The Cavalier daily :: Thursday, February 5, 1970 :: University of Virginia Library

Those who will purchase
Quicksilver Messenger Service's new
album on the strength of their
previous efforts are in for a
surprise. Their earlier albums epitomized
progressive, or "heavy"
rock, with a great deal of emphasis
on electronic effects, relying on
John Cipolina's superlative guitarist
work for the force of the group.
Quicksilver has recently undergone
a personal change, however, (what
group hasn't) bidding Gary Duncan,
their second lead guitarist and
primary writer farewell, and adding
Nicky Hopkins, formerly with Jeff
Beck, Mr. Hopkin's keyboard work
had been heard on nearly every
"name" group's record, including
The Jefferson Airplane's new album
"Volunteers."

Quicksilver's new album,
"Shady Grove," marks a radical
departure from their previous style,
and Mr. Hopkin's piano and organ
in large measure dominate every
cut.

The album can be called an
amalgam of good and bad. Some
cuts are refreshing and are superbly
performed, others lean toward
banality. The recording itself is
poor, surprising for Capital, but is
arranged well, producing a cogent
entity. The music itself is a
synthesis, with touches of classical,
jazz, rock and country all evident.
The vocals range from relatively
complex harmonies to faltering
blues solos, and the instrumentation
is dominated by Mr. Hopkins.
Mr. Cipolina is very much subdued
backed by strong drumming by
Greg Elmore and capable bass and
viola work by Dave Freiberg.

"Shady Grove" opens with the
song of the same name which is the
"heaviest" guitar work on the
album. Like every cut, the song is a
whole unit, with no one individual
taking of on an extended lead. The
piano and bass lay down a driving
rock line that Mr. Cipolina springs
from, yet maintaining an extremely
tight and cleanly structured sound.

"lute Song" like "Flashing
Lonesome" or the p side, is a
slow bluesy number and frankly
drags. This is in marked contrast to
"3 or 4 Feet From Home," a
rollicking song with a great
'boogie" piano by Hopkins, or
"Joseph's Coat," the phrasing of
which is reminiscent of "Pride of
Man" from their debut album.

"Too ar" and "Words Can't
Say," written by Mr. Freiberg are
characterized by their strong
country influence, and The Band is
called to mind. Both are of strong
vocalization and an excellent blend
of guitar and piano.

The record closes with a number
written by Mr. Hopkins, and it is all
his at his best. Whereas the entire
album is influenced by him and his
piano is the driving unity on each
song, "Edward (The Mad Shr
Grinder)" places him in a class by
himself among rock pianists. Mr.
Hopkins' playing is strongly classical,
clean to the point of being
"straight" and displays amazing
speed. The song switches from 4/4
to 3/4 time and back again, closing
with great speed, the piano and bass
double-timing.

The album is a cheerful, relaxed
effort, simplistic at times, but
always unified and listenable. Such
a statement with reference to
Quicksilver seems somehow incongruous
however, and this new
direction may prove irreconcilable
to their former enthusiasts.