Moby Grape

Moby Grape

Columbia, 1967

http://en.wikipedia.org/wiki/Moby_Grape

REVIEW BY: Benjamin Ray

ORIGINALLY PUBLISHED: 12/11/2013

In our semi-annual installment of "The Vault Hasn't Reviewed This Yet?!?," this morning we present the 1967 debut from Moby Grape, one of the best albums to come out of both San Francisco and the entire psychedelic rock scene.

Actually, that term is a bit reductive for this album, which blends fiery three-guitar rock, pop, country and only a touch of psychedelia. There are no hidden drug songs, no stabs at Artistic Statements, no freakouts, just fun rock songs about sex and friends and life. The quintet had a great live show; a two-song demo got them signed by Columbia, and for a while it looked as if these guys would be the next big band out of Frisco.

However, Columbia famously released 10 of the songs on singles (five A and five B sides), none of which had a chance to chart save for "Omaha" (which barely cracked the Top 100), and the album itself failed to make much of an impact as well, though it stayed on the middle of the charts for six months. Things got worse from there and the band's career stalled after only a couple more albums, none of which lived up to this one.my_heart_sings_the_harmony_web_ad_alt_250

But this one stands alone as a lively debut, more fun and less pretentious than nearly anything from the San Fran music scene, and it resonated with other musicians of the day (Robert Plant and Bruce Springsteen, among others, have covered songs from it). Songs like "Hey Grandma" and "Fall On You" are head-bopping rockers (the latter has a fine solo), "8:05" is a nice Everly Brothers-style ballad and "Omaha" sets a land-speed record for a supposed psychedelic record, the guitarists struggling to keep up with drummer Don Stevenson, the vocalists harmonizing in weaving patterns. Vocal harmonies are an underrated feature of this one; the band evidently learned from the Byrds (witness the chorus of "Lazy Me") but did not flaunt it as a main feature.

In an interview, guitarist/singer Jerry Miller said the band would play six or seven songs straight live before taking a break, and that energy easily translates to Moby Grape, along with a sort of shambolic nature that renders some of the songs unmemorable, if fun while they last. In particular, the middle section of the album ("Someday," "Ain't No Use" and "Sitting By The Window") tends to drag, although the latter song is interesting with its tones and shifts of style, lacking only something to pull it all together. The galloping "Indifference," the longest song here at four minutes, closes things in style with a sort-of jam session, the only time the band allows itself to indulge a bit.

If it can be tracked down, the extended edition of the album is recommended for its bonus tracks, which include the demo versions of "Indifference" and "Looper," a cool instrumental called "Rounder" that was supposed to have vocals (but doesn't need them), the unreleased "Bitter Wind" and the six minute version of "Sweet Ride" from the movie of the same name. The songs are all of a piece with the original album and help tell the story of a band that never got its full chance.

And make no mistake, it's a story worth hearing. God only knows what would have happened had Moby Grape been allowed a good manager, competent record label practices and a healthy Skip Spence, but at least the world got Moby Grape, and while it won't change your life or ever reach the level of importance of, say, Jefferson Airplane, it is a great way to spend half an hour.

Rating: B

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