A remarkable enigma from the SAN FRANCISCO BAY AREA psychedelic picture, Valente is most famed as the writer of “GATHER.” This definitive ’60s love-and-peace anthem was documented for the Jefferson Airplane’s 1st album, and used into the TOP from the Youngbloods. Valente was also a genuine person in Quicksilver Messenger Assistance, although medication busts intended that he didn’t in fact perform and record using the group for approximately five years, where time these were on the drawback artistically. Ahead of finally starting up with Quicksilver, he also documented a unusual but appealing folk-psychedelic album like a single work that, until its belated reissue on Compact disc, was a uncommon and famous psychedelic cult item. Valente had written “GATHER” while producing the rounds from the Greenwich Town folk picture in the first ’60s, though sadly he marketed the rights towards the melody in the middle-’60s to improve cash for legal protection. Valente also got so far as documenting the melody with an unissued demonstration tape for Fall Information in 1964 (finally released on Ace’s You to definitely Appreciate compilation in 1996). He also documented a peculiar folk-pop one for Elektra in 1964, “Birdses,” its agreement dominated with a Baroque harpsichord. Valente also understood the Byrds within their pre-“Mr. Tambourine Guy” days, also writing a houseboat in SAN FRANCISCO BAY AREA with David Crosby at one stage. Gene Clark once recalled that whenever the Byrds had been trying to create a name, Clark recommended the “Birdses” (amended, obviously, towards the Byrds) due to his admiration for Valente’s “Birdses” one. Valente didn’t end up signing up for the Byrds, nevertheless, rather allying with three SAN FRANCISCO BAY AREA musicians that could result in Quicksilver Messenger Provider. Right before rehearsing for the very first time, nevertheless, Valente was imprisoned for drug ownership and jailed; Quicksilver, for the moment, continuing without him, documenting one of is own happy-go-lucky folk-rock music, “Dino’s Melody,” on the debut record. When Valente was ultimately paroled, he got a cope with Epic, launching one little-heard record for the label in 1968. Made by Bob Johnston (most well-known for overseeing a lot of Bob Dylan’s traditional ’60s result), it had been idiosyncratic even inside the psychedelic community. Valente sang elliptical, stream-of-consciousness hippie-isms without very much in the form of narrative, starting, or end, but with an evocative lyricism. Favoring pleasingly haunting, small folk-jazz acoustic chords, he didn’t possess a lot of a tone of voice, which was sensibly smothered to a big degree under wads of reverb in the studio room, increasing the record’s allure. This might be Valente’s just single work. In 1969 he and Quicksilver’s second guitarist, Gary Duncan, created a band known as the Outlaws before Duncan came back to Quicksilver, which Valente finally became a member of, officially, in 1970. Rather unbelievably, taking into consideration the divergent pathways he as well as the additional musicians had used since the middle-’60s, Valente assumed creative command of the group instantly, which most likely says something both for the power of his character and Quicksilver’s insufficient direction at that time. Valente, actually, would write a lot of the music on their following album, 1970’s OXYGEN (occasionally using the pseudonym Jesse Oris Farrow). The long-awaited reunion was an ill-fated match: Quicksilver’s forte was psychedelic electric guitar jamming, not vocalist/songwriter fare. Valente’s materials for the music group, too, didn’t match his greatest earlier initiatives, although one of is own Quicksilver compositions, “HOW ABOUT Me,” was among their most well-known tracks. Valente remained with Quicksilver through the middle-’70s, and agreed upon with Warner Bros in 1974, although no produces resulted from that association, and even no Valente produces seems between after that and his loss of life in 1994.