Posts Tagged ‘Mark Ryan’

 

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Quicksilver Messenger Service – 1968 – The original band formed in 1965 featured revered lead guitarist John Cipollina, Gary Duncan (guitar), David Freiberg (bass), Greg Elmore (drums) – (with Jim Murray and Skip Spence added on guitars). Dino Valenti, who may have had a hand in the band’s formation, was arrested on marijuana possession and spent two years in prison. Spence left to drum on Jefferson Airplane’s debut album in 1966 and was co-founder of Moby Grape, and Murray left after the Monterey Pop Festival. Quicksilver Messenger Service was the best Acid Rock dance band of the 60s honing their skills at the Avalon Ballroom and Fillmore West.

Quicksilver Messenger Service  eventually signed on with Capitol Records in 1967. The core group made only two albums together, its finest: “Quicksilver Messenger Service (1968), and “Happy Trails,” (1969) with stellar songs such as “Pride of Man,” “Dino’s Song,” “The Fool,” “Who Do You Love,” and “Mona.” Cipollina’s ravishing improvisations on “The Fool,” and “Who Do You Love,” for example, set him apart from most other guitarists of the late 1960s. If you ever saw the band live at the Avalon or Winterland, you know that Cipollina could slay you with his spires of tremolo. He had a unique tone that could not be duplicated… Duncan left in 1969 owing to substance abuse issues and general exhaustion and was replaced by ace British session man Nicky Hopkins who contributed masterful piano work on the band’s third and most successful album” Shady Grove,” (1970). Valenti and Duncan returned in 1970 playing on “Just for Love,” (1970) with Valenti taking lead vocal on Fresh Air,” the group’s biggest hit single, and “What About Me,” (1971).

After Cipollina and Nicky Hopkins departed later in the year, Quicksilver carried on with Duncan, Elmore, Valenti, and Freiberg, adding Mark Naftalin (Freiberg was replaced by Mark Ryan when the former was arrested for illegal possession of marijuana).

There were two less successful albums with this configuration: “Quicksilver,” (1971)) and “Comin’ Thru,” (1972). A reunion album “Solid Silver,” (1975) included Cipollina and Hopkins and a host of other Bay Area musicians. The band made one final appearance at Winterland in late December – Cipollina’s last hurrah with the band he founded. Quicksilver Messenger Service carried on for another four years before disbanding… But the band will be remembered for its first two albums – and the wonderful chemistry sparking Cipollina and Duncan’s sublimely beautiful guitar improvisations.

In 1967 – “Dino’s Song,” Live unreleased version recorded at the Fillmore. One of the finest, achingly beautiful, love songs ever written (by Dino Valenti), Originally on the band’s self-titled 1968 debut, one of the finest of the era. This band had few peers and it’s, always a delight to hear Gary Duncan and john Cipollina play in tandem. But a little sad now with their passing.

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Ryan (the Marked Men, High Tension Wires, Radioactivity), alongside Peter Salisbury (Baptist Generals) on synth and Mike Throneberry (Marked Men) on drums, lead this modernistic, machine-like and cinematic version of the story of the Furies and have churned out something furious in return; “Furies” is their most electronic album, yet. Gone are any notions of Ryan’s former project the Marked Men and its style of winningly bombastic garage-pop. Since 2012’s Meltdown, Mind Spiders have been perfecting an aggressive, relentless, frenetic and melodic style of punk that is a long, dark shadow of DEVO but carries something much more sinister in its jaws as it slinks its way through the ears, illustrated by their lone, intensified cover of Grauzone’s 1980 hit, “EISBAER”. It’s a sound for the new dark ages, emboldened by urgency and sped along by some good old fashioned panic.

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Listening to Furies scrapes the inside of your skull and fills it with cold television fuzz. Ryan got that sound by design. “I bashed out the demos quickly to find the right feel,” he shares, “but then it took a long time to find the best way to record. Finally I figured out how to record the drums using drum pads and an old Yamaha drum machine. It worked really well. They sound artificial and harsh and electronic, but still have the feel of Mike’s playing. It set the right tone. After that, it all came together easily.” As most great stories often do.