Bootleg Series Volume 1: The Quine Tapes
| Bootleg Series Volume 1: The Quine Tapes | ||||
|---|---|---|---|---|
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| Live album by The Velvet Underground | ||||
| Released | October 16, 2001 | |||
| Recorded | May, November–December 1969, St. Louis and San Francisco, United States | |||
| Genre | Rock | |||
| Length | 230:03 | |||
| Language | English | |||
| Label |
Polydor Records; and Universai Records (314 589 067-2) |
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| Producer | The Velvet Underground | |||
| The Velvet Underground chronology | ||||
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| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic |
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| Robert Christgau | A− |
| Pitchfork Media | (9.4/10) |
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.
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".
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).
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