Quicksilver Messenger Service

Quicksilver Messenger Service - Live at the Carousel Ballroom 1968 (2008) 2CD



Artist: Quicksilver Messenger Service
Album: Live at the Carousel Ballroom 1968
Year: 2008
Label: Bear (BEARVP109CD)
Genre: Pop/Rock
Style: Psychedelic/Acid Rock
Format: Lossless
Form: RAR(+3%) Flac(separate)+CUE+LOG+HQ SCANS
Size: 484 Mb
Source: My friend's CD collection

Part of a series of live recordings unearthed after 40 years, this album is said to present an appearance by Quicksilver Messenger Service at the Carousel Ballroom in San Francisco on April 4, 1968, a month before the release of the group's self-titled debut album. Although earlier shows presented in the series demonstrated that QMS certainly were ready to record years before they did, this performance is recognizably one by the band that made the first album and its follow-up, Happy Trails, a group comfortable improvising for 12 or 13 minutes at a time on "Who Do You Love" and "The Fool." In fact, the second disc contains a formless jam lasting nearly 42 minutes that presses the point a bit too far. The jam includes a flute and an organ, not instruments that were part of the QMS lineup (there is also a flute on "Light Your Windows"), so some unnamed guests seem to be present. Although this recording is a valuable document in the history of QMS and the San Francisco scene in general, it has been treated shoddily in this packaging. Guitarist John Cipollina and bassist David Freiberg's names are misspelled in the skimpy liner notes, which mistakenly bear the title of another album in the series. For that matter, the April 4, 1968, performance by QMS actually occurred at the Fillmore Auditorium, not the Carousel. (It wasn't until July 1968 that promoter Bill Graham took over the Carousel and renamed it the Fillmore West.) That is assuming this concert even took place on April 4, 1968. On the recording, someone comments that it's Easter Sunday; April 4, 1968, was a Thursday. Easter Sunday 1968 occurred on April 14. QMS did not play a show on April 14, 1968, but they did play at the Shrine Auditorium in Los Angeles on the night of Saturday, April 13; maybe this is actually that show.

Personnel:
John Cipollina - Guitar, Vocals
Gary Duncan - Guitar, Vocals
Greg Elmore - Drums
David Freiberg - Bass

Tracklist:
CD1
1. Back Door Man 4:48
2. Light Your Windows 5:34
3. Who Do You Love 12:57
4. Babe I'm Gonna Leave You 5:09
5. Walkin Blues 5:40
6. The Fool 13:38

CD2
1. The Jam 41:50

Очень хорошо! Спасибо большое! Джем на втором диске ожидается с нетерпением....

QUICKSILVER MESSENGER SERVICE


Artist: Quicksilver Messenger Service
Album: Castles In The Sand
Year: 2009
Label: Snapper/Proper (SNAP 297 CD)
Genre: Rock
Style: Psychedelic/Acid Rock
Format: Lossless
Form: Flac+ SCANS
Size: 258 Mb
Source: CD collection

Studio Jam Recorded in Corte Madera, California.
Late 1969/ Early 1970

"One of the first studio sessions by Quicksilver’s then new line-up of Dino Valente (vocals), John Cipollina (guitar), David Freiberg (bass & vocals), Greg Elmore (drums), with the British session pianist Nicky Hopkins. Mainly acoustic, it took place in Corte Madera, California in late 1969/early 1970."
"Most of the songs, a couple of them running for nearly nine minutes each, were never to appear on album, although they featured in the group’s concerts. As well as working on new songs such as 'Subway' and the rarely-performed 'The Fool', the band run through several country, gospel and blues standards that they were familiar with, such as 'I Know You Rider', 'Walk In Jerusalem', Hank Williams' 'May You Never Be Alone' and Cindy Walker's 'Warm Red Wine'."
The booklet's sleeves notes cover the group's circumstances at the time of the recordings and the featured songs.
And you hold now, in your hands, one of their first get-togethers.
«The session took place in Corte Madera, California. All the tracks except "Senor Blues" seem to have been recorded on the same day - with the tape stopping only briefly between songs, or not at all. "Senor Blues" may be from the same session or a different one, but it's audibly clear that Dino is using a different microphone, among other things. The date of the session(s) is/are unclear - but, based on the mumbled/unfinished lyrics to a couple of songs that would later become QMS staples, it's certainly prior to the recording of Just For Love in mid-1970 (and certainly well after the release of the last pre-Dino album, Shady Grove, in the latter part of 1969. So we're definitely somewhere between October '68 and April '70. I'm not going to start any unfounded rumours about this being "The Great Long-Sought First-Get-Together Tape!!!!!" of the new/old band - but, from the sound of it, it very well could be. It's certainly an early, rough run-through of several songs - with Dino on occasion shouting chord changes out to the other players, on some standard old chestnuts as well as his own songs.
Freiberg, Cipollina, Duncan, and Hopkins are all present and accounted for on these tapes - both because they can clearly be heard and because Dino calls each of them by name during at one point or another. It's long been assumed that Gary Duncan is not present at the session, but I don't think that's true - in the middle of "I Know You Baby [Rider]," Dino very clearly says "Wake up, Gary." There are most defintely only two guitars playing here, throughout, and hustory may have assumed (so far) that one of them is Valente. It may well be that it's Duncan and Cipollina on the two guitars and Dino's not playing. Or - just to split hairs - Dino may have been calling out to some other "Gary" who was in attendance. Giving credence to the idea that the session may well have coincided with one of the episodes in which Duncan was "a guest of the American penal system" - a status "enjoyed" by most of the members of the band at one time or another. Or three.
The music here is sparse and unfinished, to be sure. Cipollina is marking time, breaking loose quite infrequently. On several songs, Elmore and Hopkins don't play at all. Freiberg sings authoritative backing vocals on the old country standards that he knows by heart, but stays well out of the way on Dino's own new songs. Dino shouts out chord changes, encouragements and epithets.
The listener is greeted right away, in fact, with a charming conversational snippet: "I get the feeling, man, that if I didn't say anything, we'd be playing the same old fucking gigs the same old fucking way, and I'd end up fucking dead" - and then bang, straight into the first verse of "Senor Blues" without so much as a pause.
(Well, you did end up "fucking dead," didn't you? Sure, it was a quarter of a century after the fact, but you can't be too careful what you say. Can you?)
The recording is excellent, given that these are certainly not top studio conditions - Dino is obviously working with a standard vocal microphone, not an expensive studio-type unit, and hugging it for dear life. The mix is perfectly clear but not very "careful" - these recordings were obviously intended as references, to be studied later on.
From "Senor Blues," it's straight into a brilliant early version of "Subway" - without the "subway" portion of the lyric, and with the signature riff about halfway-formed. The song collapses midway throguh a stinging Cipollina solo, when someone - it's not clear who - is too loud in Dino's headphones and he calls a halt to the proceedings.
At this point the band takes a break from the new material and chooses to run through some old standards that they all know - the traditional chestnuts "I Know You Rider" and "Walk in Jerusalem" as well as Hank Williams' "May You Never be Alone Like Me" (which some bootlegs have listed as "Like A Bird") and Cindy Walker's "Warm Red Wine." Freiberg is quite enthusiastic on these, and sings a low harmony each, uncharacteristic of his other work in Quicksilver.
"Look Over Yonder Wall/State Farm" is really neither of these traditional songs, but it borrows from both. And it doesn't stop there, either, playfully straying into territory inhabited by the likes of two Johnny Cash songs, "Take This Hammer" and "Tell Him I'm Gone", the old chestnut "Buddy Buddy" as well as Mississippi John Hurt's "Spike Driver Blues." It's hard to tell where this medley and the subsequent "Wake Up Dead Man" begins - other than the obvious fact that the tape stops rolling and then starts up again. At the end of part two of "Wake Up Dead Man" Dino breaks into a snatch of "Buddy Buddy"again - but gets no further than the title phrase before the song ends.
We end with an early version of "The Fool." The band is obviously enjoying this one - it's tough and muscular - although it's obviously a very early run-through, with Dino quite tentative about the lyrics. This will not be your favourite version of "The Fool," to be sure, but it's a lot of fun to hear the song take shape.
All in all, there are some considerably more-unstructured nascent takes on The Beatles Anthology series, for example, than you'll find on here. I don't think you'll be spinning this one as often as you do Happy Trails, but it's a fascinating look at an incredible band, behind closed doors, captured while struggling to reinvemt themselves with a new frontman. They would, of course, succeed beyond all expectations». MIKE FORNATALE

Tracklisting:
1.Seсor Blues 6:18 (Silver)
2.Subway1:43 (Farrow, Duncan)
3. I Know You Rider #1 3:54 (Trad arr Cipollina, Valenti, Elmore, Freiberg, Hopkins)
4.I Know You Rider #2 4:35(Trad arr Cipollina, Valenti, Elmore, Freiberg, Hopkins)
5.Walk In Jerusalem 2:44
6.Castles In the Sand 8:32
7.May You Never Be Alone 2:19 (Williams)
8.Warm Red Wine3:03 (Walker)
9.Look Over Yonder Wall / State Farm 3:51
10.Wake Up, Dead Man (Part 1) 5:35
11.Wake Up, Dead Man (Part 2) 3:31
12.The Fool 8:51
Total 54:50

Musicians:
John Cipolina,- Guitar;
Dino Valente, - Vocals;
David Freiberg, - Bass;
Nicky Hopkins ,- Piano;
Greg Elmore, - Drums.

LINK:
http://www.sendspace.com/file/59p6kc

olaf_alien пишет:Quicksilver Messenger Service - Live at the Carousel Ballroom 1968 (2008) 2CD

Ой-ёй-ёй-ёй-ёй-ёйёйёйёй!
А ведь я это чуть не пропустил!! Сергей, спасибо огромное, это замечательное издание!!

Tthanks for the live album!