The Velvet Underground Quine Tapes Zip



Bezier lines starting to workemv software free. This brings the excellent stuff found in the original tapes from the Velvets series of shows at the Matrix club in San Francisco, in November 1969.

No other rock n roll band was recorded live in the ’60s as frequently as The Velvet Underground, thanks to characters such as ‘The Professor’ in Boston, and future guitar legend Robert Quine. The Velvets incited such fervor and dedication among their fanbase that a surprising number of folks lugged the large tape recorders of the day out to gigs to capture the magic. Unfortunately, most of these tapes can be a difficult listen, bathed in their lo-fi , no-fi and (a scant few) mid-fi quality. A whole bunch of Quine’s lo-fi recordings (more on that later) were officially released a decade or so ago, and several of the other recordings have been released on vinyl in recent years in questionable legality. Being a fanatic, I’ve devoured them throughout the years — beginning with tape trading, then on to CDR’s. Just like those who taped them back in the day, I find every note played by the Lou-led incarnations to be at the very least a worthwhile listen, at their best a revelation.

  • Bootleg Series, Vol. 1: The Quine Tapes is a three-CD compilation of live performances from the Velvet Underground.This is likewise the first in presumably a series of recordings documenting the band's concert visage throughout their brief history.
  • The Velvet Underground heritage of underground tapes plus a series of archival packages helped spread the band's notoriety in the '70s and '80s (the group was inducted into the Rock And Roll Hall Of Fame in 1996). But, in the end, The Quine Tapes are about a fan and a band. As Quine writes in the package's liner notes, 'Listening to this stuff.
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The Complete Matrix Tapes release is the greatest revelation of them all; while many of these performances contained here have seen official release over the years (both on The Quine Tapes archival set, the seminal Live 1969 double LP released in 1974, and a controversial truncated sampler as part of the Velvet Underground deluxe edition a few years back), none have been heard in this bulk and/or this superlative audio fidelity. The Matrix was a small, intimate club in San Francisco that was co-founded by The Jefferson Airplane’s Marty Balin. After a disastrous first run in San Francisco at The Fillmore Auditorium in 1966 (as part of the multi-media Exploding Plastic Inevitable, as presented by Andy Warhol, which was publicly debased by promoter Bill Graham), the group began making inroads in several cities (including San Francisco) after the departure of John Cale and the introduction of Doug Yule. While the Velvets played the larger Family Dog venue regularly, they were booked to play the tiny Matrix for a weeks worth of gigs in November 1969.

While there is no denying the innovation of the Cale era, the Yule period saw The Velvet Underground morph into one of the greatest live bands of their time. Drawing upon an improvisational style that was far less aggressive than the band had explored with Cale, the 1969 Velvets were right at home on the ballroom circuit, though in a creative league of their own.

The intimacy of the room seems to have put Lou Reed at ease; more open to clever stage banter (without a hint of cynicism) than at any other time during his career. A great chunk of this banter is captured on Complete Matrix, and it’s both fascinating to hear and also lends itself the vibe of the musical improvisation. While we hear several versions of many songs, there is no tedium in the variations. This set is full of alternate lyrics, varied tempos, and just general majesty by a band operating at peak powers. The whole package is made even more remarkable by the sort of sound quality that makes us feel as though we are in the room with the Velvets. While very few of us were lucky enough to experience that in reality, this set is a more-than-acceptable alternative.

The highlights are numerous, so I’ll only focus on a few. In addition to these examples, all of the incredible performance as heard on Live 1969 are here, but even better. From the grand drama of “Ocean” to the fist pumping extended coda rave-up of “What Goes On” (which is so damned exciting that it could easily go for another 8 minutes), there’s a myriad of other incredible performances here that make for what is one of the greatest archival releases in the history of archival releases. The performances here are equal to (and in many cases, surpass) the Velvets four incredibly influential, essential, and timeless studio LPs.

While this song was never released by the VU in a studio take, it has long been available on Live 1969 since 1974, and finds Reed at his most tender. While that recording is also included in this set (labeled as version 1, in far better sound quality than Live 1969), this slower reading features different lyrics, and the laconic tempo tugs beautifully at the heart strings.

While perhaps the most well known of all Velvet Underground songs, it’s impressive that a live version (that is quite similar to the Matrix-taped version that appeared on Live 1969) could pack the type of emotional wallop that this one does. However, in my opinion, this version is the most revelatory track in the entire set, and a testament to the poetic genius of Lou Reed. The lyrics are almost wholly different here, not only to the studio take on Loaded, but also the Live 1969 take recorded within the same week. Any one of the lyrics in any of these versions would be a major work for any songwriter, and Lou was able to spin three tales within the context of this song that are, arguably, all equal in quality.

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While this performance was captured on The Quine Tapes, there is simply no match to hearing this manic, blown out performance in the superb quality as heard here. While Sterling Morrison was quoted as saying that he felt that the band didn’t really get to play at the volume and intensity at The Matrix that they could in larger halls, this performance is off the rails in its drive and punch; perfectly capturing the crazed amphetamine rush that the song inhabits. The original studio version on White Light/ White Heat seems almost like a sketch compared to this fully fleshed out version. words / d see

Related:The Velvet Underground :: The Matrix Sampler

THE VELVET UNDERGROUND - Bootleg Series Volume 1: The Quine Tapes

The Velvet Underground Quine Tapes Zipper

In the late '60s, I was studying law at Washington University in St. Louis. I was a rock & roll fan, playing guitar since 1958 and in various groups since 1961. In 1968, I became a rabid Velvet Underground fan and spent countless hours on headphones learning from them. There were a lot of great things going on from the mid- to late '60s, but my greatest influences were The Rolling Stones, The Byrds, Jeff Beck's work with The Yardbirds and The Velvet Underground. So when they came to play a concert at Washington University on May 11, 1969 (sharing the bill with Taj Mahal), I was ready! I had just bought my first cassette recorder, a Sony with a hand-held microphone. Despite a lousy P.A. system and a very echoey basketball gym, the concert was great, the high point being the performance of 'Sister Ray' included in this set.

Later that year, I moved to San Francisco, staying there two years before ultimately moving to New York City. In early November, The Velvet Underground came to San Francisco and stayed for nearly a month. They started out with three nights at The Family Dog, a large Fillmore-type space. A number of hippies brought tambourines and harmonicas to 'do their thing' with the group. But the sound was great for recording - the band was able to play really loud.

After that, they played The Matrix,, a fairly small club, for several weeks, and I taped most of those performances. In the beginning, there weren't many people in the audience. There were a few nights when they started the first set with only four or five people in the club! Under those circumstances, the group couldn't help but notice me and they were very friendly, putting me on the guest list every night and inviting me to hang out with them in the dressing room between sets. They appreciated the fact that I was so serious about recording them, and Lou Reed would occasionally 'warn' me when they were going to do something special, like 'Black Angel's Death Song'. Sometimes, backstage, they'd ask me to play back a particular song they¹d done in the previous set.

They also invited me to watch their occasional rehearsals at the club. They'd work on arrangements for new songs, such as 'Ride Into The Sun' and 'New Age'. They got along quite well - there wasn't the slightest hint of whatever problems they would experience recording Loaded a few months later.

I got the opportunity to spend quite a few hours talking with Lou Reed about music. We'd sometimes go to this hot dog place across the street from the club (I think it was called Coney Island Franks) and talk about how incredible it was in 1955 to be a kid and first discover rock & roll - doo wop, rockabilly, Little Richard, Bo Diddley, etc. Regarding contemporary stuff, Lou was especially fond of the Stones. As for guitarists, he was very enthusiastic about a Byrds concert he'd seen at the Village Gate in 1966, where McGuinn took an incredible extended solo on 'Eight Miles High'. And he was rightfully quite proud of his own guitar soloing on songs like 'I Heard Her Call My Name' but was also resigned to the fact that most people weren't ready for it yet. Anyway, the VU gradually built up an enthusiastic following at The Matrix and by the time they left, the place was always packed.

After they left San Francisco, I spent months constantly listening to the cassettes I'd made. But the technology then was relatively primitive - it wasn't uncommon for cassettes to jam in the machine and get 'eaten'. So I borrowed a 7-inch reel-to-reel Sony machine and copied about four hours of what I considered to be the best performances. I'm glad I did it because the original cassettes became quite worn, damaged and ultimately misplaced. I got a lot of pleasure and inspiration from these performances. As a guitar player, they were an important element in shaping what musical direction I wanted to take.

'In the early 80s, I finally got the chance to play guitar with Lou Reed, an association that lasted nearly four years. Some great things came out of it, and I'm especially proud of the album The Blue Mask.'

I'd like to thank my partner in this project, Michael Carlucci of Subterranean Records. Like me, he's a big Velvet Underground fan, and he spent a lot of energy pushing me to dig out these tapes and to take the first steps in trying to get them released. I'd also like to thank Bill Levenson for his enthusiasm and persistence in getting this stuff out in the best possible form. And, of course, the Velvet Underground - for contributing so much to the world of music and for their generosity to a crazed fan a long time ago.

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The Velvet Underground Quine Tapes Zip Download

Listening to this stuff all these years later, I'm ultimately the same fan I was in 1969.

The Velvet Underground Quine Tapes Zip File

-- Robert Quine

The Velvet Underground Quine Tapes Zip Free

Robert Quine (born Dec. 30, 1942; Akron, Ohio) first achieved recognition for his guitar work as a founding member of Richard Hell & the Voidoids, one of the New York 'punk' scene groups of the late 70s. From 1981 until 1985, he recorded and toured extensively with Lou Reed. Since then, he has recorded with numerous artists including Brian Eno, John Zorn, Lloyd Cole, Matthew Sweet, Tom Waits and Marianne Faithfull.