Jefferson Starship Complete

Jefferson Starship were among the most successful arena rock bands of the 1970s and early '80s. Guitarist Paul Kantner and singer Grace Slick started Jefferson Starship after the disbandment of Jefferson Airplane, adding former Airplane vocalist Marty Balin not much later. Red Octopus, the group's second album, established Jefferson Starship as a mainstream rock powerhouse. It topped Billboard's Top 200 and its smooth single "Miracles" gave the band a number three hit that crossed over to the adult contemporary charts.

Jefferson Starship is an American rock band from San Francisco, California that evolved out of the group Jefferson Airplane following the departure of bassist Jack Casady and guitarist Jorma Kaukonen. Between 1974 and 1984, they released eight gold or platinum selling studio albums, and had nine top 40 singles on the Billboard Hot 100 chart. The band went through several major changes in personnel and genres through the years while retaining the same Jefferson Starship name. The band name was retired in 1985, but it was picked up again in the early 1990s by a revival of the group led by Paul Kantner, which has continued following his death in 2016.

Starship is an American rock band established in 1985. Although a continuation of Jefferson Starship, its change in musical direction, loss of key Jefferson Starship personnel, and name change sparked a new identity. Love Among the Cannibals is the third album released in 1989 by rock band Starship. It was the first album after Grace Slick's departure from the band, and their last full-length studio release until Loveless Fascination in 2013. The song "Wild Again" had previously been produced for the soundtrack to Cocktail (1988), and was included as a bonus track for the album's CD release. The album had one top 20 single on the Billboard charts, "It's Not Enough", which peaked at No. 12 in October 1989 and was their final Top-40 hit, but the album itself only climbed to No. 64. The track "I'll Be There" went on to being featured in the end credits of Gross Anatomy (1989).

We caused a stir of supernatural proportions last year when we reissued Coven's debut album Witchcraft Destroys Minds and Reaps Souls, complete with naked victim centerfold and instructions for a black mass. And Blood on the Snow, which features a violin-playing devil on the cover and images of a strange occult ritual on the peat fold, promises more of the same. But in the safe hands of the Who producer Shel Talmy, this release on the Buddah label from 1974 presents a much milder, even, dare we say, benevolent version of the band that launched the entire genre of satanic rock.