The other day Classicrockpage.com presented a "Daily Trivia" question that dealt with the now legendary rock band the MC5. After answering the question, I began to reflect upon the many times I had seen them, and other Motor City groups, perform back in the mid to late 1960's and early 1970's. I'd like to share with you all some very fond memories about The MC5. I hope that you enjoy it. In the words of their manager John Sinclair, "I give you a testimonial. The MC5!".

I was born and raised in the Southwestern Ontario city of Sarnia nearly a half a century ago. My hometown is still a heavily industrialized community that is predominantly made up of petro-chemical facilities. Many people refer to it as  "The Chemical Valley". Sarnia is situated sixty miles north of that great American industrial city of Detroit, Michigan- "The Motor City". The vast majority of our television, radio and most importantly, the music, was heavily influenced by our American neighbours to the south via Windsor's powerhouse radio station CKLW. I wasn't aware of the magnitude of this until I, like most of the people that I had grown up with, was forced to move away to seek employment elsewhere. I always found it interesting to note that when discussing the music of the 1960's with new friends in my new community of London, Ontario, (which is only sixty miles from Sarnia and 120 miles from the Motor City), that most were influenced by the newly emerging Canadian music which was based out of Toronto and became known as "The Yorkville Sound", Yorkville Street being Toronto's answer to New York's Greenwich coffee houses and San Francisco's Haight-Ashbury district. On any given night, one could experience Gordon Lightfoot, Joni Mitchell and Ian and Sylvia all within feet of each other. Many grew up on a diet of Lighthouse, The Guess Who, Major Hoople and the late great, Kensington Market. On the other hand, those of us in The Chemical Valley thrived upon the high energy music of Detroit's MC5, The Amboy Dukes, Stooges, and obviously, the sweet soulful sounds of "Tamla -Motown". The musical diversity in these two Canadian cities, separated by a forty-five minute drive, was like night and day. I feel both lucky and privileged to have been brought up in a juxtaposition between the two worlds. 

Being in such close proximity to Detroit we were blessed to be included as a regular venue for the bands of the Motor City. Many of these groups regularly performed within a sixty mile radius of their home base, which also included local communities such as Windsor, Chatham and Rondeau. We were constantly being exposed to many of the great bands long before they obtained that Holy Grail of the music world ,"the recording contract", and their subsequent "sudden discovery" by the rest of the world. This afforded some of us, myself included, the opportunity to meet and form some very casual relationships with some of these bands. The sister of one of my dearest friends dated The Amboy Dukes' Andy Solomon. I believe that she may still have in her possession a treasure trove of candid photographs that captured Ted Nugent and the Dukes in rehearsals at the band's house in Detroit. Grainy as the black and white images may be, they convey the excitement of the creative process that was seizing the world of rock in the late 1960's. 

The year was 1967. It was a time when the music on the airwaves was evolving, becoming more artistic, more crafted and definitely more polished (The Jefferson Airplane's "Surrealistic Pillow", The Beatles' "Sgt. Pepper's" etc). With the passage of time our memories of the halcyon days of our youth becomes even more rose-colored, however, it is imperative to remember that even though rock music was becoming more exciting and experimental in it's scope, commercial pop music was still being shoved, without mercy, down the collective throats (and ears) of listeners by the major record companies in the guise of the Cowsills, Lulu and the Royal Guardsmen, (with their atrocious "Snoopy vs The Red Baron" tripe and ilk). The most frightening aspect of this was that the record buying public avidly bought such drivel in such large numbers that the now classic music we recall with much fondness was displaced way down on the record charts throughout North America. A brief glance at the Billboard or Cashbox Charts from that era painfully illustrate my point. It was during this time that I had my first encounter with the MC5. 

I would be hard pressed to sit down and recall the names of each Motor City band that played over the years in Sarnia, but the groups that immediately come to mind are the MC5, The Amboy Dukes, SRC (Scot Richards Case), The Rationals, Frost, Frijid Pink, Frut of the Loom, Bob Seeger and the Last Herd, Teegarden and Van Winkle, Mike Quatro's Jam Band, Suzi Quatro (in the all-female The Pleasure Seekers), Savage Grace, Mitch Ryder and the Detroit Wheels, Up and a very surrealistic and embryonic Alice Cooper Band. (My first encounter with that band was taking them to the local beer and liquor stores to stock up their supplies. However, that is a story that will have to wait for another time).

Rarely did a week go by when we weren't being treated to a concert by either a Motor City band or one of our many fine local groups like The Grass Company (featuring Kim Mitchell), The Ring or The Grim Reaper who played at one of the local ice hockey arenas or one of the many high schools in the area. Music was a very important aspect to being young and growing up in Sarnia. I imagine the same sentiment would probably be echoed by others in their respective communities as well.

I vividly recall one very hot summer's day in 1967 when an evening show was scheduled featuring Ann Arbor, Michigan's The Rationals and the then unknown MC5. This was to be the MC5's debut performance in Sarnia and we hadn't the faintest idea of what to expect from them. Back then, the doors to these shows opened a few hours before the first band was scheduled to hit the stage. My friends and I, (we were all budding rock stars then), would always arrive early to eagerly watch the equipment being set up and share the latest information about newly discovered guitar chords, the latest records and dream of actually putting together a working band. Oh, to be so young and wonderfully naive again! 

As usual, I happened by the Sarnia Arena a few hours before the show was to begin and noticed a group of young men wrestling amplifiers and drums out of an old, battered van in the oppressive heat of the day. I wandered over and asked them if I could give them a hand unloading their truck. My offer was immediately accepted and I was soon assisting them, lugging huge stacks of amplifier cabinets, drums and amp heads into the darkness and relative coolness of the arena. All I could think was, "Oh Mein Godt! These are REAL Marshall amps!" During a short break I learned from one of the fellows, who later turned out to be singer Rob Tyner, that they were members of the band MC5. I was introduced to the other members and we all spent a few minutes laughing about how hot and humid Canada can be in the summer. When the work was completed and the stage was finally set up, I was invited to join the band in their "dressing room", (actually, it was just a Spartan changing room for hockey teams), and was rewarded for my labors with a couple of cold beers, a wee hit or three, and some White Panther Party badges and literature from the band's manager, John Sinclair. (John Lennon later wrote a song about Sinclair when the manager was sentenced to a term of ten years in a federal penitentiary for the paltry possession of two joints). The band, I was told, was an important vehicle of "Trans-Love Energies" which spread the gospel of revolutionary ideals. The band had to get ready for their show and I then departed to meet up with my friends to get a good seat upon the floor in front of the stage. 

Although The Rationals were advertised as the headliners, they opened the show instead. As per usual, they were excellent. It is a truly a shame that The Rationals never became more than what they were beyond the borders of Michigan and this small part of Canada as they had incredible potential and an avid fan base (apparently a compact disc of "lost tapes" has recently become available). When their last number was completed they thanked the appreciative crowd and left the stage. Now it was time for the MC5. I was most interested in hearing them, especially after my fleeting contact and introduction.

"BROTHERS AND SISTERS!" boomed John Sinclair from the P.A. system. This was followed by a speech that was politically charged and was delivered in an intensity that was reminiscent of the Black Gospel Church sessions that I used to love watching on late night Detroit television. Revivalist indeed! At the top of his lungs, Sinclair asked everyone to actively stand up and fight all oppression in society and government. The MC5 were then introduced to us as a "testimonial" to these very ideals and the first notes from their guitars erupted! Such a gloriously loud sound! It was as if the Universe was being pummeled and then torn apart. Never before had we heard a band play as loud or as ferocious as they did. Pure conviction. It was truly stunning and almost unimaginable that music could be played so loud and yet be so good! It readily became apparent that this was a very unique band, featuring not just one but two lead guitarists. Fred "Sonic" Smith and Wayne Kramer pushed one another to new sonic heights. Now this may certainly seem passé in these so-called modern times, but this was something very much new. You could almost see the sparks of pure energy flying off one another. Screaming Mosrite and Fender Stratocaster guitars echoed throughout the arena. It was breathtaking in an absolute pure sense. 

I'm afraid the passage of time has pretty much obliterated from memory their entire set list, but I do vividly recall four songs that ran clear and true that night. "Borderline", "Starship", "Black To Comm" and an explosive version of "Looking At You". I certainly don't recall their famous "Kick Out The Jams" that evening but it would later become a crowd favorite whenever they returned to Sarnia for future shows. When the show was finally over it was all one could do to get up and leave the arena. It was as if you had just been run over by a speeding Mac truck and were helplessly awaiting the paramedics to come rescue you. A sonic assault that left the entire audience spent. As Jerry Lee Lewis growled a few years prior… they left us "Breathless". 

Breathless indeed and wanting more. Music was suddenly alive and in a form that few in our beloved Chemical Valley had ever seen before. After witnessing this exhausting testimonial, many became immediate believers in the music and message of the MC5. When the last vestige of feedback subsided, it was clear that the bloody Cowsills were dead from that moment forward and thank goodness for that! The rest of the world will hear of these musicians. Sure enough, shortly after our introduction to the MC5, they became a raging success across North America. It was like Hendrix's famous line from "Third Stone From The Sun": "you'll never hear surf music again". Thank you. 

I recall one subsequent performance when the MC5 were detained by Canada Customs at the Blue Water International Bridge. Apparently, Customs and the Royal Canadian Mounted Police detained the band and searched every square inch of their truck and equipment for who knows what. The opening bands compensated by stretching out their acts while in-between song announcements kept the audience informed of the progress of the search going on at the border. Eventually, when nothing was found, the band was finally released... two hours after they were scheduled to hit the stage! The audience erupted into a rapturous ovation when "The Five" finally arrived. Rob Tyner made apologies to the crowd and announced, "We want to dedicate our first song to those fine people at Canada Customs… KICK OUT THE JAMS R.C.M.P. Mounties!", followed by a very intense version of their now classic song. It was during the course of this show that bass player Mike Davis accidentally ripped out the crotch of his tight velvet pants, revealing… well…  no underwear! He slung his Fender Precision Bass low on it's strap so that it covered the tear and every now and then would lift the instrument for a quick flash...much to the delight of the audience. 

I, along with many other MC5 admirers around the world, was terribly saddened by the deaths of Rob Tyner (September 17, 1991) and Fred "Sonic" Smith (November 4th, 1994). The music world could use a bit of their magic just about now.

There has already been many words written about the wonderful, high energy music made by this legendary band and recently there has been a tremendous resurgence on a global scale about the importance of the MC5 in the history of Rock music. All of their albums have now been re-released on compact disc with extensive and well composed liner notes. Currently, there are plans to release a full length documentary film which will include interviews and rare concert footage of the band in glorious, incendiary action. Earlier this year, Rhino Records released a CD entitled "The Big Bang: The Best of the MC5" which serves as an excellent starting point for anyone wishing to learn more about this band. 

For more information visit the following Internet sites: 

Continued...

From the beginning, the members of Pink Floyd had always been acutely aware of the benefits of utilizing both crushing volume and swirling, variegated backgrounds as a means of enhancing and punctuating their music in live settings. Their experimentation with reverb, often times accompanied by feral electronic and keyboard based tumult, gained them a rabid phalanx of admirers as they became the darlings of London's underground, playing clubs like The UFO and The West End, along with fellow psychedelic purveyors of mind bending, avant-garde music such as The Soft Machine and The Moody Blues.

Their Sunday evening gigs at The Marquee were multimedia events that soon became the preferred place to be for in-the-know followers of the scene. "We had film going and us banging and crashing away," recalled Roger Waters in a mid-eighties interview, "there were about twenty people at the first show. A hundred showed up the second week. After that, it was three to four hundred, and then you couldn't get in." Drummer Nick Mason; "The main element of the underground that we tuned into was the mixed-media. We may not have been into acid, but we understood the idea of a happening. We supplied the music while people did creative dance, painted their faces or bathed in the giant jelly." Local music entrepreneur Peter Jenner visited the popular club to see for himself what the buzz was all about. Instantly enthralled by the Cambridge quartet, he became their first manager and described his initial introduction to the Syd Barrett era Pink Floyd; "I arrived around 10:30 and there was this strange band playing a mixture of R&B and loud electronic noise. Between routine numbers like "Louie Louie" and "(I'm A ) Road Runner" they were playing these very weird breaks. It was all very bizarre and just what I was looking for, a far out, electronic, freaky pop group…instead of howling blues guitars it would be all this noise which keyboardist Rick Wright and Syd Barrett made. That's certainly what turned me on."

In October 1966 their light show, consisting of oil dropped on photographic slides pulsated in time with the music, was first seen at the launch party for The International Times, their spectacularly colored backdrops drawing rave reviews from the press and enthusiastic praise from Paul McCartney. Eager for the audio component of their live show to be as awe inspiring as the visual spectacle they presented, the band began searching for the means to deliver their blend of Psych-Pop and electronic warbling at utmost volume, experimenting with more powerful audio equipment which ultimately led to the unveiling of a primitive quadrophonic sound system at a gig at the distinguished Queen Elizabeth Hall in May '67. 

By February 1968 Barrett's increasingly erratic behaviour (at some performances he would not play at all, remaining motionless onstage) forced the band to bring in David Gilmour to compensate, thus ushering in the beginning of a markedly different musical direction. 

By the time "Atom Heart Mother" was released in 1970, Pink Floyd was employing a 360-degree stereo system, Roger Waters saying at the time that, "We want to throw away the old format of the pop show, standing on a square stage at one end of a rectangular room and running through a series of numbers. Our idea is to put the sound all around with ourselves in the middle. Then the performance becomes more theatrical. And it needs special material- it can include melodrama, literary things, musical things or lights." Their supporting tour of the U.S. regaled audiences and reviewers alike, prompting the Los Angeles Free Press to write, "The great thing about Pink Floyd is that they can make the freaks sit down and listen. It was not an easy thing to do as it was obvious the 3,700 people were there to trip. When the sound from the multi-track 360-degree sound system started moving around the room, the people were forced into submission to be able to appreciate the effect. From then on, it was an honest concert with the audience in their seats listening." 

The release of 1971's "Meddle", with side-two's twenty-four minute "Echoes", completed their journey from quirky, monochordal psychedelia to more elaborate and complex musical arrangements.

With their most recent North American tour wrapping up in November '71, Pink Floyd returned to England and went about writing their "special material", creating the core of "The Dark Side Of the Moon" in roughly two months. During this time, they spent nine days (December 13-21, 1971) in Paris filming and recording for the movie "Live In Pompeii". The band came home and set up shop at The Rolling Stones' studio in Bermondsay where they began rehearsing what would constitute half of their live show for their upcoming tour, set to start in Brighton on January 20th. Although somewhat anxious about embarking on their first proper British tour in four years, they looked forward to being able to work on the numbers in a live atmosphere with the benefit of immediate audience response and to determine what worked and what didn't. Armed with a flaming gong, tape machines for effects, an army of spotlights and a battalion of sound equipment, it was show time at The Rainbow Theatre. continued