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Brown Acid - The First Trip

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Formed in 2013 out of Los Angeles, RidingEasy Records is based in San Pedro CA and home to Early Moods | Here Lies Man | Mondo Drag | Salem’s Pot | Randy Holden | The Goners | The Brown Acid Comps | The Well | Zig Zags | Deathchant | Holy Serpent | Monolord | Spelljammer | WARISH ...   more

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Brown Acid: The First Trip

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Brown Acid - The First Trip

August 28, 2015 11 Songs, 36 minutes ℗ 2015 RidingEasy Records

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Various Artists|Brown Acid - The First Trip

Brown Acid - The First Trip

Various Artists

• Released on 8/28/15 by RidingEasy Records
• Main artist: Various Artists
• Genre: Rock

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About the album

• 1 disc(s) - 11 track(s)
• Total length: 00:36:52
• Label: RidingEasy Records
• Genre: Pop/Rock Rock

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Brown Acid: saving rock's great lost bands from the garbage bin of history

Lance Barresi is preserving America's musical past, one compilation album at a time

Lance Barresi is the kind of man you'd like to go crate-digging with. The proprietor of Permanent Records in Los Angeles , he's also than man behind Brown Acid , a lovingly-curated, mind-expanding series of albums that take the Nuggets and Pebbles template and re-jig it to unearth the great lost bands of hard rock, heavy psych and proto-metal.   

Bands like The Zekes, whose Coming Back, nine minutes of howling blues rock retrieved from the original 1/4 inch tape, appeared on the third volume. Bands like Rocking Maniac, whose Rock And Roll Man is a glam rock stomper of the highest order. And bands like Heat Exchange, whose Inferno appears on the latest in the series, The Sixth Trip . It's four minutes of frantic garage rock with an enormous riff and some screaming sax that sits somewhere between The Doors at their most fiery and The MC5. 

"I know what the appeal of these albums is for me, and I assume it's the same for everybody else," says Barresi. "It's being able to hear bands that sound similar to the classic rock of the day but go one step further... and do it so well. It's incredible that they didn't have much success. Generally speaking, people like an underdog, and when you can find 10 underdogs piled onto one album, and the records are actually really listenable, it's kind of phenomenal! The series is all bangers, all the time, and I don't water it down with a bunch of nonsense!"

The Brown Acid series began as an extension of Barresi's club nights, where he'd plough the money he was paid for DJing back into his set, scouring record shops for increasingly rare vinyl he could play the following week. After exhausting all the material released by the major labels he started to explore the world of private pressings, and began to track down the members of bands who'd spilt up four decades ago, realising he was gathering enough material to compile some seriously heavyweight albums.

"I have to reach out to the bands and that's the hardest part and what we do with the series," says Barresi. "Anyone can take a copy of a 45 or take a digital file from the internet and put it on an LP, and people have done that in the past. Most compilations like Brown Acid are bootlegs, but Brown Acid is fully licensed. The bands get paid, and they get the recognition they deserve."

Not everyone welcomes the attention, of course. For some bands who split up under acrimonious circumstances decades ago the acrimony remains, and re-hashing old beef isn't something they're interested in doing. For most, however, Brown Acid is belated recognition that they might have really been on to something.  

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"There's a pretty consistent story to a lot of these bands," says Barresi. "Most of them had big aspirations and took the time to form bands, to rehearse, to get into the studio and actually record a 45. Most of the people in the bands I've talked to thought they had a shot and then for one reason or another – and each band has its own unique story – most of these bands consider themselves the real life Spinal Tap. I've heard this from numerous people. They were the band that should have been, but were in the wrong place at the wrong time. And then their drummer spontaneously combusted, or whatever."

Much of this combustion appears to have taken place in Youngstown, Ohio, the surprising epicentre of obscure 1970's hard rock. It's a town that suffered from the demise of the steel industry during the decade (Bruce Springsteen's Youngstown , from The Ghost Of Tom Joad , was written about the city), perhaps providing the impetus for the town's youth to form bands. 

"I've talked to guys from that part of the country, and they can't really pinpoint why this is. There was a studio there called Peppermint [opened in 1971, and still recording today] that recorded a lot of these bands. It was a working class city, and  there's just a weird amount of great bands and records that came out of that part of the country. Even LA and New York don't seem to have that kind of thing happening. When I go to write the city name in the liner notes it's like, 'yep, another Youngstown band.'" 

Oner question remains. With six volumes of Brown Acid under his belt, does Barresi have a favourite track? 

"That's like asking me which of my children I favour the most." he laughs. "I'm really proud of each and every record, and I can't pick one song. I can barely pick one volume! I think the quality is spread pretty evenly among the volumes. Some tracks are better than others, but each trip has at least five Incredible tracks that are just out of this world."

Brown Acid: The Sixth Trip is out now on RidingEasy Records .  

Online Editor at Louder/Classic Rock magazine since 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.  

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Brown Acid: the sound that rock forgot

Via his cult compilations, Lance Barresi has dug up rare and oddball hard rock and heavy psych cuts that provided the soundtrack to the hippy comedown

I n the age of “ music overload ”, when it’s possible to access millions of songs via YouTube, Spotify and Apple Music, is it really possible to find something new? Something unheard, from rock’s recesses? Lance Barresi, the man behind the Brown Acid compilations, claims that not only has he dug up undiscovered gems, but that they sat under the noses of collectors and collators for decades.

Starting in 2015, Barresi, along with Daniel Hall’s RidingEasy Records, began pulling together five collections of rare and weird tracks from rock’s past. The music all comes under Barresi’s umbrella term “Brown Acid”, with the tracks loosely fitting into three sub-genres: hard rock, heavy psych and proto-metal. They’re labels that have confused the snobbiest of musos.

“When I go to record shows, even guys who have been selling records for decades – you start mentioning these three sub-genres and they’re like: ‘What, what do you mean?’ It’s befuddling that these records exist but they’re also virtually unknown even to people who have been dealing with records their whole life.”

As the compilations came together, Barresi began to notice a pattern. The tracks all fell between 1968 and 1975, as garage rock began to give way to a harder, darker sound. “Very rarely is something we include on Brown Acid heavy enough to come before 1968 and rarely is anything that comes later than 1975 or 1976 in the right ballpark either,” says Barresi.

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“Sometimes there are things like Blown Free’s The Wizard , which is from 1980. It just hits that sweet spot because it’s from a rural town in Texas that was just behind the times and the band weren’t trying to be contemporary. They were just playing the same music that was popular a decade before that.”

Brown Acid started out of necessity. Barresi, who set up the Permanent Records store in Chicago before moving to Los Angeles where he opened more branches, was playing hard rock at his weekly DJ gig in Eagle Rock on the outskirts of east LA. The problem was that he couldn’t find enough of the sounds he was looking for: rough and ready hard rock with a fuzzy psych or soul edge. He began asking friends for tips on similar music and mining YouTube for potential songs to play out.

That led to unearthing tracks via a network of hardcore collectors, often going off scarce information found on record sleeves or on online forums. Once he found the band members and got their authorisation, he put out The First Trip in 2015. But finding them was the hardest part.

Barresi says one typical case was Captain Foam’s Richard Bertrand, the front man of a little known Ohio two-piece who released one sought-after 7-inch in the late 60s. “Anyone I called in Ohio named Richard Bertrand was not him,” he remembers. “I was hitting wall after wall for a long time. I’d been looking for someone in Ohio when he was actually in California. Eventually I found him on LinkedIn, of all places.”

Similar amateur detective work was necessary to find nearly all the bands on Brown Acid. Barresi describes the compilations as a “set of unknown hits you can’t believe failed to connect back in their heyday due to various unfortunate circumstances”. Most of the bands on the compilations aren’t one-hit wonders, but one-record wonders who made just one 7-inch that might never have been sold or made it beyond a DJ’s promo bag.

“A lot of the records were used by bands to showcase their abilities, so the B-side will be a really terrible ballad or a bad cover of Crosby, Stills and Nash or something,” says Barresi. “Generally speaking, these bands only had one crack at it and it didn’t go well, and then they called it quits and moved on to something else.”

That element of misfortune, as well as the quest for more of the music he loved, fueled Barresi’s search as he wanted to give these musicians another chance to have their tracks heard. “You can be amazing and be in the wrong place at the wrong time and not have anything take off,” he says. “I’m just happy to give these guys – who I think deserved more than they got – another chance at success. However little that might be, at least their music will be able to be heard by a new generation of people.”

“It’s phenomenal at all that some of these 45s even exist, because they don’t need to exist – they just happened to be created,” he says.

There’s been a glut of deep-dive compilations over the last five years that have shone light on the darkest recesses of rock’s back catalog. Now Again’s Function Underground: The Black & Brown American Rock Sound 1969 to 1974 focused on African American rock musicians whose music wasn’t defined as rock and operated in a world between nascent soul, funk and heavy rock. Numero Group have collated two collections that overlap with Brown Acid. The brilliantly named Darkscorch Canticles feature “wizard rock” bands who replaced “hippie pastoralism with mythology, armored conflict, sorcery, and doom” (not to be confused with Harry Potter-inspired “ wizard rock ”). Acid Nightmares , meanwhile, touched on some of the same heavy psych and “short-lived stoner bands” that also found their way on to the Liverpool Psych festival’s collections .

Barresi says the compilations are mining a transitional phase of rock created during a time when the hippy optimism gave way to a post-trip hangover that Joan Didion captured in Slouching Towards Bethlehem . “It’s not all pot smoke and love,” he says of the period. “In 1969 you have the Manson murders , you have [the disastrous Rolling Stones gig at] Altamont , while Vietnam is ruining everyone’s good vibes and the music starts to get a little bit heavier and less flowery.

“The music got real dark, real quickly during that era. When everyone was first discovering the Beatles and garage rock and weed and LSD – it’s all fun and games, and then you start to realise the dark side of that and it gets ugly.”

Barresi hopes that Brown Acid will do for hard rock, proto-metal and heavy psych, what Nuggets did for garage rock , and bring it to a wider audience of collectors and music fans. He sees it as plugging a gaping hole in rock history. “It perfectly fits the void between [the garage compilations] Nuggets, Pebbles, Boulders and [the punk compilations] Bloodstains and Killed By Death, which seems really natural to me, but obviously no one thought of it.”

“It’s like a bastard child of rock music that no one really paid attention to. There are all these amazing records from the late 60s to the early 70s that exist that really didn’t have a place to be filed under.”

Whether proto-metal or heavy psych or even “wizard rock” become the next genre to see a wider scale resurgence is debatable, but Barresi plans to continue with the compilations and believes there’s a lot more music to be unearthed. “We’ve only just discovered the tip of the iceberg,” says Barresi. “You keep digging that hole thinking you’re going to hit the bottom and all that happens is the dirt underneath you just gets weirder and weirder.”

Brown Acid: The Fifth Trip is out now on Riding Easy Records

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The Sleeping Shaman

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Review: Various Artists ‘Brown Acid – The Sixteenth Trip’

Spring is in the air, and with the warmer weather, everything is blooming as fans of underground heavy, proto-metal and garage rock get yet another edition of RidingEasy Records , now legendary Brown Acid series. Most fans of this music, and this label, are well versed in Brown Acid ’s history, and we’ve covered this a lot at The Sleeping Shaman, but for the uninitiated, I’ll offer a brief history…

Lance Barresi , co-owner of LA’s Permanent Records , and RidingEasy Records Daniel Hall , have joined together on an expedition of digging up as much out-of-print, long lost, acid rock, garage rock, heavy psych, and proto-metal singles from the ‘comedown era’ between 1968-1976 as they can unearth. Most of the artists featured on the Brown Acid series never released full-lengths, the only documentation of their existence being a 45, perhaps self-financed, sent to local radio stations, and/or labels in the hopes of landing a record deal, but often instead being lost to the annals of time.

The Sixteenth Trip , like all the previous fifteen, serves up another killer batch of good-to-great rock from said comedown era. The opening cut is from legendary LA ‘60s garage rock band The Seeds , well known for garage rock staples Pushin’ Too Hard and I Can’t Seem To Make You Mine . Here, The Seeds offer up Shuckin’ And Jivin’ , a seven-minute psychedelic rare B-side from 1972, that’s most certainly ‘heavier’ than the self-titled record they’re most known for. It’s rawer, both in tone and approach from what I know of them, to say nothing of the heavy psych long-jam aspect of the track and serves as a great way to start The Sixteenth Trip . Young Generation from obscure Cincinnati band Nothing is a fun, of-the-times, jam calling to the comedown generation complete with a dash of funk, a sprinkling of ‘70s shred, and plenty of wah pedal action.

One of my favorites on The Sixteenth Trip is Macbeth ’s Freight Train , featuring a walloping main riff drenched in fuzz that calls back to both Blue Cheer, Grand Funk, and dare I say Hendrix. I had to check my iPod earbuds whilst absorbing this track as we have some stereo panning throughout, it caught me off guard initially as I had to check my connection to make sure my earbuds weren’t fucking up. However, it’s not all riffs and fuzz, as Macbeth drops into a melodious break in the chorus for good measure.

another killer batch of good-to-great rock from said comedown era…

From Canada, we get Sarawest ’s Saturday (Hot & Heavy) , a fun, jammy tune with lots of vintage shred, some catchy riff action and a vocalist who possesses a burly delivery. North Carolina’s Brotherhood Of Peace deliver an ass-shaking, heavy, funky tune with Feel The Heat (In The Driver’s Seat) featuring some notable bass playing that, to this reviewer’s ears, lock the rhythm section down impeccably.

Attack ’s Dream is a fuzz and distortion drenched acid-rocker of the highest order, with plenty of bash and crash on the drums that manage to force their way through the wall of noise, lest the listener be swallowed up by the wall of distortion. Lance ’s Marilyn , undoubtedly an ode to the legendary Ms. Monroe herself, is probably the most melodic tune on The Sixteenth Trip as vocalist Marty Soski has a great voice, again of the era, but it’s a nice balance with the driving guitar rock that the track proffers.

Headstones (goes without saying, this is a fantastic band name) offer up a rocking, bouncing, organ-and piano infused instrumental with Snake Dance (I wonder if Monster Magnet’s Dave Wyndorf had this single in his collection in the early ‘70s?) featuring plenty of snappy snare drum action. The Sixteenth Trip comes down with Clinton ’s Midnight In New York , a hard rockin’ tune with plenty of rippin’ ‘70s guitar shred as well as some catchy ‘Ooh’s’ in the bridge.

It’s worth wondering if sooner or later Barresi and Hall will run out of singles for this series. I read somewhere in researching one of my reviews of the Brown Acid series that they have enough for at least twenty of these compilations. If so, we have quite a few more trips to look forward to. One of these days, when it’s all said and done, knowing me, I’m going to be compelled to rank all of them, but for now, I’ll cast my gaze towards Halloween when I’m sure The Seventeenth Trip will land.

Label: RidingEasy Records | Permanent Records

Scribed by: Martin Williams

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