於1982年重新加入），樂隊風格轉向硬搖滾。最初的老隊員中隻剩下坎特納一人。最後，連坎特納也離開了，根據他的訴訟結果，樂隊被要求去掉名稱中的"傑斐遜"，改名爲" （星際）飛船"（Star Ship）。盡管如此，"飛船"於80年代後期仍不時地取得成功。
This 71-minute, 21-song European-released collection is a good -- though not nearly perfect -- survey of the Jefferson Airplane's work from 1966 through 1972. It beats the Worst of the Jefferson Airplane for sheer comprehensiveness, and is a good compromise between that collection and 2400 Fulton Street, though as a compromise it also sacrifices some good tracks that appear on both -- "Martha," "Good Shepherd," and "Chushingura," all of which were on Worst of Jefferson Airplane, are absent here, for example. On the other hand, the producers have reached beyond the singles and the best-known album tracks, going back to the group's debut album and up as far as Thirty Seconds Over Winterland, and have drawn on many of the better songs off of each LP. The only major drawback is that no real effort has been made at putting any of this material in strict chronological order -- the tracks generally (though not always) bounce around a span of a year or two at a time; but with the absence of any detailed annotation, the uninitiated might also mistakenly believe that the track "High Flyin' Bird" was recorded in 1974 (the year of its official release, on Early Flight), and not 1966. On the positive side, the mastering is clean, and the best transfers circa 1996 were used to put this collection together. The annotation, oddly enough, follows a chronological sequence, year by year, and the budget price makes it a definite if not ideal candidate for any collection of the group's work, casual or comprehensive.
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