Bootleg Series Volume 1: The Quine Tapes

Bootleg Series Volume 1: The Quine Tapes is a triple live album by the Velvet Underground. It was released on October 16, 2001, by Polydor, the record label overseeing the Velvet Underground's Universal Music Group back catalogue.

Bootleg Series Volume 1: The Quine Tapes
Live album by
The Velvet Underground
ReleasedOctober 16, 2001 (2001-10-16)
RecordedMay, November–December 1969, St. Louis and San Francisco, United States
GenreRock
Length230:03
LanguageEnglish
LabelPolydor Records; and
Universai Records (314 589 067-2)
ProducerThe Velvet Underground
The Velvet Underground chronology
Final V.U. 1971–1973
(2001)		 Bootleg Series Volume 1: The Quine Tapes
(2001)		 The Complete Matrix Tapes
(2015)
Professional ratings
Review scores
SourceRating
Allmusic[1]
Robert ChristgauA−[2]
Pitchfork Media(9.4/10)[3]

The Quine Tapes is currently the first and only release in the proposed Bootleg Series. It was originally recorded live by Robert Quine, a fan of the band who would later become an influential guitarist and played with musicians such as Richard Hell, Lou Reed and Lloyd Cole.

The second volume in The Bootleg Series was to be an April 1967 show recorded at The Gymnasium in New York City. (Two songs from this show, "Guess I'm Falling in Love" and "Booker T," appeared on the 1995 box set Peel Slowly and See.) Apparently monetary disputes between the band and Universal have put a hold on future entries in the series. (This same dispute over a revised contract also kept "Miss Joanie Lee," recorded during a rehearsal at Andy Warhol's Factory, from appearing on the deluxe two-CD reissue of The Velvet Underground & Nico.) The Gymnasium show was eventually released in December 2013 as part of the 'Super Deluxe' reissue of "White Light/White Heat", and features the only known recorded performance of the song "I'm Not a Young Man Anymore," as well as the live debut of "Sister Ray".

The Quine Tapes

During 1969, the Velvet Underground toured the United States and Canada, playing well over 70 dates. By this time, the band had picked up a sizeable fan base and every now and then a fan would bring along, with consent of the band, recording equipment to record a set. Most of the time, this would mean relatively simple hand-held recorders resulting in lo-fi mono audience recordings, as with this set and the 1972 live album Live at Max's Kansas City (1969: The Velvet Underground Live was the notable exception, using stereo soundboard recordings).

Robert Quine, an avid Velvet Underground fan, used to travel to as many concerts as possible. He became friends with the band and they allowed him to record sets from the audience, occasionally asking for playbacks. Quine recorded many concerts, but as his original musicassette tapes began to wear out, he compiled four reels of what he considered the best material. These "best-of" reels were ultimately released in 2001 as the present The Quine Tapes set. The original musicassettes from which the reels were compiled no longer exist.

Musically, The Quine Tapes finds the band in the same phase in their history as documented on 1969—the two sets even share a performance of "Rock and Roll", recorded at the same concert by both Quine and the Matrix sound personnel. Quine's tapes, although lo-fi audience recordings, capture much more of the music's ambience, especially in the larger venues, such as Washington University in St. Louis. Additionally, The Quine Tapes contains songs that the band only rarely performed by this time, such as "Sunday Morning", "Venus in Furs" and "The Black Angel's Death Song", along with other obscurities such as "Over You", "Ride into the Sun", and "Follow the Leader", which had never even been bootlegged in its original form.

Track listing

All tracks written by Lou Reed except as noted

Disc 1
No.TitleWriter(s)Recording date and venueLength
1."I'm Waiting for the Man" November 8, 1969, Family Dog Ballroom7:46
2."It's Just Too Much" November 8, 1969, Family Dog Ballroom4:08
3."What Goes On" November 8, 1969, Family Dog Ballroom8:25
4."I Can't Stand It" November 8, 1969, Family Dog Ballroom6:20
5."Some Kinda Love" November 8, 1969, Family Dog Ballroom4:48
6."Foggy Notion"Reed, Sterling Morrison, Doug Yule, Maureen Tucker, Hy WeissNovember 8, 1969, Family Dog Ballroom4:41
7."Femme Fatale" November 7, 1969, Family Dog Ballroom3:14
8."After Hours" November 8, 1969, Family Dog Ballroom3:05
9."I'm Sticking with You" November 8, 1969, Family Dog Ballroom2:48
10."Sunday Morning"Reed, John CaleNovember 9, 1969, Family Dog Ballroom2:56
11."Sister Ray"Reed, Cale, Morrison, TuckerNovember 7, 1969, Family Dog Ballroom24:03
Disc 2
No.TitleWriter(s)...Length
1."Follow the Leader" November 27, 1969, The Matrix17:05
2."White Light/White Heat" December 1, 1969, The Matrix10:03
3."Venus in Furs" December 1, 1969, The Matrix5:14
4."Heroin" November 23, 1969, The Matrix8:11
5."Sister Ray"Reed, Cale, Morrison, TuckerDecember 3, 1969, The Matrix38:00
Disc 3
No.TitleWriter(s)...Length
1."Rock and Roll" November 25, 1969, The Matrix6:49
2."New Age" November 24, 1969, The Matrix11:21
3."Over You" November 25, 1969, The Matrix2:41
4."The Black Angel's Death Song"Reed, CaleNovember 23, 1969, The Matrix5:54
5."I'm Waiting for the Man" November 27, 1969, The Matrix11:37
6."Ride into the Sun" November 24, 1969, The Matrix11:11
7."Sister Ray/Foggy Notion"Reed, Cale, Morrison, Tucker/Reed, Morrison, Yule, Tucker, WeissMay 11, 1969, Washington University28:43

Personnel
The Velvet Underground
Technical staff
gollark: I should rewrite osmarks.tk in scratch so it's more customizable.
gollark: I've launched the new SPUDNET (potatOS ~~backdoor~~ remote debugging services backend) web interface!
gollark: Yes. It should just use magic.
gollark: That seems more like a special case of "users being stupid", which is unfixable and definitely can't be solved by ToS nobody reads.
gollark: We're going to make sure your account can't be hacked by preemptively deleting it.

References
  1. Planer, Lindsay. Bootleg Series Volume 1: The Quine Tapes at AllMusic
  2. Robert Christgau review
  3. Pitchfork Media review 26 November 2001
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