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DISCID=f10b4b12
DTITLE=Moby Grape / Moby Grape (Remastered + Expanded)
DYEAR=1967
DGENRE=Rock
TTITLE0=Hey Grandma
TTITLE1=Mr. Blues
TTITLE2=Fall On You
TTITLE3=8:05
TTITLE4=Come In The Morning
TTITLE5=Omaha
TTITLE6=Naked, If I Want To
TTITLE7=Someday
TTITLE8=Ain't No Use
TTITLE9=Sitting By The Window
TTITLE10=Changes
TTITLE11=Lazy Me
TTITLE12=Indifference
TTITLE13=Rounder (Instrumental - 1967 Studio Recording)
TTITLE14=Looper (Mono Audition Recording)
TTITLE15=Indifference (Mono Audition Recording)
TTITLE16=Bitter Wind (Previously Unissued)
TTITLE17=Sweet Ride (Never Again) (1967 Studio Recording)
EXTD=Moby Grape (Remastered + Expanded)\n 2007 Sundazed! Music, Inc.\n
EXTD=\nOriginally Released June 1967\nSan Francisco Sound CD Edition R
EXTD=eleased March 16, 1994\nRemastered + Expanded CD Edition Released
EXTD= October 9, 2007\n\nAMG EXPERT REVIEW:  Moby Grape's career was a
EXTD= long, sad series of minor disasters, in which nearly anything th
EXTD=at could have gone wrong did (poor handling by their record compa
EXTD=ny, a variety of legal problems, a truly regrettable deal with th
EXTD=eir manager, creative and personal differences among the bandmemb
EXTD=ers, and the tragic breakdown of guitarist and songwriter Skip Sp
EXTD=ence), but their self-titled debut album was their one moment of 
EXTD=unqualified triumph. Moby Grape is one of the finest albums to co
EXTD=me out of the San Francisco psychedelic scene (perhaps the finest
EXTD=), brimming with great songs and fresh ideas while blessedly avoi
EXTD=ding the pitfalls that pockmarked the work of their contemporarie
EXTD=s -- no long, unfocused jams, no self-indulgent philosophy, and n
EXTD=o attempts to sonically re-create the sound of an acid trip. Inst
EXTD=ead, Moby Grape built their sound around the brilliantly interwov
EXTD=en guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and
EXTD= the clear, bright harmonies of all five members (drummer Don Ste
EXTD=venson and bassist Bob Mosley sang just as well as they held down
EXTD= the backbeat). As songwriters, Moby Grape blended straight-ahead
EXTD= rock & roll, smart pop, blues, country, and folk accents into a 
EXTD=flavorful brew that was all their own, with a clever melodic sens
EXTD=e that reflected the lysergic energy surrounding them without dro
EXTD=wning in it. And producer David Rubinson got it all on tape in a 
EXTD=manner that captured the band's infectious energy and soaring mel
EXTD=odies with uncluttered clarity, while subtly exploring the possib
EXTD=ilities of the stereo mixing process. "Omaha," "Fall on You," "He
EXTD=y Grandma" and "8:05" sound like obvious hits (and might have bee
EXTD=n if Columbia hadn't released them as singles all at once), but t
EXTD=he truth is there isn't a dud track to be found here, and time ha
EXTD=s been extremely kind to this record. Moby Grape is as refreshing
EXTD= today as it was upon first release, and if fate prevented the gr
EXTD=oup from making a follow-up that was as consistently strong, for 
EXTD=one brief shining moment Moby Grape proved to the world they were
EXTD= one of America's great bands. While history remembers the Gratef
EXTD=ul Dead and Jefferson Airplane as being more important, the truth
EXTD= is neither group ever made an album quite this good; however, wh
EXTD=ile both of those bands have been reasonably well served on compa
EXTD=ct disc, San Francisco Sound's out-of-print CD edition of Moby Gr
EXTD=ape's debut was sonically flawed, and for a long time the best wa
EXTD=y to hear it in digital form was on Columbia/Legacy's 1993 anthol
EXTD=ogy Vintage (also out of print), which featured all thirteen song
EXTD=s from the first album in proper sequence (albeit interrupted by 
EXTD=studio chatter and an instrumental outtake). Sundazed's 2007 reis
EXTD=sue finally give this album the re-mastered presentation it has l
EXTD=ong deserved; while the audio on Vintage emphasized the album's s
EXTD=harp high end, Bob Irwin's mastering is richer and better balance
EXTD=d, not to mention better detailed, with the guitars and vocals mu
EXTD=ch improved in this version. The Sundazed edition also includes f
EXTD=ive relevant bonus tracks, including "Rounder" (the instrumental 
EXTD=which appeared on the Vintage compilation), two songs from Moby G
EXTD=rape's first demo tape ("Looper" and "Indifference," which show t
EXTD=he band was already a force to be reckoned with), an early take o
EXTD=f "Bitter Wind" (which the band would re-record for their second 
EXTD=album, Wow) and an unedited version of the non-LP cut "Sweet Ride
EXTD=," here expended to nearly six minutes. Sundazed's new edition of
EXTD= Moby Grape, complete with fine packaging and new liner notes by 
EXTD=Gene Sculatti, treats this album like the treasure it truly is, a
EXTD=nd anyone interested in this band would do well to pick this up. 
EXTD=\n\n[Moby Grape was reissued in 2007 with five bonus tracks.] -- 
EXTD=Mark Deming\n\n\nAMG EXPERT REVIEW:  Moby Grape's career was a lo
EXTD=ng, sad series of minor disasters, in which nearly anything that 
EXTD=could have gone wrong did (poor handling by their record company,
EXTD= a variety of legal problems, a truly regrettable deal with their
EXTD= manager, creative and personal differences among the bandmembers
EXTD=, and the tragic breakdown of guitarist and songwriter Skip Spenc
EXTD=e), but their self-titled debut album was their one moment of unq
EXTD=ualified triumph. Moby Grape is one of the finest (perhaps the fi
EXTD=nest) album to come out of the San Francisco psychedelic scene, b
EXTD=rimming with great songs and fresh ideas while blessedly avoiding
EXTD= the pitfalls that pockmarked the work of their contemporaries --
EXTD= no long, unfocused jams, no self-indulgent philosophy, and no at
EXTD=tempts to sonically re-create the sound of an acid trip. Instead,
EXTD= Moby Grape built their sound around the brilliantly interwoven g
EXTD=uitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the
EXTD= clear, bright harmonies of all five members (drummer Don Stevens
EXTD=on and bassist Bob Mosely sang just as well as they held down the
EXTD= backbeat). As songwriters, Moby Grape blended straight-ahead roc
EXTD=k & roll, smart pop, blues, country, and folk accents into a flav
EXTD=orful brew that was all their own, with a clever melodic sense th
EXTD=at reflected the lysergic energy surrounding them without drownin
EXTD=g in it. And producer David Rubinson got it all on tape in a mann
EXTD=er that captured the band's infectious energy and soaring melodie
EXTD=s with uncluttered clarity, while subtly exploring the possibilit
EXTD=ies of the stereo mixing process. "Omaha," "Fall on You," "Hey Gr
EXTD=andma," and "8:05" sound like obvious hits (and might have been i
EXTD=f Columbia hadn't released them as singles all at once), but the 
EXTD=truth is there isn't a dud track to be found here, and time has b
EXTD=een extremely kind to this record. Moby Grape is as refreshing to
EXTD=day as it was upon first release, and if fate prevented the group
EXTD= from making a follow-up that was as consistently strong, for one
EXTD= brief shining moment Moby Grape proved to the world they were on
EXTD=e of America's great bands. While history remembers the Grateful 
EXTD=Dead and Jefferson Airplane as being more important, the truth is
EXTD= neither group ever made an album quite this good.  -- Mark Demin
EXTD=g\n\nAmazon.com Editorial Review\nEven one of the most misguided 
EXTD=marketing campaigns in history couldn't obscure the sheer brillia
EXTD=nce of this San Francisco-based quintet's self-titled 1967 debut.
EXTD= Guitarist Skip Spence was the original Jefferson Airplane's drum
EXTD=mer, and lead guitarists Peter Lewis and Jerry Miller, bassist Bo
EXTD=b Mosley, and drummer Don Stevenson were seasoned garage-band vet
EXTD=erans. Everybody sang, everybody wrote songs, and their musical i
EXTD=nfluences were equally diverse. They favored tight compositions a
EXTD=nd performances in an era when most groups didn't, so naturally t
EXTD=hey were the subject of a huge bidding war. To celebrate its triu
EXTD=mph, the record label released five singles--and the album--simul
EXTD=taneously. People cried "hype" and not one of 'em hit. The album,
EXTD= however, was a solid seller and remains the rock upon which the 
EXTD=group's reputation still rests. The slashing guitars and soaring 
EXTD=harmonies of "Omaha" and "Hey Grandma" still snap, crackle, and p
EXTD=op! The sock-it-to-ya soul of "Changes" and the dueling guitars a
EXTD=nd vocals of "Indifference" still rock. The gentle folk ballad "F
EXTD=all on You," the delicate "Sitting by the Window," and the countr
EXTD=y-flavored "8:05" are all strong songs, distinguished by their ba
EXTD=lance of four-part harmonies and three-guitar power. --Don Waller
EXTD= \n\nAMAZON.COM CUSTOMER REVIEW\nListen my Friends, October 9, 20
EXTD=07 \nBy  J. DiMoia (Singapore, SG)\nA Five star Masterpiece, the 
EXTD=best thing ever to emerge from the San Francisco scene (with apol
EXTD=ogies to Deadheads, Airplane and Quicksilver Fans . . . ) \n\nThe
EXTD= Moby Grape saga as a whole, accompanied by the spectacular demis
EXTD=e of individual group member Skip Spence, has often been told; so
EXTD= I won't need to revisit it here, leaving the curious reader to G
EXTD=ene Scullati's excellent "San Francscan Nights" for more details.
EXTD= (Scullati adds the liners for this set (and others in this reiss
EXTD=ue series), which is highly appropriate.) \n\nNo, what remains of
EXTD= inestimable value here is the music, which this Sundazed reissue
EXTD= has captured in fine form, with a mono vinyl copy (which I haven
EXTD='t heard yet) available for those who prefer the form. In any cas
EXTD=e, the CD captures the stereo in its full glory, from the opening
EXTD= riff of "Hey Grandma" (later to be covered by the Move), the pha
EXTD=sing effect which opens "Omaha," and the every last bit of finger
EXTD=-picking in "Ain't No Use." While my earlier CD copy was okay, th
EXTD=is remastered version hits on minor, but key nuances, giving an e
EXTD=ven greater appreciation of the rhythm section. \n\nThe bonus cut
EXTD=s include "Rounder" and "Looper," both of which are presumably th
EXTD=e same versions appearing on the Columbia two-disc retrospective 
EXTD="Vintage." An alternate "Indifference" captures the band in rough
EXTD= form, almost garage-like, and the set closes with "Never Again" 
EXTD=(from the little scene flick Sweet Ride). The only complaint here
EXTD= is the absence of any longer material--where is "Dark Magic"?--a
EXTD=lthough producer David Rubinson reportedly chose to cull such lon
EXTD=ger material from the Grape's live set. More details re the band'
EXTD=s audition tape (from which the bonus cuts are drawn) would also 
EXTD=be hlepful: is this the entire audition? \n\nThose quibbles aside
EXTD=, this is the one which Robert Christgau included among his five 
EXTD=star reviews in his 1970's volume, a review repeated in the most 
EXTD=recent Rolling Stone (yeah, it's a rag, but they at least got thi
EXTD=s right) review for this reissue campaign. Not just for purists, 
EXTD=this is not so much psychedelic, as newcomers might expect, but r
EXTD=oots rock, country, and psych touches all melded into thirty plus
EXTD= minutes of sonic glory--all this, and you're no longer contribut
EXTD=ing to Matthew Katz's coffers (or such is my understanding) when 
EXTD=you buy it. \n\n\nAMAZON.COM CUSTOMER REVIEW\nFinally!!!!!!, Octo
EXTD=ber 10, 2007 \nBy  E.I.E.I. Owen (Philadelphia, Pa United States)
EXTD=\nAfter years of being trapped in the clutches of former manager 
EXTD=Matthew Katz, the entire catalog is getting a complete overhaul a
EXTD=nd the remaining members can now use the name Moby Grape. However
EXTD=, that is another story. \n\nIf you want to know what the perfect
EXTD= debut album sounds like than here is a perfect example. Moby Gra
EXTD=pe was a band that had it all: musicianship, songwriting ability,
EXTD= 5 part vocal harmonies, and a perfect three-guitar attack that w
EXTD=as hard to duplicate (although the Buffalo Springfield tried with
EXTD= various degrees of success). What boggles the mind is how Columb
EXTD=ia records could screw this up. What should have been a slam-dunk
EXTD= turned out to be one the biggest bungles in American and pop mus
EXTD=ic history. \n\nThe entire album has been re-mastered, contains f
EXTD=ive bonus tracks along with liner notes by Gene Sculatti. The sou
EXTD=nd is an improvement over previous versions and David Rubinson's 
EXTD=production techniques is better appreciated, especially on the vo
EXTD=cals. This is also available on vinyl containing the mono mix. \n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nAvailability may be short lived.,
EXTD= November 8, 2007 \nBy  David Hoeltje (Santa Clarita, CA United S
EXTD=tates)\nI checked the Sundazed site today and as of November 8, 2
EXTD=007 they are stating that Sony/BMG (at the behest of Matthew Katz
EXTD=?) has pulled the plug on their dist. rights to first 3 Grape CD'
EXTD=s - Moby Grape & Wow/Grape Jam (originally a double LP set, but r
EXTD=eleased as two seperate cd's by Sundazed). Not sure if it's perma
EXTD=nent but you might want to pick these up now as Amazon seems to h
EXTD=ave stock that may either sell thru quickly or be pulled from cir
EXTD=culation. \n\nThe remastering on "Moby Grape" in particular is ju
EXTD=st wonderful. You can hear subtle vocal and instrumental parts th
EXTD=at were buried in all previous incarnations of this essential rec
EXTD=ording. So don't hesitate...buy it now and cross your fingers and
EXTD= hope that the surviving band mambers actually make something off
EXTD= of this latest developing, but hopefully short-term, debacle. \n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nThe greatest could-have-beens of 
EXTD=all time?, February 8, 2004 \nBy  Robert Moore (Chicago, IL USA)\n
EXTD=Moby Grape is a band about which one seems to be able to speak on
EXTD=ly in superlatives: Greatest sixties psychedelic band - One of th
EXTD=e Greatest Debut Albums Ever - Most Disappointing Subsequent Care
EXTD=er Ever - Most Forgotten Band of the Sixties - Most Mismanaged Ba
EXTD=nd Ever. What they were was stunning. A quintet with drums, bass,
EXTD= and three slashing, dancing lead guitars, Moby Grape was an enor
EXTD=mously talented band that managed to blend driving pop, hard rock
EXTD= and roll, folk, blues, and country into some wonderful new conco
EXTD=ction. Although the Grateful Dead and the Jefferson Airplane beca
EXTD=me better known, neither at their best could come anywhere close 
EXTD=to Moby Grape's virtuosity, drive, and passion. And neither group
EXTD= ever produced an album anywhere near as good as this great, grea
EXTD=t debut album.\n\nThe album is littered with great songs from beg
EXTD=inning to end, and the best ones are incredibly exhilarating with
EXTD= their power, energy, and tight structure. If the Grateful Dead w
EXTD=as loose, almost nonchalant with their songs, with long, rambling
EXTD=, unfocused instrumental breaks, Moby Grape worked hard to cut ou
EXTD=t all nonessentials. My personal favorite Moby Grape song "Fall O
EXTD=n You, for instance, clocks in at a manic 2:21. The only question
EXTD= someone can asks after hearing such stellar songs as "Fall On Yo
EXTD=u," "8:05," "Omaha," and "Hey Grandma" is: Why weren't these guys
EXTD= huge? Well, that question and "What happened?"\n\nWhat happened 
EXTD=was a series of problems that perhaps no band could have withstoo
EXTD=d. The band had legal problems, management problems, creative dif
EXTD=ferences, personal problems, and a horrible relationship with the
EXTD=ir record company. Although they continued to make albums, some o
EXTD=f them not at all bad, they never again reached the incredible he
EXTD=ights of their debut. Worst of all, in 1968, one of their singer/
EXTD=songwriter/guitarists, Scott Spence, suffered a mental breakdown 
EXTD=(not at all unlike Syd Barrett), and would spend the bulk of the 
EXTD=rest of his life (he died in 1999) struggling with mental illness
EXTD=. Another member, Bob Mosley, suddenly joined the Marine Corps. I
EXTD=n short, almost nothing went right for the band.\n\nAll the bad t
EXTD=hings that followed cast a bit of a pale on this awesome album. T
EXTD=he knowledge that this was as good as it would ever get for the b
EXTD=and generates a great sadness in me. Moby Grape should have been 
EXTD=one of the great American bands of all time, and for a brief peri
EXTD=od of time, they actually were. The proof is contained on this al
EXTD=bum. \n\n\nAMAZON.COM CUSTOMER REVIEW\nthe greatest band that sho
EXTD=uld have been.., May 5, 2001 \nBy  Sean (Chesterfield, Virginia U
EXTD=nited States)\nThe Moby Grape story is one of the saddest in mode
EXTD=rn music. A collection of 5 guys brought together to be the band 
EXTD=for Jefferson Airplane alum Alexander "Skip" Spence, Moby Grape q
EXTD=uickly gained a reputation in San Francisco as being its best ban
EXTD=d. Everyone from the Dead, the Airplane, and LA bands like the By
EXTD=rds, knew that the Grape were special.\n\nThe Grape WERE special 
EXTD=in the beginning, as their self-titled debut lp clearly shows. On
EXTD= it, the 3 pronged guitar attack of Spence, Jerry Miller, and Pet
EXTD=er Lewis, was as exquisite as any attack the Dead could offer. Mo
EXTD=reover, another impressive selling point was the fact that all 5 
EXTD=members (bassist Bob Mosley and drummer Don Stephenson round out 
EXTD=the band) could, and did, write and sing. Indeed, there are only 
EXTD=2 modern rock bands that I know of that could offer 5 part harmon
EXTD=ies- Moby Grape, and the Beach Boys.\n\nThe debut lp lived up to 
EXTD=the enormous buildup that both other bands, and the critics, gave
EXTD= it. On it were at least 5 tracks that should have been #1 hits. 
EXTD=Alas, in one of a series of faux pas by Columbia records, (who ha
EXTD=d no idea how to market a band with such incredible talent,) all 
EXTD=5 tracks ("Hey Grandma," "8:05," "Omaha," "Sitting By the Window,
EXTD=" and "Fall On You") were released AT ONCE. Needless to say, with
EXTD= 5 tracks to choose from, the record buying public couldn't decid
EXTD=e. Only "Hey Grandma" became a minor hit- and only on AM radio, w
EXTD=here its effects couldn't be heard properly.\n\nThe tracks, which
EXTD= included several other should-have-been hits beisdes the aforeme
EXTD=ntioned 5 (Mosley's hippie overture "Come In the Morning," Spence
EXTD='s amazing "Indifference," Miller's poignant ballad "Someday," Mo
EXTD=sley's wonderful "Mr. Blues," Miller/Stephenson's rocker "Changes
EXTD=," and Spence's "Rounder" all could have been hits if treated pro
EXTD=perly and released), are second to none. As you can see by the nu
EXTD=mber of songs I have already mentioned, this debut lp had the abs
EXTD=olute potental to be the home of 12-14 hits. It may sem that I am
EXTD= over-hyping the lp by doing this, but I believe firmly that the 
EXTD=songs hold their own 35 years later, and certainly did in their d
EXTD=ay.\n\nTo call this the best debut record in rock history could b
EXTD=e fair and unfair; unfair in that history remembers hit singles, 
EXTD=and "Moby Grape" only had 1, the Miller/Stephenson classic "Hey G
EXTD=randma." But for the awesome potental it had, and for the absolut
EXTD=e perfection of those 2-5 minute songs, and their placement on th
EXTD=e lp, I think it's very fair to call this lp the best debut of al
EXTD=l time. Few albums I own offer the 1-2-3-4-5-6-7-8-9-10 punch tha
EXTD=t this one does, no less a band's DEBUT lp. Many have 1-2 punches
EXTD=, a few a 1-2-3- punch, fewer still offer more than 4 or 5 bona-f
EXTD=ide hit singles on it. "Moby Grape" honestly had 12-14 bona-fide 
EXTD=hit singles within its gatefold cover, with Don Stephenson giving
EXTD= all of us the bird. It's THAT good.\n\nTo know the lp is to love
EXTD= it, and there is nothing not to love about this masterpiece. It 
EXTD=had everything going for it, as did the band who made it, but, li
EXTD=ke the band, many miscues did the lp in. We have a chance 35 year
EXTD=s later to right the wrongs of 1966-67, and give this lp its just
EXTD= desserts. Listen to it and know what the hype was all about! \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nBest debut ever?, January 31, 2001 
EXTD=\nBy  livright "endust" (The Prairie, United States)\nThis was bi
EXTD=g news back in '67. Probably my first exposure to hype--These guy
EXTD=s were sold as the American Beatles and couldn't help but come up
EXTD= short. I remember a Columbia ad for the album, boasting that eve
EXTD=ry cut would be released as a single. Fact is, just about every t
EXTD=une was good enough to deserve big airplay. But it flopped. Well,
EXTD= for once I was happy to buy into the hype--Moby Grape sounds as 
EXTD=great now as it did when I parted with 3.98 of my allowance back 
EXTD=in the summer of 67. Now I play the 2-disc compilation which cont
EXTD=ains the whole album as well as some other pretty good tunes. Thi
EXTD=nk that's out of print, but if you get this, you're definitely ge
EXTD=tting the best of Grape. Don't miss one of the top 10 albums of t
EXTD=he 60's. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe definitive Grape, 
EXTD=December 29, 2006 \nBy  M. Macgirvin "macgirvin" (Sunnyvale, CA)\n
EXTD=It is sometimes difficult to separate legend from fact when it co
EXTD=mes to the Grape. Skip was tormented and lost. It's amazing the b
EXTD=and was able to create a cohesive product given the circumstances
EXTD=. This is that product. It speaks to a different audience than th
EXTD=e music of today. In fact it also spoke to a different audience t
EXTD=hen. Rather than pyrotechnic guitar and LSD inspired lyrics, the 
EXTD=Grape produced basic down to earth music - stuff you could dance 
EXTD=to. In the late 60's this was unheard of, hence they faded into o
EXTD=blivion. \n\nI met Skip in 1972. My garage band practiced across 
EXTD=the street from one of his many post-Grape music collectives. I a
EXTD=sked him for some guitar tips. He wiped his arm across the amplif
EXTD=ier (turning all of the knobs to '10' in one movement) and unleas
EXTD=hed 'Fall on You' on an old Telecaster and a sound that punched y
EXTD=ou in the gut with its presence. That's the essential Grape trade
EXTD=mark. Turn it up. It won't mystify you. It won't bewilder you. Bu
EXTD=t it will punch you in the gut. A few days later Skip vanished 'i
EXTD=nto the mountains'. I was told not to ask - he was known to do th
EXTD=ings like that with some regularity. \n\nIf you study the Grape, 
EXTD=you'll find that although Skip was the spiritual leader of the gr
EXTD=oup, he certainly couldn't be counted on to consistently generate
EXTD= good music or even intelligent conversation from one day to the 
EXTD=next. That is why the band is so remarkable. Miller, Lewis, Mosle
EXTD=y and Stevenson are the stars here. They did the impossible, perf
EXTD=orming and creating good music consistently and despite their ass
EXTD=ociation with Skip. \n\n\nAMAZON.COM CUSTOMER REVIEW\nIt's Not Co
EXTD=lumbia Records fault, June 9, 2007 \nBy  Robert G. Daugherty (Los
EXTD= Angeles, CA)\nNor does the blame fall on Matthew Katz. After all
EXTD=, he managed Jefferson Airplane also and they did quite well desp
EXTD=ite his "bad" management. Columbia Records is hardly at fault. On
EXTD=e of the greatest labels of all time, Columbia broke Dylan, the B
EXTD=yrds and Big Brother. The "label" certainly didn't stand in their
EXTD= way. \n\nMoby Grape didn't make it big because they really weren
EXTD='t very good. Let's face it. Plenty of groups had flop singles (s
EXTD=ee The Kinks). It didn't stop them from having an extremely succe
EXTD=ssful musical career. Renaissance or Fairport Convention NEVER ha
EXTD=d a hit single--nor did they have hit albums. That didn't stop th
EXTD=em from making great music for decades. \n\nAirplane had SIX sing
EXTD=les released in their first YEAR! Four were flops. Two were hits.
EXTD= Why? Because the hits ("Somebody to Love" and "White Rabbit") we
EXTD=re actually GOOD. \n\nSo stop blaming everyone else for the Grape
EXTD='s failure. The Grape failed because they weren't that good. Bad 
EXTD=management and label problems didn't stop Buffalo Springfield fro
EXTD=m acheiving legendary statuure. Nor did it deep-six the lengthy c
EXTD=areers of its individual members. \n\nIt might actually be possib
EXTD=le to listen and appreciate this group if the undeserved hype wou
EXTD=ld die down! It's so overblown. And flat out untrue. \n\nThe Beat
EXTD=les sound like incompetent amateurs compared to the "Grape". Shee
EXTD=sh! Enough already. \n\n\nHalf.com Details \nProducer: Matthew Ka
EXTD=tz \n\nAlbum Notes\nMoby Grape: Skip Spence, Peter Lewis, Jerry M
EXTD=iller (vocals, guitar); Bob Mosley (vocals, bass); Don Stevenson 
EXTD=(drums).\n\nThough Moby Grape came blasting out of San Francisco 
EXTD=at the height of the Haight-Ashbury scene, they are more related 
EXTD=to LA bands like the Byrds and Love, stressing songwriting, arran
EXTD=gements, and multi-part vocals rather than jamming. This debut al
EXTD=bum stands as one of the finest debuts by any band of the '60s ro
EXTD=ck era. The Grape's three-guitar line-up is known to have inspire
EXTD=d a similar approach with Buffalo Springfield. From the first bla
EXTD=st of "Hey Grandma" to the mesmerizing electric closer "Indiffere
EXTD=nce," Moby Grape moved fearlessly from country-tinged romps to bl
EXTD=ue-eyed soul, with plenty of pounding-in-the-chest rockers throug
EXTD=hout.\n\nIt's all anchored with tight and inventive instrumental 
EXTD=interplay and no less than four songwriters, each with a vocal ch
EXTD=aracter that would've made them the center of any band. However, 
EXTD=from this enduring peak it all went downhill, with sad swiftness.
EXTD= The usual litany of in-fighting, bad management, label pressures
EXTD=, and drugs began undoing this great band as soon as this album a
EXTD=ppeared. While created in the late '60s, this is an essential alb
EXTD=um by the measure of any decade.\n\nIndustry Reviews\n5 (out of 5
EXTD=) - ...MOBY GRAPE is one of rock's truly perfect debut albums and
EXTD= a pivotal document of Sixties rock in radiant midmutation. Funky
EXTD= country, folk rock, acid punk, frat-band R&B: They're all here, 
EXTD=whipped into a thirteen songs fireball of widescreen vocals and m
EXTD=eticulous guitar sizzle... Rolling Stone (02/04/1999)\n\nRanked #
EXTD=121 in Rolling Stone's 500 Greatest Albums Of All Time - [W]hat a
EXTD=n amazing noise they made on their debut album, a stunning artifa
EXTD=ct of San Francisco rock at its '67 peak... Rolling Stone (12/11/
EXTD=2003)\n\nROLLING STONE REVIEW\nThey had the looks, the songs, the
EXTD= guitars (three of 'em) and the singing(five drop-dead, blues-ang
EXTD=el voices) -- everything they needed to be America'sBeatles and R
EXTD=olling Stones combined. Everything except the luck. Six monthsaft
EXTD=er releasing their first LP, Moby Grape, in June 1967, bassist Bo
EXTD=bMosley, drummer Don Stevenson, and guitarists Jerry Miller, Pete
EXTD=r Lewis andSkip Spence were a mess and a half, struggling to make
EXTD= music amid legalcrises, Columbia's misguided hype (issuing five 
EXTD=singles at once) and Spence'sdescent into drug-fueled psychosis. 
EXTD=It would be a classic rock-biz tale offucking up, except for two 
EXTD=things: (a) The Grape never gave up (they still gigwith the elect
EXTD=ricity of yore) and (b) Moby Grape. Cut in three weeksfor $11,000
EXTD=, Moby Grape is one of rock's truly perfect debut albums anda piv
EXTD=otal document of Sixties rock in radiant midmutation. Funky count
EXTD=ry, folkrock, acid punk, frat-band R&B: They're all here, whipped
EXTD= into a thirteen-songfireball of wide-screen vocals and meticulou
EXTD=s guitar sizzle. \nMade by a band with deep experience (Miller to
EXTD=ured with Bobby Fuller; Spencewas an early member of Jefferson Ai
EXTD=rplane), Moby Grape is high in drama, broadin dynamics: the lusty
EXTD=, Beatle-ized gallop of "Hey Grandma"; the hyper-Byrdsblast of "F
EXTD=all on You"; the genteel melancholy of "8:05"; the eccentrictensi
EXTD=on of the tempo and key changes on "Indifference." Mosley was apo
EXTD=werhouse singer who could do Otis Redding and Brian Wilson in a s
EXTD=inglemeasure; Lewis' finger-picking guitar was a rich backdrop fo
EXTD=r Miller'sroadhouse-honed leads. Spence was the Grape's visionary
EXTD= imp, a man of greatmelodic gift and playful, if prophetic, madne
EXTD=ss. "Omaha" is just two and ahalf minutes long, but the Grape tur
EXTD=ned Spence's song into a thing of powerand beauty, full of mediev
EXTD=al-choir luster and high-gear guitars. \n\n"Omaha" is also Moby G
EXTD=rape in microcosm, the glory of a mighty band atan early but unto
EXTD=uchable peak. Moby Grape never became stars, but with MobyGrape, 
EXTD=their legend is secure. (RS 805 -- Jan 12, 1999)  -- DAVID FRICKE
EXTD=\n\n\nROLLING STONE REVIEW\nWhat a short, strange trip it was. An
EXTD=d what a long, strange trip it turned into anyway. \nTwo Seattle 
EXTD=bar-band honchos and two aspiring L.A. pros shoring up speedy psy
EXTD=chedelic wonder boy Skip Spence, Moby Grape were assembled by hus
EXTD=tler Matthew Katz in San Francisco in 1966 and recorded one magni
EXTD=ficent album before Spence's paranoid schizophrenia got the bette
EXTD=r of him in 1968. That's the short part. The long part isn't the 
EXTD=rest of this insanely overdue reissue -- their spotty post-debut 
EXTD=output on Columbia, a done deal by September 1969. It's that they
EXTD='ve pursued their legend, and their career, ever since. They were
EXTD= still fighting Katz for their name forty years after they formed
EXTD=. \n\nUnloosed on the world with famously failed five-singles-at-
EXTD=once hoopla in May 1967, Moby Grape comprises thirteen songs last
EXTD=ing an astonishing thirty-one minutes -- just like the Ramones, o
EXTD=nly Moby Grape is, shall we say, more varied. Everybody wrote -- 
EXTD=the Northwest team of guitar whiz Jerry Miller and tub-thumper Do
EXTD=n Stevenson have six tracks (one with Spence), R&B-style San Dieg
EXTD=o shouter Bob Mosley has three, Loretta Young's son Peter Lewis a
EXTD=nd Spence two each. Harmonies run from sweet to intense, guitars 
EXTD=likewise. Fast ones like the begin-with-a-bang "Hey Grandma" and 
EXTD=Spence's anthemic "Omaha" rock as hard as the grungiest garage cl
EXTD=assics. Yet slow ones like the beseeching "8:05" and the resigned
EXTD= "Sitting by the Window" stand alongside the loveliest tunes in t
EXTD=he country-rock canon this album initiated. \n\nAnd then came -- 
EXTD=not quite nada, but close. Wow had one of the worst cases of Pepp
EXTD=er-itis on record -- creditable material like the jumpy "Can't Be
EXTD= So Bad" and the ticket-protesting "Murder in My Heart for the Ju
EXTD=dge" undermined by needless horns and strings, stereo separations
EXTD=, even musique contrte. Moby Grape '69 errs in the other directi
EXTD=on -- rather than hinting at country rock, it is the very beast, 
EXTD=songwriting honorable and presentation flat. Cut in Nashville, Tr
EXTD=uly Fine Citizen is the same without the songs. The hippie self-i
EXTD=ndulgence of Grape Jam's wooden groove instrumentals originally o
EXTD=ccupied a Wow bonus disc. \n\nWhat killed Moby Grape? Management 
EXTD=nightmares, the implosion of the catalytic Spence, and the bummer
EXTD= of cutting a debut album as America's Beatles and watching it fl
EXTD=op. That album remains, however -- still a flash of youth so exhi
EXTD=larating that its surviving creators, all past sixty, cannot let 
EXTD=it go.  (Posted: Oct 18, 2007) -- \nROBERT CHRISTGAU
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