The Grateful Dead and a group of other rock bands of the times including the Jefferson Airplane, took a lease out on the old Carousel Ballroom on Market Street in San Francisco (formerly the El Patio) back in 1968 which only lasted for several short months. During that time however there were many great shows and dance/concerts that took place. Moby Grape: They could have been the biggest and best band in the world, some contended back in the ‘60s, but something happened. The series of bad luck, misfortunes and critical misfires that derailed most of their career.
It was a Saturday night 47 years ago on this day back in 1968 that Moby Grape, along with It’s a Beautiful Day and Sweet Rush finished up their two night engagement there at the Carousel Ballroom. Back in 1966, amid the ferment of San Francisco’s active music scene, five disparate musicians were brought together in a new band. Heavily laden with talent, the group cut a 1967 debut album, that is still ranked among the finest, most assured bows in rock history. Almost instantly, they were tabbed as the act to beat. Moby Grape’s name is synonymous among rock connoisseurs with tragedy, failure, unfulfilled promise, and chaos. The story of how what appeared to be rock’s Perfect Beast became a rolling catastrophe is one of the all-time cautionary tales in the annals of music and the music business.
Looking back at Moby Grape and wonders, “How could they fail?” Among performing units of their era, they were seemingly rivaled solely by their Los Angeles contemporaries Buffalo Springfield, whose glittering lineup included the mighty singer-songwriter-guitarist triumvirate of Neil Young, Stephen Stills, and Richie Furay.
Moby Grape trumped the Springfield’s three-pronged attack. All five members of the group sang, and they forged a deftly blended choral attack unique among bands of the day. All five musicians also wrote, with consistent brilliance and economy. Their three-guitar front line could blow any outfit unlucky enough to share a stage with them right off the boards, and their powerful rhythm section was unmatched by any on the Haight-Ashbury scene.
The seeds of the band’s disorder may have been sown in its founding. In late 1966, its five members were brought together by an ambitious manager seeking a new act to work, as major label A&R men began poking around for acts that were playing in San Francisco’s burgeoning rock ballroom scene. The magnetic linchpin of the new band was singer-songwriter-guitarist Skip Spence. The Canadian musician had served as the drummer for Jefferson Airplane and had played on the group’s debut album, Jefferson Airplane Takes Off. . However, feeling marginalized creatively in the Airplane, he abruptly quit the band for a sojourn in Mexico. On his return to the Bay Area, he linked up with the Airplane’s erstwhile manager to make a fresh start.
Spence’s band mates were all well-traveled journeyman rockers who landed in San Francisco to flex their considerable chops. One arrived with a Hollywood pedigree: singer-guitarist Peter Lewis was the son of movie star Loretta Young, and a veteran of the surf band the Cornells and his own outfit Peter and the Wolves. Bassist-vocalist Bob Mosley, a white soul man to the bone, had recorded with San Diego’s Misfits. Lead guitarist-singer Jerry Miller—who had served for a time in Texas band‘ Bobby Fuller Four—and drummer Don Stevenson had both performed in the Frantics, part of Seattle’s vibrant ’60s scene.
The resultant quintet, while it keyed off Spence’s formidable onstage energy, was the most cooperative unit imaginable, with each member contributing notable songs to the Moby Grape repertoire. Their layered singing and instrumental puissance immediately made them a force to be reckoned with in the SF ballrooms, and they were rewarded with a contract from Columbia Records in early 1967.
The remainder of the band’s story can be told through a series of horrific bullet points. What brought down this almost impossibly gifted and commercially alluring group? Well, for starters there was…
On June 6th, 1967, Moby Grape celebrated the release of their self-titled album with a splashy party and performance at San Francisco’s Avalon Ballroom . Early the next morning, Miller, Spence, and Lewis were popped in Marin County after police discovered them cavorting with three underage girls. The three men were charged with contributing to the delinquency of minors, and Miller was also charged with possession of marijuana.
All charges were later dropped, but the incident could not have added any luster to Moby Grape’s rep in the eyes of the Columbia executives who had just spent a small fortune launching their brand-new act. And that launch would itself become problematic for the band, who were instantly the victims of…Moby Grape’s Avalon appearance was a record-company saturnalia of the first magnitude. Janis Joplin with her own star on the rise as a member of Big Brother & the Holding Company made a guest appearance with the group; orchid petals were dropped from the ceiling of the venue during the band’s set; and invitees were presented with a velvet-covered box that included press materials, glossy photos of the band, and copies of ‘Moby Grape”s first five singles.
That’s right: five singles. In their infinite wisdom, Columbia’s marketing executives had decided to issue 10 of the 13 tracks on ‘Moby Grape’ simultaneously on 45s with identical picture sleeves. If there was ever a tactic guaranteed to put the noses of suspicious music critics, over-burdened radio programmers, and confused retailers out of joint, that was it.

The band seemed to misunderstand its own strengths. In contrast to the lean, diamond-hard originals on ‘Moby Grape’, the second album bore unfocused tunes that were not enhanced by the overbearing and needless presence of strings and horns. Even a tuff little rocker like “Can’t Be So Bad” was dressed up with 20 reed and brass pieces. The album reached its nadir with “Just Like Gene Autry: A Fox Trot,” a trivial spoof of ’20s crooning introduced by ex-vaudevillian Arthur Godfrey; that track was pressed at 78 rpm, and owners of the original LP will recall the annoyance of getting up to change turntable speeds to listen to the number—an event that likely occurred only once in most cases.
Compounding the irritation, Columbia marketed ‘Wow’ with a “bonus album,” ‘Grape Jam’, which featured four listless improvisations with guest stars Mike Bloomfield (inexplicably abandoning his guitar for piano) and Al Kooper, both soon to ring up sales with their own similarly styled Super Session, Hawked at a two-for-one-price, the two-LP package rose to number 20 nationally. For many, the bloom was off the rose, but the group was already being wracked by larger problems, including…
Spence, whose material was later recorded by his erstwhile band in his absence, returned sporadically to the Grape fold during a long period of homelessness and institutionalization; thanks to medication, his life stabilized to some extent before his death from cancer in 1999.