MC5 GEAR                                          
Michael Davis
LATE 1968 - 1969
M.Davis and Fred SmithGRANDE BALLROOM - ZENTA NEW YEAR - photo JOEL BRODSKY             << The FENDER JAZZ, as can be seen by the bar inlays on the fretboard. The amplifiers in the background are the Sunn amps that preceded the Marshalls. And the clothing is from a time before the recording of Kick Out The Jams.
[Note in the foreground the Mosrite Venture that Fred Smith has painted in black]
We recorded the album "Kick Out The Jams". Shaved the stash, bought a new FENDER JAZZ Bass guitar, had some killer threads made for me, which I dubbed "The Uncle Sam Suit", and got ready for the "big show". Although this is 1968, the bass had oval tuning keys, which were only produced one year, 1966. So, that is a sunburst
66 FENDER JASS BASS. Also, we have gone MARSHALL.
     May 30, 1969       First Annual Rock & Roll Revival   *Michigan State Fairgrounds* Detroit
The whole deal. Fender Jazz Bass , Marshall , flags , sequenes , satin. The Rock and Roll Revival? I thought that was June 21. Who knows . . .?
LATE 1969

M.Davis w/ the Framus Star BassI have been outfitted with a FRAMUS STAR BASS.
A semi-hollow bodied, extremely narrow necked, "F holed", German , bass instrument , that had to be taped over the sound holes to avoid feedback. TOLEDO SPORTS ARENA - 1969 - photo: RANDY M. FOLEYIt had a sound of plunk, plunk, plunk, and was mandated as the bass instrument for the bass player , because the Fender Jazz Bass had a "noise" in the electronics. BULLSHIT.

DECEMBER 1969 >>
The FRAMUS. In the early days, Bill Wyman played a Framus. Perhaps, that is why it was chosen to replace the Fender in the studio. All I know is, I never liked that damned thing, and I only did it at the insistence of those "in charge."

 EARLY 1970                                                 
EASTOWN THEATRE ?Nice, big stage. Could be the Eastown in Detroit, but do not know. I'm playing a Rick. That's RICKENBACKER, as in 4001. After the Framus fiasco and various scare-em-up basses; BALDWIN WILD DOG, DAN ARMSTRONG "clear lucite", etc., I bought a brand new Rickenbacker natural finish 4001 bass. I played this bass for a very short time, before it was stolen at a pop festival in Toronto, Canada. However, in the film, MC5*A True Testimonial, I can be seen playing the "Rick" on a TV show, lip syncing the record.
 SPRING 1970
Photos by RICK RIECKHOFF (left) & DAVID HARRIS (right)
MICHIGAN THEATRE, DETROIT - 1970 - photo: RICK RIECKHOFFM.Davis w/ a GIBSON bass - photo DAVID HARRISWell,...I finally hooked on to something else. A fucking GIBSON EBO or EB3. I don't know the difference, to tell the truth. Marshalls carried the day to the bitter end. The Gibson looks good, but they had a severe bass tone that was way too woofy, and all the other settings sounded like tubas.

PHUN CITY FESTIVAL, ENGLAND 1970 << Hiwatts in the backline are rented or borrowed. The Precision I'm playing may also have been borrowed, either in England or someone in the States, as I never purchased another one of those since the original white bass. The one and only, Steve "the Hawk" Harnedek, by the amplifier.ST LOUIS, MISSOURI - 1970 - photo: STEPHEN FAIRCHILD






APRIL 1970 >>
St. Louis, Missouri
A theater in the round at a university, whose name has escaped me. Since it is the inner sleeve of High Time, I know that by this time, the Jazz bass is gone, and strange things have taken place in the past year. It looks like I'm playing a Precision again . . . Marshalls, of course, and an impressive presentation, if I don't mind saying so.

A Fender Precision, as can be seen by the dot inlays on the fretboard <<<
MC5 - EUROPE, 1972

LATER... On a final note; after all the basses that were played, bought, stolen, pawned, or generally lost, I finally settled down with an EPIPHONE solid bodied bass that had been refinished in a blue color. I played that bass until the end of my tenure with the band, The MC5.
Thanks for a look at some great photos, some I've seen, some I haven't.


     (Photo NORM SNYDER). . . extra picture. From left to right: J.C.CRAWFORD , FRED SMITH , MICHAEL DAVIS - photo NORM SNYDERIt is so very nice to see our old friend J.C. Crawford relaxing in the chair beside me and Fred. He really was such a huge part of the MC5's assault. I don't think he gets nearly the credit he deserves for his inspirations. The film makers tried exhaustingly hard to locate Jessie. Alas, he could not be found. A big thank you to J.C. Crawford, wherever he may be.
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