Unlimited Streaming
Listen to this album in high quality now on our apps
Start my trial period and start listening to this albumEnjoy this album on Qobuz apps with your subscription
SubscribeEnjoy this album on Qobuz apps with your subscription
Digital Download
Purchase and download this album in a wide variety of formats depending on your needs.
This fourth solo album from Grace Slick is a very real treat for fans. Far removed from the Great Society demos on Sundazed and her Jefferson Airplane work, "Call It Right Call It Wrong" is Slick and her co-songwriter, '80s producer Peter Wolf (not to be confused with the singer of the J. Geils Band), presenting very contemporary pop tunes that are enough to the left to keep this vision hip, but removed enough from Starship to be considered adventurous. The bottom line is that this is highly entertaining. "Me and Me" is Slick being schizophrenic, and asking her date to do the same -- unless she's splitting herself into quad. She has made a profession of introducing the concept of paradox to the mainstream. "All the Machines" is a wonderful techno mantra. It is amazing when one considers her star power at this point in time -- overshadowing all members of the Jefferson Starship from Paul Kantner to Mickey Thomas -- that a quirky song like "All The Machines" didn't become a novelty hit. Also noteworthy that college radio should have embraced this bold move -- but that dichotomy of a mainstream artist working with mainstream producers like Wolf and Ron Nevison doing truly alternative material, well, it may have been viewed as calculated. But it isn't as calculating as it is wonderfully arrogant. More palatable than Kantner's excesses, Slick's distinguished vocals add a depth to "Fox Face" that few could pull off, taking an overwordy composition with its dirge vibe and transforming it into some techno epic. Although Ron Nevison is a superstar producer with credentials all over the rock universe, he was not known for creating an identity as Jimmy Miller, David Foster, George Martin, and other legends did so well. This is one of the finest, if not the finest, recordings by Ron Nevison. Maybe it is the laid-back atmosphere allowing the cast and crew to take a song like Peter Beckett's "Through the Window," the only non-Slick/Wolf composition on this album, and hit a home run with it. This is real modern rock stuff, a glossier version of what Boston's November Group were doing, Slick's voice a not so delicate monotone. This is as much a Peter Wolf solo album with Slick doing vocals as it is another chapter in her illustrious career. The cover is fantastic, the artist's chest a computer world with mixmaster, a starship, speedboat, and other items, all next to an electrical outlet glowing pink. The back cover has her on a floppy disk being inserted into the wall. Very innovative for its time, "It Just Won't Stop" continuing the keyboard onslaught. Even Peter Maunu's guitar appears invisible, sounding like keyboards. The keyboard bass everywhere takes this so far away from the music we are used to hearing Slick sing to. The backing vocals by Paul Kantner, Mickey Thomas, wife of Peter Ina Wolf, and others all slip into the sheen of the music, five steps away from the Human League. Nevison gets a cleaner sound than Martin Rushent in this world; maybe it's a good break for him away from albums by Ozzie and Heart. "Habits" is a reading and emotive vocal wrapped into one, changing the mood before "Rearrange My Face," another schizo introspective number. A shrink could have a field day with the superstar on this album, wondering if the stream of consciousness lyrics might be revealing another side of Slick. "Whenever someone sees my face/they always have to call me Grace" -- bolstered by Peter Wolf's keyboard vibes and the Harry Belafonte style backing vocals. "Bikini Atoll" is a really lovely love song featuring Dale Strumpel's sound effects, very close to "Lather" by the Jefferson Airplane, maybe a subconscious sequel to her past life. For all the side projects members of the Airplane/Starship contingent have released, this is one of the most cohesive, and enjoyable.
© Joe Viglione /TiVo
You are currently listening to samples.
Listen to over 100 million songs with an unlimited streaming plan.
Listen to this playlist and more than 100 million songs with our unlimited streaming plans.
From kr133.33/month
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - John Colla, Background Vocals - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Michael Spiro, Percussion - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer, Background Vocals - John Colla, Background Vocals - Peter Maunu, Guitar - Bret Bloomfield, Bass
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Paul Kantner, Background Vocals - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - John Colla, Background Vocals - Sean Hopper, Background Vocals - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Michael Spiro, Percussion - Brian MacLeod, Drums - RON NEVISON, Producer - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Lead Vocals, MainArtist - Peter Wolf, Keyboards - Peter Beckett, Composer, Lyricist - Ina Wolf, Background Vocals - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - John Colla, Background Vocals - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Paul Kantner, Background Vocals - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - John Colla, Background Vocals - Sean Hopper, Background Vocals - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - Peter Maunu, Acoustic Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Composer, Lyricist, Keyboards - Ina Wolf, Background Vocals - Michael Spiro, Percussion - Mickey Thomas, Background Vocals - Brian MacLeod, Drums - RON NEVISON, Producer - John Colla, Background Vocals
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Grace Slick, Composer, Lyricist, Lead Vocals, MainArtist - Peter Wolf, Keyboards - Ina Wolf, Background Vocals - Michael Spiro, Percussion - Brian MacLeod, Drums - RON NEVISON, Producer - Peter Maunu, Guitar
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Album review
This fourth solo album from Grace Slick is a very real treat for fans. Far removed from the Great Society demos on Sundazed and her Jefferson Airplane work, "Call It Right Call It Wrong" is Slick and her co-songwriter, '80s producer Peter Wolf (not to be confused with the singer of the J. Geils Band), presenting very contemporary pop tunes that are enough to the left to keep this vision hip, but removed enough from Starship to be considered adventurous. The bottom line is that this is highly entertaining. "Me and Me" is Slick being schizophrenic, and asking her date to do the same -- unless she's splitting herself into quad. She has made a profession of introducing the concept of paradox to the mainstream. "All the Machines" is a wonderful techno mantra. It is amazing when one considers her star power at this point in time -- overshadowing all members of the Jefferson Starship from Paul Kantner to Mickey Thomas -- that a quirky song like "All The Machines" didn't become a novelty hit. Also noteworthy that college radio should have embraced this bold move -- but that dichotomy of a mainstream artist working with mainstream producers like Wolf and Ron Nevison doing truly alternative material, well, it may have been viewed as calculated. But it isn't as calculating as it is wonderfully arrogant. More palatable than Kantner's excesses, Slick's distinguished vocals add a depth to "Fox Face" that few could pull off, taking an overwordy composition with its dirge vibe and transforming it into some techno epic. Although Ron Nevison is a superstar producer with credentials all over the rock universe, he was not known for creating an identity as Jimmy Miller, David Foster, George Martin, and other legends did so well. This is one of the finest, if not the finest, recordings by Ron Nevison. Maybe it is the laid-back atmosphere allowing the cast and crew to take a song like Peter Beckett's "Through the Window," the only non-Slick/Wolf composition on this album, and hit a home run with it. This is real modern rock stuff, a glossier version of what Boston's November Group were doing, Slick's voice a not so delicate monotone. This is as much a Peter Wolf solo album with Slick doing vocals as it is another chapter in her illustrious career. The cover is fantastic, the artist's chest a computer world with mixmaster, a starship, speedboat, and other items, all next to an electrical outlet glowing pink. The back cover has her on a floppy disk being inserted into the wall. Very innovative for its time, "It Just Won't Stop" continuing the keyboard onslaught. Even Peter Maunu's guitar appears invisible, sounding like keyboards. The keyboard bass everywhere takes this so far away from the music we are used to hearing Slick sing to. The backing vocals by Paul Kantner, Mickey Thomas, wife of Peter Ina Wolf, and others all slip into the sheen of the music, five steps away from the Human League. Nevison gets a cleaner sound than Martin Rushent in this world; maybe it's a good break for him away from albums by Ozzie and Heart. "Habits" is a reading and emotive vocal wrapped into one, changing the mood before "Rearrange My Face," another schizo introspective number. A shrink could have a field day with the superstar on this album, wondering if the stream of consciousness lyrics might be revealing another side of Slick. "Whenever someone sees my face/they always have to call me Grace" -- bolstered by Peter Wolf's keyboard vibes and the Harry Belafonte style backing vocals. "Bikini Atoll" is a really lovely love song featuring Dale Strumpel's sound effects, very close to "Lather" by the Jefferson Airplane, maybe a subconscious sequel to her past life. For all the side projects members of the Airplane/Starship contingent have released, this is one of the most cohesive, and enjoyable.
© Joe Viglione /TiVo
About the album
- 1 disc(s) - 9 track(s)
- Total length: 00:37:18
- Main artists: Grace Slick
- Composer: Various Composers
- Label: Rhino
- Genre: Pop/Rock Rock
© 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company. 1894 ℗ 1984 Afterthought Productions Corp., under exclusive license to Rhino Entertainment Company, a Warner Music Group Company.
Improve album information
Why buy on Qobuz...
-
Stream or download your music
Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions.
-
Zero DRM
The downloaded files belong to you, without any usage limit. You can download them as many times as you like.
-
Choose the format best suited for you
Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF...) depending on your needs.
-
Listen to your purchases on our apps
Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go.