DaRK PaRTY ReVIEW
::Literate Blather::
Tuesday, November 25, 2008
Great Tunes: Jefferson Airplane's "White Rabbit"



It’s the scene from Hunter S. Thompson’s “Fear & Loathing in Las Vegas” (1972) that skyrocketed Jefferson Airplane’s “White Rabbit” to one of the greatest psychedelic rock songs ever recorded.

Thompson, tripping on a bad combination of LSD, cocaine, mescaline, and alcohol, stumbles into the torched hotel room of his attorney, Dr. Gonzo, who is submerged in a hot bath. He orders Thompson to throw his tape deck into the tub at the peak of “White Rabbit.”
“’White Rabbit.’ I need rising sound… And when it comes to that fantastic note where the rabbit bites its own head off, I want you to throw that fuckin’ radio into the tub with me!”

Thompson refuses, but Dr. Gonzo threatens to kill him if he doesn’t. So as lead singer Grace Slick and the Jefferson Airplane build “White Rabbit” to its crescendo and Dr. Gonzo screams for death by electrocution, Thompson throws a grapefruit in the water instead.

Do bad drug trips get any more twisted than that?

“White Rabbit” was first written in 1965 when Slick was the lead singer of The Great Society. The song was one of the reasons why Jefferson Airplane recruited her as its new lead singer to replace Signe Toly Anderson, who left the band after having her first child.

The song first appeared on vinyl in 1967 on Jefferson Airplane’s “Surrealistic Pillow” album. The song juxtaposes characters from Lewis Carroll’s children’s novel “Alice’s Adventures in Wonderland” (1865) with the hallucinatory experiences of an acid trip.

“White Rabbit” builds to a rising crescendo and adds elements of Spanish music, a snapping snare drum, and a driving electric guitar to create its own hallucinatory experience. It’s hard not to listen to “White Rabbit” and Grace’s trippy lyrics without a powerful urge to reach for the water bong.


Most of the lyrics get Carroll’s characters wrong (The White Knight, for example, does not talk backwards and the Dormouse never says “Feed your head”), but it doesn’t really matter. In fact, it adds another layer to the mystical feel of the number.

Because “White Rabbit” interpreted Carroll’s classic in a completely new way – infusing it with 1960s hippie messages and suddenly all of these innocent and vibrant characters have darker shades and that hookah-smoking caterpillar becomes damn suspicious. Because he is smoking from a hookah and sitting on a fucking mushroom.

Then there is Slick herself. She looks like a college honor student with her puppy dog eyes and librarian good looks (she was a model before she was a singer). But underneath those American girl looks was a rebel -- a free spirit. You didn't know what Slick would do next. Hell, she wanted to spike U.S. President Richard Nixon's tea with LSD. She brings
that shimmering tension to the vocals of "White Rabbit."

The song has had incredible influence and according to the music site All Music, “White Rabbit” has been covered by more than 100 bands, including the gothic punk band the Damned and jazz musician George Benson.

But the song has had more than just musical influence – it’s a full-blown cultural phenomenon. Listening to “White Rabbit” is like stepping into a time machine back to the 1960s and stirs up striking visuals of the time: Woodstock, round sunglasses, hippies without shirts, headbands, and mood rings.

“White Rabbit” has been featured on the Simpsons – three times. It was featured in Oliver Stones’ “Platoon” and been written about by Stephen King. Blue Man Group has done a cover. It inspired the book “Go Ask Alice.” It’s in video games and was played on “The Sopranos.” It’s everywhere.

What do you think Morpheus was referring to when he said to Neo in “The Matrix”: “You take the blue pill - the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill - you stay in Wonderland and I show you how deep the rabbit-hole goes”? It certainly wasn’t Lewis Carroll.
Morpheus is talking about “White Rabbit.”

The Lyrics:

One pill makes you larger
And one pill makes you small
And the ones that mother gives you

Don't do anything at all

Go ask Alice

When she's ten feet tall


And if you go chasing rabbits
And you know you're going to fall

Tell them a hookah smoking caterpillar
Has given you the call

Recall Alice

When she was just small


When men on the chessboard
Get up and tell you where to go

And you've just had some kind of mushroom

And your mind is moving slow

Go ask Alice

I think she'll know


When logic and proportion

Have fallen sloppy dead

And the White Knight is talking backwards

And the Red Queen's "off with her head!"

Remember what the dormouse said;

"Feed your head!

“Feed your head!”



Good Songs From Really Awful Bands

Overlooked Albums From Really Good Bands

Highway to Hell: The 10 Greatest AC/DC Songs

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Thursday, October 26, 2006
10 Greatest Cover Songs

What defines a great cover song? DaRK PaRTY believes there are two crucial elements:

  • A complete and successful re-interpretation of the song that stretches the scope of the music in entirely new directions
  • When the song title is mentioned, most people believe the song belongs to the cover band rather than the original artist

With that limited criteria as our guide, DaRK PaRTY presents the 10 Greatest Cover Songs of All Time.

All Along the Watchtower (Jimi Hendrix)

Bob Dylan originally sang this one as a folk rocker, but Hendrix rescues it with some scathing electrical guitar work. It’s amazing that Dylan released the song in 1967 and by 1968 most people already considered it a Hendrix song. In fact, Dylan even liked the Hendrix version better and played it “heavier” in concert for years in tribute to Hendrix. This is a perfect example of an artist completely re-interpreting a song to make it better, yet still echoing the original.

I Fought the Law (The Clash)

Does anyone even remember that this song was originally done by the Crickets in 1965? Probably not because before the Clash’s version, the song was made popular by the Bobby Fuller Four (Bobby Fuller was found dead in his car the same day the song hit the Top 40). But for all purposes, the Clash have so thoroughly taken command of this song that it’s become one of about five tunes that people immediately connect with the band. It’s an outstanding cover because the Clash’s punk version is a better fit for the tune musically than the original rockabilly style or the Bobby Fuller Four version.

One Bourbon, One Scotch, One Beer (George Thorogood)

This was an old blues number by John Lee Hooker that George Thorogood and his Destroyers made into one of their signature songs (along with “Bad to the Bone). Thorogood takes Hooker’s insightful, introspective song and creates a party number out of it by ripping it pieces with his masterful slide guitar antics.

Red Red Wine (UB40)

How’s this for stretching the limits on a song? UB40 takes puffy pop standard by Neil Diamond and makes it into a rollicking reggae tune that became one of the defining songs of the 1980 retro-reggae scene. However, UB40 didn’t even know Neil Diamond wrote and recorded it until after “Red Red Wine” was a hit. The band thought the song belonged to another reggae band – Tony Tribe, which recorded it in 1969.

Respect (Aretha Franklin)

Otis Redding said all that needed to be said about Aretha’s version of his original. “I think the bitch stole my song.” That she did. Aretha added the “Sock it to me” line to the song (which is a sexual reference) and added a rocking bridge line to the tune.

Walk This Way (Run DMC)

This may be one of the most significant covers in history. By converting Aerosmith’s popular rock anthem into a rap song, Run DMC brought hip hop to the mainstream and rescued Aerosmith from the dustbin. Run-DMC stumbled upon the album, but had never heard of Aerosmith (in fact, they thought the name of the band was Toys in the Attic, the album with “Walk This Way” on it). Aerosmith was pretty much over and the song helped revive its career after the disastrous release of the band’s worst album “Done with Mirrors.”

Suspicious Minds (Fine Young Cannibals)

How is it possible to swipe a song from the King? Ask the Fine Young Cannibals who turned Elvis Presley’s last number one song before his death into one of the most popular songs of the alt-rock movement of the 1980s. This is a bouncy, guitar heavy tune that would have made the King proud.

Take Me to the River (Talking Heads)

I’ll never forgive the Talking Heads for taking the Modern Lover’s bass player, but they kind of make up for it with this fantastic cover of an Al Green tune. This is the song that put art rock band Talking Heads on the musical map. This slowed down, bass-heavy rendition of the original became the coda of urban cool and helped usher in the new wave movement in 1978.

You Really Got Me (Van Halen)

This song was the first hit for the Kinks and the first hit for Van Halen. Ray Davies of the Kinks said he liked the Van Halen version better and that the Kinks version was a prop airplane and the Van Halen version was a fighter jet. This song really encapsulates early Van Halen showing off Eddie Van Halen’s guitar mastery and lead singer David Lee Roth’s trademark squeals.

Ring of Fire (Social Distortion)

It’s difficult to unseat Johnny Cash from his own song – never mind pick him up and throw him to the ground. But that’s exactly what Social Distortion does to “Ring of Fire.” They punk it up and own it. The song, however, was really written by June Carter, who wrote it while driving around one night worried about Cash’s wild partying.

Think we blew it? Want to throw a cover song into the mix? Then use the comments section below to tell us what we missed and to add to the list.

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