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Man v John Cipollina



The second thing Man said when they walked on stage for their first Bay Area gig was 'does anybody know where John Cipollina lives?'. A year later they had in fact met up with John, and began plotting the tour of England that was to follow a few months later.

John Cipollina first came to notice with Quicksilver Messenger Service well before they ever had a record released. As one of the hardest gigging bands of the time, they built their reputation on the stage. Like most of the first crop of Bay Area bands, Quicksilver's roots we firmly in the folk sounds of the early sixties. On the other hand they also were well schooled in the rock sounds of the 50's and 60's. John was a huge Link Wray fan, and Bo Diddley weighed in heavily as an influence.
John Cipollina
Happy Trails.
John Cipollina


It wouldn't completely correct to refer to QMS as a San Francisco band. John had grown up in Marin County, while Greg Elmore and Gary Duncan hailed from Stockton in California's Central Valley. Like Country Joe And The Fish who were based in Berkeley, all these bands were lumped together into the exploding San Francisco Scene. Quicksilver were one of the last of the first wave of SF bands to sign a record contract. Once they did, they locked themselves in the studio for a year before anything was released. During that year the album that came to be known as Quicksilver Messenger Service was recorded as well as at least two more songs Back Door Man and I Hear You Knocking. It would seem most of the time was spent in endless mixing. Radically different versions of the album have surfaced. The band recorded dozens of live concerts around this time as well and a small portion of these recordings made up the follow up release, Happy Trails.

It would be easy to dismiss QMS as a 'Jam Band', but closer examination shows that the long pieces were well orchestrated. No other band of the time showed this much care and sensitivity for their music. Unfortunately this delicate balance was spoilt when Dino Valenti returned to the scene after a spell in jail for marijuana possession. Dino managed to convince Gary Duncan that they didn't need the others, and the band split into two parts. The remaining trio were augmented by the mercurial talents of expatriates Nicky Hopkins and Nick Gravinites. Gravinites had always been a part of the Quicksilver family, writing a song for the first album and sharing the production credit. Shady Grove nearly matched the first two albums, but maybe gave up some of the filigree for a harder sound. Nicky's epic Edward The Mad Shirt Grinder and Joseph's Coat were on par with anything that had come out under the QMS name.

Meanwhile the efforts of Duncan and Valenti had proved fruitless, and Duncan showed back up in SF asking to be reinstated on the condition Dino be asked to join. In a gesture typical of the era, it was agreed that Quicksilver would continue on as a six piece. This one move spelt the end of 'the real Quicksilver' in many peoples minds. It also brought the biggest commercial success to QMS. The resulting album, What About Me was dominated by Valenti, and the famed Quicksilver sound was pushed aside as they became Dino's backing band. Just For Love proved enough for Hopkins and Cipollina who decided to take their leave. John offered the band one last blast of instrumental brilliance, Cobra before he packed up and left the band's Hawaiian compound. Cobra also proved to be a preview of John's next band, Copperhead.

Copperhead was one of those bands that benefited financially from the big label spending spree of the early 70's. Clive Davis took a liking to the band and signed them to a huge deal, most of which disappeared up the noses of the various members. In the Bay Area Copperhead gained a reputation for being one of the loudest bands of the time. The album shows little of the spark that made QMS so special despite the presence of San Jose wonder boy, Jim McPherson and Gary Phillps. Pete Sears was a member early on, but left before the album was recorded. Live recordings show Copperhead to be a better than average rock band, with a good set list. The album captures little of that sound, and disappeared from print by the mid 70's. By early 1974 Copperhead had split with little notice.

Between QMS and Copperhead John and Nicky joined up with Massachusetts native Terry Dolan for what became one of the longest running part time-all star bands in memory, Terry And The Pirates. In 1970 Terry went into the studio to record the Bay Area FM classic 'Inlaws And Outlaws' with John and Nicky. Under the patronage of Tom Donahue, Dolan eventually secured a contract with Warner Brothers, and an album was recorded. Half way through the album, Nicky was asked by the Rolling Stones to join them for the recording of Goat's Head Soup, leaving Pete Sears to finish the second side of the album. To this day Terry is convinced that his song Angie was heard by Mick and Keith, who produced their own song of the same name which unlike the Pirates song became an international hit. While that may be hard to prove, it is known that on the eve of releasing Terry's album, Warner's pulled out, and it remains unheard to this day.

As Copperhead began to fall apart, Terry and the Pirates surfaced as a live band with a stand at the Boarding House. A live Record Plant session for KSAN was recorded in June of ‘73. Things seem to have gone quiet on the Pirates front just as quickly as they appeared. They wouldn't been seen again on the big stage again until the 2nd of February 1975 at a Winterland Local Band Jam and Audition Night. While Deke Leonard was asking about John Cipollina, John was lying low, recovering from the crash of Copperhead.

John did know about Man's inquiry. After the show at Zellerbach Auditorium, I mentioned it to Sean Donahue, who said "No problem, I'll let John know, he's an old friend of the family". It was Sean who had introduced me to the music of Terry and the Pirates through a collection of demo tapes he had. This was around the time I discovered the music of Man, and the connection seemed very obvious to me. It also reintroduced me to Cipollina, whom I'd given up on after Shady Grove.

It was at the February Winterland Pirates gig that I finally got to see John live. For some unexplained reason, I'd managed to miss Quicksilver in their heyday. Looking back on it years later, I just never understood how that happened. I'd seen all the other first division SF bands, and many of the minor players. Living 50 miles from the city, we had to choose the shows we went up to see carefully, and QMS seems not to have been on any of the bills. Seeing John on stage confirmed the stories I heard that he was one of the loudest guitar players around. He had his famous set up with the horns, and that guitar. On the other side of the stage was East Bay guitar hero, Greg Douglass. Not to be outdone, Greg was playing through an Orange stack. The line up for this gig also included David Hayes on bass and Andy 'Slander' Kirby pounding it out on the drums. Terry later told me that "When you walk in front of John, and those horns kick on, it can knock you over".

Man returned to the West Coast in March of ‘75 with two nights at Winterland supporting Peter Frampton. This was a high profile gig, and Man easily won over the audience. Frampton recorded his sets for the very famous 'Comes Alive' album, which might tell you how good Man had to play those nights. The following two nights were booked at the Keystone Berkeley, with Man headlining. This gave them a chance to play a longer set, and stretch out a little more. Over these two sets, Man took full flight, which unfortunately ended with the band crashing and coming apart once again.

KSAN recorded the show on the 23rd for a later broadcast. The boys were in fine form that night. Keystone Berkeley was a rock club, and the audience was fired up to see Man. The set featured two new songs: Breaking Up Once Again and Someone Is Calling. These songs were greeted with the same enthusiasm as the more familiar numbers. Also featured in the set were the rarely played Four Day Louise and You Don't Like Us. Despite the claims on the Rhinos album, Four Day Louse did not stay in the set for ever. The tricky changes on this song seemed to stump the band every time they performed it. On the 23rd, they are nearly derailed when everyone seems to lose their place in the song. On the second night they almost get through it without a problem, but a stray note in the ending continues the curse. You Don't Like Us is another matter, it goes down a storm every night, despite the voiced fears from Deke.

At the end of the first night, Ken manages to gash his thumb, and there seems to be some tension in the air. The next night Deke warns the audience that Ken is going to do the best he can with a damaged digit. With all the backstage intrigue Man play the best set of the four nights. Breaking Up Once Again is introduced with more than a little irony. At the end of the night, they finally tell me that Ken is flying home, while the rest of the band stay on to fulfill a commitment to play three more shows for Bill Graham. Bill Graham has taken a liking to Man, introducing them at Winterland, a huge honor for any band. He sweetens the deal with a large cash bonus, and adds them to the bill with Montrose at Winterland and in Sacramento. I ask what they plan to do for a bass player, and they cautiously announce that they are flying one Martin Ace out for the occasion. Well this changes things doesn't it. When I naively suggest that they bring Clive over too, eyes are rolled, and heads shake. I drop the issue.

Martin is on his way, and time is booked at the Sausalito Heliport for a few days rehearsal. I seem to remember that Martin showed up at the airport with the clothes on his back, and a spare tee shirt. A new chemistry that I'd never seen before is evident when Ace enters the picture. He seems knocked out to be in the states, playing some gigs. While Ken spoke with his bass, Martin holds court with anyone and everyone who comes around. I made arrangements to drive up to Sausalito on the 31st of March. My friend George, from Discount Records, asks to come along, fueled by a large hit of acid.

As we walk into the dusty cramped rehearsal room, the band launch into a once in a lifetime version of C'mon. I stand stunned, as the song takes on a new life. Afterwards Deke says "that was a different version of C'mon". As they will be only doing an opening slot, a short set is rehearsed, and it seems like that's all they will be able to manage. Most of the evening is spent teaching Martin the two new songs, Breaking Up and Someone Is Calling. Deke takes the job of walking Ace through the changes. At one point he politely shows Martin the line that Ken had been playing on Breaking Up. It's Someone Is Calling that drives Martin to distraction. In the end he gets it, and they play it through beginning to end without a hitch. The older numbers are no problem, and they easily handle Many Are Called, Hard Way To Live and Romain. On the latter there is an embarrassing moment when Mart steps up to sing his lines, which Deke had taken over in the interim. Deke looks a little sheepish as he is forced to wait his turn.

As thing start to wind down, the door flies open, and there stands the elusive John Cipollina. After all the waiting the big moment has come. The boys turn on the Welsh defense mode and try to act cool about their hero's arrival. I think they are expecting John the guitarist as gunslinger, looking to duel it out with anyone who'd dare to tread on his turf. John Cipollina is actually one of the sweetest people I ever met, and he's knocked out to meet a band that holds him in such high regard. Someone finally whispers "wanna have a blow?" Micky hands John his Gibson, and sits back as the others try to find a thread to follow. Over the next few minutes some tentative notes are struck, and John rips off a few of those patented licks. Micky finally gets the bug and picks up Deke's other guitar and joins in as the jams comes apart.

John, ever the good host, invites the band over to his club house in Corta Madera for further fun. At this point Terry decides he needs to look up one of the women he's met, and heads the other way, turning to me to say "don't tell anyone". The rest of the Man entourage loads up to drive up Highway 101 a few exits to the famous site of much mayhem. John's roadie Dallas Anderson has turned on the gear, and everyone grabs a guitar. I'm sure the first thing Deke and Micky ask is "show us the growl John, how do you do that". Once the secret is revealed everyone has a try at it. John seems very amused at their boyish enthusiasm. Cipollina lights up, and gives them a tour of the ramshackle house that serves as rehearsal hall and clubhouse for John and friends. A Thompson Submachine Gun is pulled out of a guitar case and handed around. Another box full of handguns is opened, and suddenly everyone is Dirty Harry. A Luger is loaded and people start taking target practice at a fence post in the fire place. I retreat to a safe spot behind the refrigerator, while Deke sits down at the piano and plays some appropriate western barroom music. My friend George feeling the full effects of the acid, decides this isn't all peace and love, announces he'll be in the car until I'm ready to go.

There is some jamming to be done, but it's mostly the roadies, Jeff Hooper, Pip, and Plug who do the playing. John picks up a Danelectro 6 string bass and joins in now and then, but he mostly plays the part of party host. As the night winds down, Foster tells me in no uncertain terms "not a word of this to Barry Marshall". The next day they tell the whole story while being interviewed on KTIM the local fm station. It's headline news in Melody Maker the next week.

An interesting historical note. The Corta Madera police eventually became so annoyed with the activities at the Corta Madera house, they condemned it and burned it down for fire brigade practice. This event is retold in the unrecorded Raven song 'Burning Corta Madera'.

A few more days of rehearsal and much socializing follow before we all head out to Sacramento for the first of the three gigs with Montrose. Sacramento is the capitol of California, and notoriously right wing. Heading into the gig, the cops are giving the crowd a hard time. This is not familiar to us who usually stay in the Bay Area. The Sacramento Civic Auditorium is a large cold building, full of stoned rockers. Man do their best, but the rough edges show through. Martin leaves the stage, only to return with a broom, on which he performs Pete Townshend like. The subtle Welsh humor escapes the locals. I think the band are glad to have an out of town shake down gig. They all seem confident the Winterland gigs will go well.

The Montrose audience proves to be a little tougher than the Frampton crowd. There are plenty of Man fans to cheer on our boys, and Martin continues to entertain everyone. While Micky and Deke grind out the feedback intro to C'mon, Martin grabs a pair of pliers, and mimes a bit of do it yourself dentistry.

On the final night, John comes around backstage, and is invited to join the band on stage. John is introduced to a huge ovation, his legend still worth the price of admission. In a classic bit of Man bad luck, everything seems to go wrong. To start with, Micky decides to try out a Gibson Melody Maker someone wants to sell him. Andrew Lauder is shocked and shouts "where's his guitar?" Deke breaks a string, and his amp decides to only emit a high pitched squeal. John carries on, loving every minute being on stage. The crowd seems not to notice the problems, and go wild at the end of a jam and Romain. As they walk off stage, Foster announces "it's all worked out, John's going to England to do the tour". Up to this point Martin had only committed to the three California gigs, but seems happy to continue on under the circumstances.

Fifteen months pass before Man return to the Bay Area. By 1976, Man are a major draw, and have scheduled a total of eight shows. The first two are opening for Todd Rundgren at the San Jose Center For The Performing Arts and Berkeley Community Theater. The new look Man play flawlessly both nights. A few nights later they play their first headline gig of the tour at the Savoy Tivoli in San Francisco's North Beach. This night is once again recorded by KSAN, and the band play the longest set of any of the Bay Area gigs.

John finally checks in with the band and arranges to join them at the Keystone. Just two months earlier John's new band Raven had made their local debut there. John tells the story of Razorblade and Rattlesnake and touring with Man in England. He then plays a fantastic version of Razorblade. Raven was a seven piece big band, two drums, two guitars, two keyboards and a bass player. There has never been a version of Razorblade like this one. Raven only managed to play a half dozen gigs before they collapsed. Two years work gone in a blink of an eye. The Raven album that was eventually released shows an interesting band, but sounds a little stiff despite some great playing.

A party is organized at Dr Jimmy's out in Walnut Creek. (see Deke's book for more about Dr Jimmy and his wife Christine). While we are all having a good time, John raises the question about his parts being removed from Maximum Darkness. Micky and Deke turn a couple of shades of white, and manage to deflect the mild irritation John has shown. At the gig, the band play well, but it's not their best of the tour. Phil seems to have problems keeping the synth in tune. At the end of the night, he spends some time sorting out the problem. John joins the band for the last three numbers. This night his amp isn't put through the PA, so it's nearly impossible to hear him. At least he's not too loud.

The next night John returns for another go. The show goes smoothly, and John shows a few flashes of brilliance. On Romain he steps up for a solo, and catches fire. They have a go at Bananas, the song that caused all the trouble in the first place. The Hawaiian guitar is left home this time, and John has worked out a nifty chord sequence to play. Everyone seems much happier at the end of the night. The crowd is beside themselves. The East Bay has always shown a strong support for John, and guitar rock in general.

The return to the Savoy two nights later is the last gig in the Bay Area, and due to misdirected gear, the last gig of the tour. After nearly two weeks of nonstop activities, I find myself unable to get it together for the drive into the city. Dr Jimmy administers some sort of cure, and I'm ready to go. As we walk into the club, I'm met by Terry, who asks "where were you? We've been waiting". I barely have time to grab a seat as the band hit the stage. On this night it all comes together, and they play the best show of them all. Everyone has kind words to say about their stay in San Francisco, and seem to know that this band won't be returning anytime soon.

Once again John is invited up for the last four numbers. As they get ready to launch into Babe, I'm Gonna Leave You, Micky can be heard to say "get in tune you amateurs". No need to worry, John is on top of his craft tonight 100%. This is a rare moment indeed. John plays a solo that I think even surprised him. As Micky starts the build into his solo, the power fails! Terry the trouper, doesn't drop a beat, and keeps playing for the excruciating 4 or 5 minutes it takes for the power to be restored. Micky picks up where he left off, and they make it to the end as if nothing happened. Hard Way To Live is graced with yet another new lick John has found. The balance is perfect, and the playing is heavenly. A song like Romain is perfect for a round of solos from everyone up front. John again rips off a classic bit of SG manipulation. By this point Micky has quit worrying, and is matching John lick for hair raising lick. With confidence they launch into Bananas once again. There is now a shimmering layer of chords from John's side of the stage, it's 1968 all over again. Ah, but then the power once again takes a dive. With a frightened exhausted look, Terry keeps the beat while Micky scats a vocal line to fill the gap. Everyone is relieved when the power comes back up, and the crowd roars its approval.

Well that's it, Man's last stand in California. John on the other hand is just starting to find his legs again, and begins a fantastic run of playing that lasted for the next 13 years, until his untimely death in 1989. Over that time John played in and with countless different bands. Most often he could be seen with Terry And The Pirates. Occasionally the Pirates would hit some incredible highs. It usually depended on who the rhythm section was that night. In 1981 ex Quicksilver drummer Greg Elmore joined the Pirates, staying with them until John's death. Having seen John dozens of times over a five year period, I'm convinced that it was Man that challenged him the most, and brought out the best in him. The UK tour of 1975 opened the doors for John to return to Europe with the Pirates and Nick Gravinites.

Twenty five years later, almost all of the San Francisco guitar greats are gone. Hot Tuna might be the last of the bands to still play in that revolutionary style. The rest are dead, or have lost the fire. Man have changed too, but they are still willing to walk up to the edge and then still take another step into the unknown.
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