“Raw Power, Revolution, and Rock ‘n’ Roll Fury – The MC5’s Untamed Spirit Captured on Wax.”
MC5 - Vintage Years with Rob Tyner Band isn’t just another rock compilation—it’s a sonic grenade thrown straight from Detroit’s revolutionary underground. Released exclusively in France, this LP is a raw, unfiltered dose of the MC5’s electric fury, capturing their wild spirit in all its rebellious glory. From garage rock anthems to proto-punk firestorms, Vintage Years is an untamed ride through the Motor City’s countercultural heartbeat. It’s loud, fast, and unapologetic—just the way rock ‘n’ roll was meant to be.
Picture this: It's the mid-'70s. The MC5's incendiary flame has flickered out, leaving behind a trail of sonic wreckage and cultural upheaval. But somewhere in France, a curious compilation emerges, a vinyl artifact titled "Vintage Years." Forget mint condition obsessions; this isn't about collector's clout. It's a raw, unfiltered glimpse into the heart of a band that embodied the turbulent spirit of its time.
Nostalgia's a trap, but "Vintage Years" isn't some wistful stroll down memory lane. It's a jagged shard of sonic rebellion, a reminder of the MC5's untamed power. These tracks weren't cherry-picked hits; they're a testament to the band's relentless exploration of musical boundaries.
Side one kicks off with "Just Don't Know," a raw slab of garage rock fury. Wayne Kramer's guitar snarls and spits, while Rob Tyner's vocals channel a primal scream of frustration. It's a far cry from the polished pop dominating the airwaves, a defiant middle finger to the status quo.
"One of the Guys" and "Looking at You" further showcase the band's raw energy, while "I Can Only Give You Everything" hints at their softer side. It's a reminder that beneath the sonic assault, there was a vulnerability, a yearning for connection that resonated with their disenfranchised audience.
Side two ventures into even wilder territory. "Borderline" is a blistering proto-punk anthem, while "Rock 'n Roll Pips (Live)" captures the band's incendiary stage presence. But it's the inclusion of the uncensored "Kick Out the Jams" that truly sets this compilation apart. The infamous "f-word" that got them banned from radio is a badge of honor, a testament to their refusal to be silenced.
"Down at the Boogaloo" closes the album on a defiant note. It's a final blast of sonic fury, a reminder that even in their twilight years, the MC5 refused to go quietly.
The production is rough around the edges, but that's part of its charm. These tracks weren't meticulously crafted in a sterile studio; they were captured live, in the moment, with all the sweat and grit intact.
"Vintage Years" is a testament to the MC5's enduring legacy. It's a reminder that their music wasn't just a product of its time; it was a timeless expression of rebellion, a sonic middle finger to the powers that be. So next time you spin this French oddity, don't just listen to the music; feel the history, the anger, the raw, unbridled energy that still resonates today. MC5 may be gone, but their spirit lives on, forever etched in the grooves of this vinyl testament.
Detroit in the Sixties: inner city integration, a fist of steel in a satin glove. What a string of hit songs from Tamla Motown. Detroit earned a state of grace and made its mark on the music scene. For a while, the Motor City became a magic place, riding in a classy chassis powered by V8 engines.
But times change, and like changing weather, when the music’s appeal started to fade, new blood took over. The desperate youth reflected the dark side of Detroit, and the music was an echo of their despair. The suburbs became a hotbed of the underground rock scene, and out of Ann Arbor’s avant-garde jazz cafes, the MC5 emerged as the true torchbearers of Rock and Roll freedom. Many fled to the suburban rock circuit to break away from Motown, blues, and folk—bands like The Stooges and Mitch Ryder & The Detroit Wheels did exactly that.
They started playing in backroom bars, recorded a single in 1966, “I Can Only Give You Everything”, backed with “One of the Guys”. A few months later, they met John Sinclair at one of Russ Gibb’s ballroom gigs. Sinclair was impressed with their energy, their physical approach to music, and the impact they had on audiences.
John Sinclair was a well-known critic for avant-garde jazz magazine Down Beat. At that time, avant-garde jazz meant “Free Jazz”, a psychedelic mix of revolutionary movements: Martin Luther King’s pacifism and Malcolm X’s Black Panthers combat approach. All of this combined with writers like Leroi Jones and musicians like Albert Ayler, Pharoah Sanders, Charlie Haden, and Sun Ra.
The MC5’s style fit right into this context. With their energy, John Sinclair had the raw material to sculpt his vision for radical and free music. But it was totally different from what a closed-door Motown executive would have imagined. The political impact of 1968’s student riots was a real thing, and the MC5 became Sinclair’s living proof that things were really happening.
Their music was radical, fast, loud, and they wanted it raw. They signed a contract with Elektra and recorded “Kick Out the Jams”, an album that was recorded live on October 30 and 31, 1968. This was the real deal—no overdubs, no gimmicks, just pure fire.
Upon the album’s June 1969 release in France, critic Philippe Paringaux had the clairvoyance to write: “Nothing could mute the impact of MC5. The record is an explosion of energy, anger, and rebellion, a declaration of war against boredom and banality.”
In 1969, John Sinclair was arrested and jailed for possession of marijuana. At the same time, Elektra’s PR manager needed a rock group to show a radical political, pacifist, and revolutionary image. Elektra ended up dropping the MC5 for refusing to soften their image.
John Landau arrived on the scene and signed them to Atlantic. Their first album with the label, “Back in the USA” (1970), was meant to clean up their sound. It was possible to record a 10-track album in less than 30 minutes, but the production completely cut off the MC5’s wild and untamed energy. The result? A poppy rock album that confused many fans. In the USA, the album only sold 100,000 copies.
“Back in the USA” was not a success. The MC5 decided to move back to the underground. At Mick Farren’s request, they went to England, where they played at the Phun City Festival in July 1970. The experience was intense: some audiences rejected them, while others fully embraced their powerful sound.
Their final album, “High Time”, was produced by Geoffrey Haslam and the MC5 themselves. This was their dream album—their true vision—but, unfortunately, it was too late. The band was already falling apart.
The album featured “Sister Anne”, “Over and Over”, and “Future/Now”, where Wayne Kramer’s fuzz-drenched guitars roared with the power of free jazz and chaos. But it never reached the masses.
The MC5 returned to Europe for a tour in February 1972, playing the Gibus Club in Paris and other cities. But they were out of place—too wild for young rock executives, too intense for mainstream audiences. They ended up sharing bills with acts like Bo Diddley and Jerry Lee Lewis.
Meanwhile, Atlantic suggested they record in London, but the results were disastrous. The band was falling apart. The dream was over.
On November 29, 1972, they were back in Paris to record “Thunder Express”, but by this time, the band was done. Dennis Thompson left first, and Rob Tyner soon followed. The remaining members tried to keep things going, but the MC5 had officially crashed and burned.
By the time the MC5 made their final concert appearance, the spirit of revolution had faded, and they were nothing but ghosts of their former selves.
Exit the MC5. Or what was left of them.
After the breakup, Wayne Kramer briefly reformed the MC5 for a few months, but it was never the same. The MC5 were victims of their time—too ahead of the curve, too raw for commercial success, and too politically dangerous for the mainstream.
But they left behind a legacy.
Decades later, bands like The Clash, The Sex Pistols, and even Metallica would cite them as a primary influence. The MC5 were the spark that ignited punk.
“Kick out the jams, motherf*ers!”
Music Genre: Acid/Psychedelic, Early Punk Rock |
Collector's info: Detailed recording desciption, liner notes on the back of the album cover |
Album Production Information: Produced by John Sinclair, Rob Tyner. Motorcity Cotillon |
Record Label & Catalognr: NKVD 02 |
Media Format: 12" Vinyl LP Gramophone RecordAlbum weight: 210 gram |
Year & Country: Made in France |
Complete Track Listing of: MC5 Vintage Years with Rob Tyner Band |
The Song/tracks on "MC5 Vintage Years with Rob Tyner Band " are
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This is the album cover for MC5 - Vintage Years, a retrospective release featuring the legendary Detroit rock band. The background is a bold, psychedelic yellow with a repeating pattern of marijuana leaves, reinforcing the countercultural spirit of the era.
The MC5 logo dominates the top in an electrifying red and black font, styled with sharp, jagged edges, exuding rebellion. The focal point of the cover is a grainy, sepia-toned photograph of two members of MC5, framed within a rectangular border. The man on the left has curly hair and wears a striped sweater, his expression introspective and distant. The man on the right sports a voluminous afro and glasses, dressed in a button-up shirt and blazer, his face serious and contemplative.
Scrawled across the photograph in thick, black marker is a handwritten message that reads: 'RIP OFF' and 'WAYNE KRAMER 4.29.86.' The raw, defiant handwriting adds an additional layer of punk attitude, suggesting discontent or a personal statement about the album's legitimacy.
Below the photograph, the words VINTAGE YEARS appear in bold red capital letters, standing out against the yellow background. The overall design blends underground rock aesthetics with an air of bootleg rawness, making this album cover an unmistakable piece of MC5 history.
This is the back cover of MC5 - Vintage Years, a compilation album celebrating the Detroit rock legends. The background is a striking yellow, overlaid with a repeating pattern of marijuana leaves, reinforcing the band’s countercultural ethos.
The layout is dominated by dense black text in a tight, justified format, divided into several sections. The leftmost column, titled Motown Side and Ashes and Diamonds, provides an in-depth narrative of MC5’s origins in Detroit’s tumultuous 1960s music scene. It highlights the band’s raw energy, their affiliation with radical movements, and the influence of avant-garde jazz on their sound. Further down, the section titled Ann Arbor Connection explores MC5’s transition from playing local gigs to becoming incendiary revolutionaries of rock.
In the center column, a bold, capitalized tracklist details the album’s contents. Side A includes tracks such as Just Don’t Know and Looking at You, while Side B features the explosive Kick Out the Jam and Down at the Boogaloo. Each track title is crisp and spaced for readability.
The rightmost section, titled Cross Over to Atlantic, recounts MC5’s struggles with the law, record label conflicts, and their transition into the 1970s. It vividly describes their live performances, their clashes with authority, and their ultimate dissolution.
Anchoring the design in the bottom right corner is a sepia-toned photograph capturing MC5 performing live. The image is dynamic—two guitarists are silhouetted against a starkly lit stage, amplifiers towering behind them, embodying the raw, electric energy of their concerts. The composition places the band members in mid-motion, adding an unmistakable sense of urgency.
Logos and small design elements are scattered throughout, including the WMD logo and a barcode near the top. A subtle footer credits Detroit’s Michigan Union Ballroom and Trans-Love Energies, a nod to MC5’s radical roots.
The overall design, with its high-contrast colors, tight text layout, and archival-style photography, exudes the chaotic, revolutionary spirit of MC5—an album back cover that is as much a historical document as it is a work of rock 'n' roll art.
This is a close-up photograph of the record label for Side One of MC5 + Rob Tyner Band - Vintage Years, a vinyl release celebrating the raw power of the legendary Detroit band. The label is a stark white, contrasting with the deep black of the surrounding vinyl, giving it a classic, no-nonsense aesthetic.
At the top, an eye-catching illustration features a stylized soldier in a helmet holding a rifle, positioned next to the bold, capitalized hKyD logo. This gives the label an almost militant, underground feel, reminiscent of MC5’s politically charged energy.
Centered below, the album title MC5 + Rob Tyner Band - Vintage Years is printed in bold uppercase letters, standing prominently above the catalog number NKVD 02. Just beneath that, 33 Tours indicates that this is a standard 33 RPM LP, a common format for full-length albums.
The tracklist for Side One is neatly arranged, featuring four songs:
To the right, a rectangular SACEM logo is prominently displayed, signifying that this pressing was made in France and licensed under the French music rights organization. Along the outer edge, small capitalized text in French states copyright restrictions, prohibiting unauthorized reproduction, public performance, or broadcasting of the record.
At the bottom, the label credits Motorcity Cotillon BM, likely referencing the publishing and distribution rights. The simple, utilitarian design of the label echoes the raw, no-frills spirit of MC5’s music—direct, uncompromising, and revolutionary.
Elektra CLVLXEK. 351 / Serie Loisirs , 1969 , Made in France
This is the French release of "Kick Out The Jams" the first album released by the American Alternative Rock band MC5 it was was recorded live at Detroit's Grande Ballroom over two nights, Devil's Night and Halloween, 1968 and released in 1969.
Kick Out the Jams Release 12" Vinyl LP AlbumElektra ELK 22 022 (22022), EKS 74042 , 1969 , Germany
This is the German release of "Kick Out The Jams" the first album released by the American Alternative Rock band MC5 it was was recorded live at Detroit's Grande Ballroom over two nights, Devil's Night and Halloween, 1968 and released in 1969.
Kick Out The Jams 12" Vinyl LP Album
NKVD 02 , Made in France
"Vintage Years" is an official compilation of the American Garage Rock band MC5 and has only been released in France.
Vintage Years with Rob Tyner Band 12" Vinyl LP Album