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MC5

MC5 is an American rock band formed in Lincoln Park, Michigan, in 1963.[5][6] The classic line-up consisted of vocalist Rob Tyner, guitarists Wayne Kramer and Fred "Sonic" Smith, bassist Michael Davis, and drummer Dennis Thompson. MC5 were listed by Parade as one of the best rock bands of all time[7] and by VH1 as one of the greatest hard rock artists of all time.[8] The band's first three albums are regarded by many as staples of rock music, and their 1969 song "Kick Out the Jams" is widely covered.

MC5

Bounty Hunters
Motor City Five
MC50

1963–1972, 1974–1975, 1992, 2003–2012, 2018, 2022–present

Wayne Kramer
Fred "Sonic" Smith
Rob Tyner
Michael Davis
Leo LeDuc
Billy Vargo
Bob Gaspar
Patrick Burrows
Steve "Annapurna" Moorhouse
Derek Hughes
Ray Craig
Ritchie Dharma
Frank Lowenberg
Bob Schultz
Mark Manko
Tim Schafe
Handsome Dick Manitoba
Gilby Clarke
Marcus Durant
Kim Thayil
Doug Pinnick
Billy Gould
Matt Cameron
Don Was
Brendan Canty

"Crystallizing the counterculture movement at its most volatile and threatening",[1] according to AllMusic critic Stephen Thomas Erlewine, MC5's leftist political ties and anti-establishment lyrics and music positioned them as emerging pioneers of the punk movement in the United States. Their loud, energetic style of back-to-basics rock and roll included elements of garage rock, hard rock, blues rock, and psychedelic rock. Rage Against the Machine guitarist Tom Morello described MC5 as having "basically invented punk rock."[9]


MC5 had a promising beginning that earned them a January 1969 cover appearance on Rolling Stone and a story written by Eric Ehrmann before their debut live album was released.[10] They developed a reputation for energetic and polemical live performances, one of which was recorded as their 1969 debut album Kick Out the Jams before the group disbanded in 1972.


Vocalist Tyner died of a heart attack in late 1991 at the age of 46 and was followed by Fred Smith, who also died of a heart attack, in 1994 at the age of 46. The remaining three members of the band reformed in 2003 with The Dictators' singer Handsome Dick Manitoba as its new vocalist, and this reformed line-up occasionally performed live over the next nine years until Davis died of liver failure in 2012 at the age of 68.


In 2022, Kramer announced that a tour under the banner of We Are All MC5 would take place that spring, and that a new MC5 studio album with producer Bob Ezrin would also be released later that year[11] with original MC5 drummer Dennis Thompson playing on two tracks.[12] In 2023, Kramer announced that the album would be released in the spring of 2024.[13] Kramer died February 2, 2024, leaving Thompson as the only surviving original member of the band. In 2024, the MC5 were selected for induction into the Rock and Roll Hall of Fame in the musical excellence category.

History[edit]

1963–1967: Formation and early years[edit]

The origins of MC5 can be traced to the friendship between guitarists Wayne Kramer and Fred Smith. Friends since their teen years, they were both fans of R&B music, blues, Chuck Berry, Dick Dale, The Ventures, and what was later called garage rock: they adored any music with speed, energy and a rebellious attitude. Each guitarist/singer formed and led a rock group (Smith's Vibratones and Kramer's Bounty Hunters). As members of both groups left for college or straight jobs, the most committed members eventually united (under Kramer's leadership and the "Bounty Hunters" name) with Billy Vargo on guitar and Leo LeDuc on drums (at this point Smith played bass).[14] They were popular and successful enough in and around Detroit that the musicians were able to quit their day jobs and make a living from the group.


Kramer felt that they needed a manager, which led him to Rob Derminer, a few years older than the others, and deeply involved in Detroit's hipster and left-wing political scenes. Derminer originally auditioned as a bass guitarist (a role which he held briefly in 1964, with Smith switching to guitar to replace Vargo and with Bob Gaspar replacing LeDuc). They quickly realized that Derminer's talents could be better used as a lead singer: Though not conventionally attractive and rather paunchy by traditional frontman standards, he nonetheless had a commanding stage presence, and a booming baritone voice that evidenced his abiding love of American soul and gospel music. Derminer renamed himself Rob Tyner (after John Coltrane's pianist McCoy Tyner). Instead of Derminer, their manager ended up being Ann Marston, a former national archery champion and beauty pageant winner.[15]


Tyner also conceived their new name, MC5, short for "Motor City Five" based on their Detroit roots. In some ways the group was similar to other garage bands of the period, composing soon-to-be historic workouts such as "Black to Comm" during their mid-teens in the basement of the home of Kramer's mother. Upon Tyner's switch from bassist to vocalist, he was initially replaced by Patrick Burrows before the line-up stabilized in 1965 with the arrival of Michael Davis and Dennis Thompson to replace Burrows and Gaspar, respectively.


The music also reflected Smith and Kramer's increasing interest in free jazz—the guitarists were inspired by the likes of Albert Ayler, Archie Shepp, Sun Ra and late period John Coltrane, and tried to imitate the ecstatic sounds of the squealing, high-pitched saxophonists they adored.[16] MC5 even later opened a few U.S. midwest shows for Sun Ra, whose influence is obvious in "Starship". Kramer and Smith were also deeply inspired by Sonny Sharrock, one of the few electric guitarists working in free jazz, and they eventually developed a unique interlocking style that was like little heard before: Kramer's solos often used a heavy, irregular vibrato, while Smith's rhythms contained an uncommon explosive energy, including patterns that conveyed great excitement, as evidenced in "Black to Comm" and many other songs.


Playing almost nightly any place they could in and around Detroit, MC5 quickly earned a reputation for high-energy live performances and won a sizeable local following, regularly drawing sellout audiences of 1000 or more. Contemporary rock writer Robert Bixby stated that their sound was like "a catastrophic force of nature the band was barely able to control". Don McLeese noted that fans compared the aftermath of an MC5 performance to the delirious exhaustion after "a street rumble or an orgy".[17]


"When I first saw them, it was before they wrote songs, or it was before they met John Sinclair," recalled Iggy Pop. "They were just a really fuckin' good big city cover band, and they covered basically The Stones, Hendrix, The Who, all that shit, real well. And then they knew a little Ray Charles and shit. As they developed, I thought there was an overlay of jazz, but a lot of the music values were very hard rock. Not too bluesy."[18]


MC5 released a cover of Them's "I Can Only Give You Everything", backed with their own "One of the Guys", on the tiny AMG label in 1967.

1968–1969: Kick Out the Jams[edit]

In early 1968, the band's second single was released by Trans-Love Energies on A-Square records (though without the knowledge of that label's owner Jeep Holland). Housed in a striking picture sleeve, it comprised two original songs: "Borderline" and "Looking at You". The first pressing sold out in a few weeks, and by year's end it had gone through more pressings totaling several thousand copies. A third single that coupled "I Can Only Give You Everything" with the original "I Just Don't Know" appeared at about the same time on the AMG label, as well.


That summer MC5 toured the U.S. East Coast, which generated an enormous response, with the group often overshadowing the more famous acts they opened up for: McLeese writes that when opening for Big Brother and the Holding Company, audiences regularly demanded multiple encores of MC5, and at a memorable series of concerts, Cream—one of the leading hard rock groups of the era—"left the stage vanquished".[19] This same east coast tour led to the rapturous aforementioned Rolling Stone cover story that praised MC5 with nearly evangelistic zeal, and also to an association with the radical group Up Against the Wall Motherfuckers.


MC5 became the leading band in a burgeoning hard rock scene, serving as mentors to fellow South-Eastern Michigan bands The Stooges and The Up, and major record labels expressed an interest in the group. As related in the notes for reissued editions of the Stooges' debut album, Danny Fields of Elektra Records came to Detroit to see MC5. At Kramer's recommendation, he went to see The Stooges. Fields was so impressed that he ended up offering contracts to both bands in September 1968. They were the first hard rock groups signed to Elektra Records.


According to Kramer, MC5 of this period was politically influenced by the Marxism of the Black Panther Party and Fred Hampton, and poets of the Beat Generation such as Allen Ginsberg and Ed Sanders, or Modernist poets like Charles Olson.[20] Black Panther Party founder Huey P. Newton prompted John Sinclair to found the White Panthers, a militant leftist organization of white people working to assist the Black Panthers. Shortly after, Sinclair was arrested for possession of marijuana.


Under the "guidance" of John Sinclair (who dubbed his enterprise "Trans-Love Energies" and refused to be categorized as a traditional manager), MC5 were soon involved in left-wing politics: Sinclair was active with the White Panther Party and Fifth Estate.[21][22][23] In their early career, MC5 had a politically provocative stage show: They appeared onstage toting unloaded rifles, and at the climax of a performance, an unseen "sniper" would shoot Tyner. The band members were also all using the drugs LSD and marijuana.

— drums (1965–1972, 1992, 2003–2012, 2022–present)

Dennis Thompson

(1970) #137 US

Back in the USA

(1971) #191 US

High Time

MC5: Kick Out the Jams, 1999

, 2002

MC5: A True Testimonial

, 2016

Danny Says

Music and politics

Music of Detroit

New Left

McLeese, Don (2005). Kick out the jams. New York: Continuum.  0-8264-1660-8. OCLC 60835406.

ISBN

Thompson, James H. (March 10, 2000). . Goldmine. No. 512. Krause Publications.

"MC5: Kickin' Out The Jams"

Bartkowiak, Matthew J. "Motor City Burning: Rock and Rebellion in the WPP and the MC5," Journal for the Study of Radicalism, vol. 1, no. 2 (Summer 2007), pp. 55–76.

in JSTOR

Bartkowiak, Mathew J. (2009). The MC5 and Social Change: A Study in Rock and Revolution. Jefferson, N. C.: McFarland and Company.  978-0-7864-4037-5.

ISBN

(2007). MC5 Sonically Speaking: A Tale of Revolution and Rock 'n' Roll. Church Stretton, Shropshire: Independent Music Press. ISBN 978-0-9552822-2-5.

Callwood, Brett

Goodman, Fred (1997). "Brothers and Sisters, I Give You a Testimonial: The MC5". The Mansion on the Hill: Dylan, Young, Geffen, Springsteen, and the Head-on Collision of Rock and Commerce. New York: Vintage Books.  978-0-679-74377-4.

ISBN

Simmons, Michael; Nelson, Cletus (2004). . London: Creation Books. ISBN 978-1-84068-109-3.

MC5: The Future is Now!

MC5 GATEWAY - Detailed site on the MC5

All-MC5 webguide

discography at Discogs

MC5

at IMDb

MC5