Moby Grape Mike Douglas show
- Order:
- Duration: 6:12
- Published: 2006-08-11
- Uploaded: 2011-02-03
- Author: aloiso
Omaha 8:05
| Name | Moby Grape |
|---|---|
| Background | group_or_band |
| Origin | San Francisco, California, United States |
| Genre | Rock and roll, folk rock, psychedelic rock, country rock |
| Years active | 1966–1971 1987–1989 2006–present |
| Label | Columbia Reprise Polydor(Germany) Legacy Dig Music Sundazed |
| Associated acts | The Frantics The Cornells The Misfits Jefferson Airplane The Rhythm Dukes Lovecraft The Ducks The Call The Electric Prunes |
| Current members | Jerry Miller Peter Lewis Bob Mosley Don Stevenson Omar Spence Joseph Miller |
| Past members | Skip Spence |
Moby Grape is an American rock group from the 1960s, known for having all five members contribute to singing and songwriting and that collectively merged elements of folk music, blues, country, and jazz together with rock and psychedelic music. Due to the strength of their debut album, several critics consider Moby Grape to be the best rock band to emerge from the San Francisco music scene in the late sixties. The group continues to perform occasionally. As described by Jeff Tamarkin, "The Grape's saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less."
The band name, judicially determined to have been chosen by Bob Mosley and Spence, came from the punch line of the joke "What's big and purple and lives in the ocean?". Lead guitarist Jerry Miller and drummer Don Stevenson (both formerly of The Frantics, originally based in Seattle) joined guitarist (and son of actress Loretta Young) Peter Lewis (of The Cornells), bassist Bob Mosley (of The Misfits, based in San Diego) and Spence, now on guitar instead of drums. Jerry Miller and Don Stevenson had moved The Frantics from Seattle to San Francisco after a 1965 meeting with Jerry Garcia, then playing with The Warlocks at a bar in Belmont, California. Garcia encouraged them to move to San Francisco. Once The Frantics were settled in San Francisco, Mosley joined the band.
While Jerry Miller was the principal lead guitarist, all three guitarists played lead at various points, often playing off against each other, in a guitar form associated with Moby Grape as "crosstalk". The other major three-guitar band at the time was Buffalo Springfield. Moby Grape's music has been described by Geoffrey Parr as follows: "No rock and roll group has been able to use a guitar trio as effectively as Moby Grape did on Moby Grape. Spence played a distinctive rhythm guitar that really sticks out throughout the album. Lewis, meanwhile, was a very good guitar player overall and was excellent at finger picking, as is evident in several songs. And then there is Miller. … The way they crafted their parts and played together on Moby Grape is like nothing else I've ever heard in my life. The guitars are like a collage of sound that makes perfect sense."
All band members wrote songs and sang lead and backup vocals for their debut album Moby Grape (1967). Mosley, Lewis, and Spence generally wrote alone, while Miller and Stevenson generally wrote together. In 2003, Moby Grape was ranked as number 121 in Rolling Stone's "500 Greatest Albums of All Time". Noted rock critic Robert Christgau listed it as one of The 40 Essential Albums of 1967. In 2008, Skip Spence's song "Omaha", from the first Moby Grape album, was listed as number 95 in Rolling Stone's "100 Greatest Guitar Songs of All Time". The song was described as follows: "On their best single, Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence's song from different angles, no one yielding to anyone else."
promotional poster featuring Moby Grape.]]In a marketing stunt, Columbia Records immediately released five singles at once, and the band was perceived as being over-hyped. This was during a period in which mainstream record labels were giving previously unheard-of levels of promotion to what was then considered countercultural music genres. Nonetheless, the record was critically acclaimed and fairly successful commercially, with The Move covering the album's "Hey Grandma" (a Miller-Stevenson composition) on their eponymous first album. More recently, "Hey Grandma" was included in the soundtrack to the 2005 Sean Penn-Nicole Kidman film, The Interpreter, as well as being covered in 2009 by the Black Crowes, on Warpaint Live. Spence's "Omaha" was the only one of the five singles to chart, reaching number 88 in 1967. Guy Burlage, and others).
One of Moby Grape's earliest major onstage performances was the Mantra-Rock Dance—a musical event held on January 29, 1967 at the Avalon Ballroom by the San Francisco Hare Krishna temple. At the event Moby Grape performed along with the Hare Krishna founder Bhaktivedanta Swami, Allen Ginsberg, The Grateful Dead, and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the temple. In mid-June 1967, Moby Grape appeared at the Monterey Pop Festival. Due to legal and managerial disputes, the group was not included in the D.A. Pennebaker-produced film of the event, Monterey Pop. Moby Grape's Monterey recordings and film remain unreleased, allegedly because Matthew Katz demanded one million dollars for the rights. According to Peter Lewis, "[Katz] told Lou Adler they had to pay us a million bucks to film us at the Monterey Pop Festival. So instead of putting us on Saturday night right before Otis Redding, they wound up putting us on at sunset on Friday when there was nobody in the place." The Moby Grape footage was shown in 2007 as part of the 40th anniversary celebrations of the film. Jerry Miller recalls that Laura Nyro was given Moby Grape's original position opening for Otis Redding, "because everybody was arguing. Nobody wanted to play first and I said that would be fine for me." In addition to the marketing backlash, band members found themselves in legal trouble for charges (later dropped) of consorting with underage females, and the band's relationship with their manager rapidly deteriorated.
In 1968, Moby Grape was introduced to a wide group of UK listeners through the inclusion of "Can't Be So Bad", from on the Wow album, on the iconic sampler album The Rock Machine Turns You On (CBS).
Spence was supposedly never the same after ingesting large quantities of LSD (see also the biographies of Peter Green, Syd Barrett, and Roky Erickson). In the words of Miller: "Skippy changed radically when we were in New York. There were some people there that were into harder drugs and a harder lifestyle, and some very weird shit. And so he kind of flew off with those people. Skippy kind of disappeared for a little while. Next time we saw him, he had cut off his beard, and was wearing a black leather jacket, with his chest hanging out, with some chains and just sweating like a son of a gun. I don't know what the hell he got a hold of, man, but it just whacked him. And the next thing I know, he axed my door down in the Albert Hotel. They said at the reception area that this crazy guy had held an ax to the doorman's head." After spending time in the infamous Tombs jail in New York, Spence was committed to New York's Bellevue Hospital, where he spent six months under psychiatric care.
There is an often-repeated myth that on the day of his release, Skip left Bellevue, jumped on a motorcycle dressed only in his pajamas, and headed straight to Nashville for the recording of "Oar." Skip's former wife Pat says that Skip first came home to the Santa Cruz area, and the whole family went out to Nashville together. In Nashville, Skip recorded his only solo album, Oar, playing all of the instruments and producing the album himself.
Peter Lewis's recollections of this time are as follows: "We had to do (the album) in New York because the producer (David Rubinson) wanted to be with his family. So we had to leave our families and spend months at a time in hotel rooms in New York City. Finally I just quit and went back to California. I got a phone call after a couple of days. They'd played a Fillmore East gig without me, and Skippy took off with some black witch afterward who fed him full of acid. It was like that scene in the Doors movie. He thought he was the anti-Christ. He tried to chop down the hotel room door with a fire axe to kill Don [Stevenson] to save him from himself. He went up to the 52nd floor of the CBS building where they had to wrestle him to the ground. And Rubinson pressed charges against him. They took him to the Tombs (and then to Bellevue) and that's where he wrote Oar. When he got out of there, he cut that album in Nashville. And that was the end of his career. They shot him full of Thorazine for six months. They just take you out of the game."
Miller and Stevenson then formed The Rhythm Dukes, later joined by Bill Champlin. The band achieved a degree of success as a second-billed act during much of the latter part of 1969 to 1971, plus recorded one album, which was ultimately released in 2005.
The original five members re-united in 1971 and released 20 Granite Creek for Reprise Records. Prior to Spence again departing and the group again breaking up, the group performed a few concerts to support the album, most notably, during the last days of the Fillmore East. These concerts were described by contemporary accounts as disastrous, and circulating recordings do little to challenge that assessment. These shows are noteworthy, however, due to their inclusion of original material that didn't appear on their albums proper. Mosley contributed "When You're Down The Road" and "Just A Woman", Lewis "There Is No Reason", and Spence brought along "We Don't Know Now" and "Sailing", a song which would be all but forgotten until Spence performed it with Moby Grape at a 1996 Palookaville gig. They also performed songs cut for "20 Granite Creek". A Fillmore East gig saw Mosley doing an a capella renedition of "Ode To The Man At The End of The Bar".
In the Summer of 1987 Moby Grape, along with It's a Beautiful Day, Fraternity of Man, and the Strawberry Alarm Clock, got together for a couple of shows. Original Grapes: Jerry Miller, Peter Lewis, Bob Mosley, Skip Spence, and Don Stevenson performed their classics “Hey Grandma,” “Naked If I Want,” “Omaha,” “Fall on You,” and “805,” among others, before fans at the Marin Civic and Cupertino’s DeAnza College. Notwithstanding continuing to perform on occasion, the group has never returned to the level of popularity enjoyed in the early Avalon Ballroom/Fillmore Auditorium days.
Fine Wine was one of several band names used by Moby Grape members during the course of a protracted legal dispute with former manager Matthew Katz over ownership of the Moby Grape name. Other names used for performance or recording purposes included Mosley Grape, Legendary Grape and The Melvilles. The Legendary Grape album, originally released in 1989, is considered by some to be a Melvilles recording. This is because, while it was originally issued as a Moby Grape cassette-only release, former manager Matthew Katz took legal action, with reference to his alleged ownership of the Moby Grape name. The tape was withdrawn, repackaged and reissued as being by The Melvilles. Despite Jerry Miller, Bob Mosley and Peter Lewis continuing to release solo records in the 1990s and 2000s, Moby Grape has not released an album of new material since the release of Legendary Grape in 1989. Jerry Miller considers the 2003 remastered and supplemented CD version of Legendary Grape to be an essential Moby Grape album.
Category:1960s music groups Category:Musical groups established in 1966 Category:Rock music groups from California Category:Jam bands Category:Psychedelic musical groups Category:American country rock groups Category:Musical groups from San Francisco, California
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