Moby Grape: Skip Spence, Peter Lewis, Jerry Miller (vocals, guitar); Bob Mosley (vocals, bass); Don Stevenson (drums).
Personnel: Don Stevenson, Skip Spence (vocals, guitar, drums); Jerry Miller, Peter Lewis (vocals, guitar); Bob Mosley (vocals).
Recording information: CBS, Hollywood, CA (01/25/1967-11/06/1967).
Unknown Contributor Roles: Don Stevenson; Jerry Miller; Peter Lewis; Skip Spence; Bob Mosley .
Moby Grape's career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries -- no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the band's infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. "Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadn't released them as singles all at once), but the truth is there isn't a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good. ~ Mark Deming
Though Moby Grape came blasting out of San Francisco at the height of the Haight-Ashbury scene, they are more related to LA bands like the Byrds and Love, stressing songwriting, arrangements, and multi-part vocals rather than jamming. This debut album stands as one of the finest debuts by any band of the '60s rock era. The Grape's three-guitar line-up is known to have inspired a similar approach with Buffalo Springfield. From the first blast of "Hey Grandma" to the mesmerizing electric closer "Indifference," Moby Grape moved fearlessly from country-tinged romps to blue-eyed soul, with plenty of pounding-in-the-chest rockers throughout.
It's all anchored with tight and inventive instrumental interplay and no less than four songwriters, each with a vocal character that would've made them the center of any band. However, from this enduring peak it all went downhill, with sad swiftness. The usual litany of in-fighting, bad management, label pressures, and drugs began undoing this great band as soon as this album appeared. While created in the late '60s, this is an essential album by the measure of any decade. minimize