Brown Acid: The Seventh Trip by Various ArtistsRelease date: October 31, 2018
Label: RidingEasy Records
It is always great, as well as a mighty relief, to find people who are even bigger musical nerds and obsessives as yourself. Lance Barresi of Permanent Records and RidingEasy records boss Daniel Hall totally fit that bill and some more– this is high praise, people – who have combined to put together and accomplish the totally commendable Brown Acid project. Not only do they demonstrate a staggering knowledge and awareness of the riches in the enormous well of very obscure late sixties psychedelia and early seventies proto-metal, but what must be the most difficult part of the project; to track down the artists in question in-order to licence the songs for this remarkable and incredibly enjoyable series.
For the Seventh Trip, saying it is pretty much same again is both a huge relief and top recommendation as more mouth-watering forgotten in-time gems are unearthed for our listening pleasure. It opens with ‘The Sorcerer’ by Pegasus, power chords and a nifty bass rumble make way for a catchy guitar refrain and images of a vocalist baring his hairy chest (one assumes) and for these three minutes at least, he is a Robert Plant styled rock god. The Hendrixian Third World’s ‘End of time’ also shares this rock star conquering dream vibe.
We go back for a late sixties sounding assault with ‘Good times’ by Nobody’s Children, some unhinged scary laughing, as a tale of poverty, ‘cheap wine’, and ‘rusty old stove leaking gas everywhere’ and plenty of self-deprecating humour, or frightening honesty, is told, ‘I’m the scum of the earth’, and ‘I’m getting fat too’, while free-range guitar soloing soars from every possible hook n cranny.
Blue Amber’s ‘We got love’ goes headlong into a raging trippy, freaky psychedelic wig-out. And in the Seventh Trip we also get an epic blast of ramped up fuzziness as Negative Space oblige with the album’s longest track with the six minutes plus and totally deceiving song title, ‘Calm before the storm.’
Although most of the selections are by American artists there is the inclusion of Swedish band Zane and their heavy raw synth ‘Damage’ single from 1976. Elsewhere, we get a good dollop of early Deep Purple and Uriah Heep influences on the apparently once labelled ‘Southwest Virginia’s finest boogie band’ from 1973 by the oddly named C.T. Pifferhogg. I can’t fathom what held them back from world domination. And the closing track ‘The Darkness’ by Summit from 1969 bags the series award for taking the longest time for the curators to secure the rights for a song. It is worth it, and is a fine closer before, hopefully, we go again soon with trip number eight.
Like the previous six trips released it all amounts to the Brown Acid series confirms why the era it aluminates is still so alluring, and why many modern-day retro influenced bands are still in an abundance of supply. To try and pick which is the best trip so far in the series would be like splitting hairs, so just dip in anywhere, and if you are already a completest then this will be another welcome addition to the collection. So, get rocking likes its…….