Quicksilver Messenger Service Albums (10)
'Live at the Carousel Ballroom 1968'
Release Date 11/3/2008
Tracks 7
Label Bear
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What The Critics Say
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. ~ William Ruhlmann, All Music Guide
What The Critics Say
Solid Silver is the last Quicksilver album to fit into the group's original time line -- although this was really a reunion rather than an actual continuation of their previous work, reestablishing however briefly the classic core lineup of Dino Valente, John Cipollina, David Freiberg, Greg Elmore, and Gary Duncan. And the results are impressive, even at times glorious and soaring, and not just on Valente's compositions, which fill six of the ten slots on the album. His work is as good as ever, and the haunting "Cowboy on the Run" was practically worth the price of the album. But it's Gary Duncan's "Gypsy Lights" that opens the album on a powerful yet lyrical (and memorable) note, and in more of a pop vein than listeners are accustomed to from this band; David Frieberg's "I Heard You Singing" isn't bad, either, and is a lot closer to the band's classic sound. Most of the album represents a latter-day folk-rock (or blues-rock) cum acid sound, not too far removed from the virtuoso levels achieved earlier in the decade by the Jefferson Airplane, with the members fairly playing their hearts out here like it's as urgent as any of their classic late-'60s recordings. But perhaps that also explains the album's commercial failure -- released in 1975, it sounds as though it's caught in a time warp about six or seven years in the past, which for some listeners was exactly where the band and its sound belonged. ~ Bruce Eder, All Music Guide
What The Critics Say
One of the group's better albums, despite coming so late in their history that it was ignored by almost everyone. "Hope," "Fire Brothers," and "Don't Cry For My Lady Love" are among the best songs the group ever cut, and "I Found Love" is one of the prettiest, most upbeat songs ever to come from any classic San Francisco band. Some of the rest is self-indulgent, but that's what this era of music was about -- the guitar pyrotechnics of "Song For Frisco" and "Play My Guitar" make them both more entertaining than their somewhat bland melodies; the latter song, in particular, sounds like a Marty Balin/Jefferson Airplane outtake that would have been right on target about four years before the release date of this album. The whole record feels that way, a throwback to the psychedelic era circa late 1967. It's also very much a folk-rock record, with a rich acoustic guitar texture on many of the songs. For the record, since the CD reissue has no personnel information, the band at this point was Dino Valenti (guitar, vocals), Greg Elmore (drums), Gary Duncan (vocals, guitar), Mark Ryan (bass), Mark Naftalin (keyboards), and Chuck Steaks (keyboards). If you ever wondered what the Airplane might have done as a follow-up to Surrealistic Pillow with Marty Balin still singing lead, this is it. ~ Bruce Eder, All Music Guide
What The Critics Say
Musically, there is little to delineate the fifth long-player from Quicksilver Messenger Service, What About Me, from their previous effort, Just for Love. Not surprisingly, material for both was initiated during a prolific two-month retreat to the Opaelua Lodge in Haleiwa, HI, during May and June of 1970. The quartet version of Quicksilver Messenger Service -- which had yielded the band's first two LPs -- expanded once again to include Dino Valenti (aka Chester A. Powers, Chet Powers, and most notably on this album, Jesse Oris Farrow) as well as British session keyboardist Nicky Hopkins. The additional talents of Mark Naftalin (keyboards) were incorporated when Hopkins was unavailable. This began his short stint with Quicksilver Messenger Service, which lasted through their sixth LP, Quicksilver (1972). The most apparent change in Quicksilver Messenger Service's sound can be directly attributed to the return of Valenti. The group has departed the long, free-flowing improvisations that prevailed on both their self-titled debut and follow-up, Happy Trails. The songs are now shorter and more notably structured, with an added emphasis on Valenti's compositions. The title track, "What About Me," became an ethical and sociological anthem with challenging and direct lyrical references to the political and social instability of the early '70s. Valenti, whose songwriting credits on this disc are both numerous and attributed to his Farrow persona, also comes up with some passable introspective love songs, such as "Baby Baby" and "Long Haired Lady," as well as a couple of interesting collaborations with Gary Duncan (bass/vocals). The psychedelic samba "All in My Mind" also highlights the often overlooked percussive contributions from Jose Reyes. Two of the more distinguished entries on What About Me are John Cipollina's raunchy blues instrumental "Local Color" -- replete with a driving backbeat reminiscent of their take on the Robert Johnson standard "Walkin' Blues" -- as well as Nicky Hopkins' emotive "Spindrifter." ~ Lindsay Planer, All Music Guide
What The Critics Say
With the return of Gary Duncan and the recording debut of founder Dino Valenti, Just for Love, Quicksilver's fourth album, marked their debut as the band they were intended to be. The ironic thing about that is that, led by singer/songwriter Valenti, they were a much more pop-oriented band than their fans had come to expect. On Just for Love, Quicksilver finally was Valenti's backup group (he wrote all but one of the songs), and while this gave them greater coherence and accessibility, as well as their only Top 50 single in "Fresh Air," it also made them less the boogie band they had been. And it meant the band's days were numbered. ~ William Ruhlmann, All Music Guide
'Quicksilver Messenger Service'
Release Date 1/1/1969
Tracks 6
Label Capitol
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What The Critics Say
Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era. ~ Richie Unterberger, All Music Guide
What The Critics Say
Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's "Who Do You Love?" and "Mona," as well as the lesser lauded -- yet no less intense -- contribution of Gary Duncan's (guitar/vocals) "Calvary." This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar/vocals), Greg Elmore (percussion), David Freiberg (bass/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic "Who Do You Love?" suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of QMS are what is truly on display here. The musicians' unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. "Mona" and its companion, "Calvary," continue in much the same fashion. Here the members of QMS play off each other to form a cohesive unit. This track also contains some of Cipollina's finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic "Maiden of the Cancer Moon" -- ascending from the remnants of "Mona." The angst and energy in Cipollina's guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans' "Happy Trails," seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia. ~ Lindsay Planer, All Music Guide
What The Critics Say
The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (QMS) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition -- Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) -- who is rumored to have been a "guest" of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song "Shady Grove." The QMS reading is highlighted by John Cipollina's trademark fluid fretwork and a familiar "Bo Diddley" backbeat -- reminiscent of both "Who Do You Love" and "Mona" from the live ensemble LP Happy Trails. The slow and dark "Flute Song" is a trippy minor chord masterpiece that is augmented by the shimmering effect of Hopkins' airy piano lines which mingle throughout the light orchestration. Additionally, QMS try their hand at the same country & western-flavored sound that was making the rounds with their San Fran contemporaries the Jefferson Airplane ("The Farm") and the Grateful Dead ("Dire Wolf"). However, the down-home cowboy waltz "Word's Can't Say" never gets out of the stable, unfortunately. This somewhat uneven effort would sadly foreshadow QMS's journey from psychedelia and into a much more pop-oriented sound on their follow-up, Just for Love (1970). However, enthusiasts of those albums will find much more to revisit on Shady Grove than those who favored the first two records. ~ Lindsay Planer, All Music Guide
