Skunk (sonically speaking)
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From their final studio lp "High Time" comes this lively little number. MC5 had a promising beginning which earned them a cover appearance on Rolling Stone magazine in 1969 even before their debut album was recorded. They developed a reputation for energetic live performances, one of which was recorded as the critically acclaimed Kick Out The Jams. Their career was ultimately short-lived, though within just a few years of their dissolution, the MC5 were often cited as one of the most important American hard rock groups of their era: their three albums are regarded as classics. Their song "Kick Out the Jams" is widely covered, so here is one that isn't :-)
Comments (12)
damn bro, I need not concern myself with penning posts while you're on this rant. this (and "Back in the USA", and all the Stooges stuff) could be picked up at any Woolworths for 99 cents in '73. spent much time as a mid-teen musing over why I wasn't hearing this on the radio.
"MC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes. Fred Smith's "Sister Anne" and "Skunk (Sonically Speaking)" bookend the album with a pair of smart, solidly performed hard rockers (bolstered by fine horn charts), and Wayne Kramer's "Poison" ranks with the best songs he brought to the band (he later revived it for his solo album The Hard Stuff). For a group that was apparently on the verge of collapse, MC5 approach this material with no small amount of skill and enthusiasm, and Geoffrey Haslam's production gives the band a big, punchy sound that suits them better than the lean, trebly tone of Back in the USA. It's interesting to imagine what MC5's history might have been like if High Time had been their first or second album rather than their last; while less stridently political than their other work, musically it's as uncompromising as anything they ever put to wax and would have given them much greater opportunities to subvert America's youth if the kids had ever had the chance to hear it."
tag team posters - HAH!"preciate the addition info - very nice - fills out the post perfectly!
ROCK ON!
I can be a literal affirmation of the opinion above. I never cared for what I heard of the MC5. Yet this track is accessible (to me) well-played and sung and very enjoyable. If I'd heard this instead of the political heavy metal screeds, I might have bought their albums.
Bingo!
Most often, timing is everything isn't it?
I was just thinking about timeing! I didn't know what to make of Kick Out the Jams at the time. I was into some radical stuff, but just was not where THAT was "at". But I've come to appreciate it more. I never heard this before. Boy, I'm glad you posted it. Thanks.
you are welcome!
Yes, that kicked ass! Again, I'm at work, and was just about to get a cup of coffee....instead I just played that a few times, and I'm good! (For now, anyways)
oh yeah and P.S.
I had never heard that song before (although I am a LITTLE familiar with MC5)
glad to supply the stimulant!
Yeah, thanks!! --the best part is, you don't crash later!
Glad to see people still get a "Kick" out of this tune.
The 5 had more time to work on this album, then earlier projects. Atlantic let them practice and record twice a week for months at Head Sound, a small 4-track studio. We sent Geoffrey a mix down once a week and he came out from New York several times.
When time came to cut the final 16-track, the guys used "Artie Fields" in Detroit and brought in many of their friends to accompany them and help set the right mood in an otherwise sterile and industrial recording studio.
This cut opened with Bob Seeger (Silver Bullet band etc), Scott & Dave Morgan, Terry Trabandt (from the Rationals) and myself playing various African bells & drums and adding a few vocal howls behind Dennis on the drums. It finishes with Charles Moore's Jazz horn section.
Fred and the guys were determined to include a range of characters and sounds from their circle in this peice. It Rocked, Dennis tore it up on drum, and the energy level was extremely high the afternoon they cut this.
Thanks for the info! Quality music transcends time and space