Tag: 1970s

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track from Eight Edition of Brown Acid Compilation

I’ve written a lot about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid over the past few years. And as you may recall, each individual edition is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as possible in the compilation can give the artists and their songs, a real second chance at the attention and success that they missed. Plus, these songs can help fill in the gaps within the larger picture of what was going on in and around regional and national underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Eighth Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. The album’s first single was from “School Daze,” a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad from Detroit‘s Attack — or more precisely St. Clair Shores.

Originally recorded in 1969, Memphis-based act Grump took on “Heartbreak Hotel,” popularized by a fellow Memphian that you may have heard of, by the name of Elvis Presley — and Grump’s rendition is a gritty and funky stomp that recalls Steppenwolf’s “Magic Carpet Ride,” and Grand Funk Railroad. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track Off the Eighth Brown Acid Compilation

Over the past few years, I’ve written quite a bit about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. Each individual edition often compilation is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

By having the original artists participate as much as possible in the compilation, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Plus in a very real sense, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. 

Brown Acid: The Eighth Trip’s first single “School Daze” is a track from Detroit’s Attack — or more precisely St. Clair Shores. The track is a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad, as it’s a strutting and gritty bit of power chord-fed groove that will blow the doors down. Listening to this, it’s a shame that this track wasn’t a massive radio hit; but it does get a second life here. Play it loud and rock out, y’all. 

Video by William Ruben Helms

Throwback: Happy 72nd Birthday David Bowie!

JOVM pays tribute to David Bowie on what would have been his 72nd birthday.

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release an MC5 Meet Jimi Hendrix-like Single from The Seventh Brown Acid Compilation

Over the past few years, I’ve written quite a bit about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. And as you may recall, each individual edition of the compilation is centered around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in the compilation process, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Additionally, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first six volumes, RidingEasy Records and Permanent Records’ seventh volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for release on Halloween, continuing what I hope will be a bi-yearly tradition. Much like the preceding editions, the seventh continues Barressi’s and Hall’s exhaustive, painstaking research and curation that has fond them digging ever so deeper in to the well of hard rock, psych rock and proto-metal from the 60s and 70s. Much like its predecessors, the seventh edition features songs from predominantly American bands — although there’s the inclusion of material from a French band and a Swedish band. You’ll remember that I wrote about s C.T. Pilfherhogg’s 1973 bluesy stomp “You Haul,” a single that brings Deep Purple, Uriah Heep and Iron Butterfly‘s “In A Gadda Da Vida” but with Echoplex-effected laughs to give the song a maniacal vibe; however, the album’s first single is a virtually unknown Oklahoma band, fronted by Rod McClure while still in high school — and the remarkably self-assured  MC5 meets Are You Experienced?-era Jimi Hendrix-like “Peace of Mind” is a bluesy and anthemic ripper centered by propulsive drum fills and some explosive guitar work, making it the perfect song for speeding on the highway. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Bluesy Stomper off Their Seventh Brown Acid Compilation

Now, if you’ve been frequenting this site over the past few years, you’d likely be extremely familiar with Permanent Records’ and RidingEasy Records collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. Each individual edition of the compilation is centered around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in the compilation process, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Additionally, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first six volumes, RidingEasy Records and Permanent Records’ sixth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for an October 31, 2018 release continuing what I hope will be a bi-yearly tradition. Much like the preceding editions, the seventh continues Barressi’s and Hall’s exhaustive, painstaking research and curation that has fond them digging ever so deeper in to the well of hard rock, psych rock and proto-metal from the 60s and 70s. Interestingly enough, Youngstown, Ohio was a hotbed for these 45s and for a town of about 150,000, an overwhelming majority of the 45s Barressi and Hall found were by bands who hailed from there — and much like the predecessors, the seventh edition features songs from mostly American bands, although there’s the inclusion of a French band and a Swedish band to round it all out. 

Brown Acid: The Seventh Trip’s latest single is C.T. Pilfherhogg’s 1973 bluesy stomp “You Haul,” a single that brings Deep Purple, Uriah Heep and Iron Butterfly’s “In A Gadda Da Vida” but with Echoplex-effected laughs to give the song a maniacal vibe, centered around arpeggiated organs, enormous power keys and a hard rocking hook. During their day, the band was touted as “Southwest Virginia’s Finest Boogie Band” but from this single, the band kicked ass and took names. 

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Monolord Releases a Sludgy Take on a Black Sabbath Classic

JOVM mainstays Monolord release a sludgy take on a Black Sabbath classic.

Single Review by William Ruben Helms

Throughout most of the course of this site’s history, I’ve written quite a bit about the New York-based produced, DJ, remixer and longtime JOVM mainstay Rhythm Scholar, and as you may recall, he has received attention for slickly produced, crowd-pleasing mashups and remixes of classic hip-hop, soul, pop and New Wave. Earlier this year, I wrote about Rhythm Scholar’s remix/reworking of Bill Withers‘ beloved classic “Use Me Up” featuring a backing band,  which features Marcus Horndt contributing soulful blasts of Fender Rhodes, Jason Spillman contributing a 70s soul and disco-inspired bass line, Sami Turune, contributing some bluesy guitar paired with Withers warm vocals and rhythm guitar, and some insane scratching and production from Rhythm Scholar. And what I loved about that remix was that it was a lovingly anachronistic take that walked a difficult tightrope between the original’s 70s soulful roots and contemporary production.

The New York-based producer, DJ and remixer has continued to be remarkably prolific, and with his latest single, he takes on Chic‘s classic, smash hit “Good Times” with a breezy, funky house-leaning remix featuring layers of arpeggiated keys, twinkling Fender Rhodes, thumping beats and a muscular bass line while retaining the song’s infectious hook. Much like his “Use Me Up” remix, the “Good Times” remix updates the song in a way that breathes a different life into it, while retaining some of the most familiar and beloved elements of the original.

 

Single Review by William Ruben Helms

I’ve written quite a bit about the New York-based producer, DJ and remixer Rhythm Scholar, who has developed a reputation for his crowd-pleasing, slickly produced, effortless and imitable mashups and remixes of hip hop, classic soul and pop. The JOVM mainstay recently released a remix of Bill Withers‘ beloved classic “Use Me Up” featuring a backing band,  which features Marcus Horndt contributing soulful blasts of Fender Rhodes, Jason Spillman contributing a 70s soul and disco-inspired bass line, Sami Turune, contributing some bluesy guitar paired with Withers warm vocals and rhythm guitar, and some insane scratching and production from Rhythm Scholar.

In my mind, what makes this remix interesting is that it’s a lovingly anachronistic take on it that manages to walk a difficult tightrope between the 70s and contemporary production while retaining the orignal’s effortless soul and thoughtful, deliberate attention to craft.

 

Video by William Ruben Helms

Live Footage: Million Miles’ Sultry and Jazzy Cover of Frankie Valli and the Four Seasons’ “Beggin'”

Over the past year, I’ve written a bit about the Paris-born, London-based singer/songwriter Sophie Baudry, whose solo recording project Million Miles is the culmination of a life-long love affair with soul music. After completing her studies at  Berklee College and a stint as a recording engineer and studio musician in New York, Baudry returned to London, where she felt an irresistible pull to write music inspired by Ray Charles and Bill Withers. On an inspired whim, Baudry decided to make a trip to Nashville, where she spent her first few days wandering, exploring and reaching out to strangers, as though she were saying “I ’m new here and I’m a songwriter and i’m looking for people to collaborate with.” As the story goes, Baudry wound up having chance meetings with local songwriters and producers Robin Eaton and Paul Eberson and within an hour or so of their meeting, they began writing material that eventually became the French-born, British-based singer/songwriter’s Million Miles debut EP, Berry Hill, which was recorded over the course of a year during multiple sessions at Robin Eaton’s Berry Hill home studio. And from EP singles “Can’t Get Around A Broken Heart” and “Love Like Yours,” Baudry quickly received attention across the blogosphere, as well as this site, for an easy-going yet deliberately crafted, Sunday afternoon, Soul Train-like soul that nodded equally at the aforementioned Bill Withers and Erykah Badu and Jill Scott.
Recently, Mahogany Sessions invited the French-born, British singer/songwriter to participate in their Covers series in which she contributes a sultry and jazzy soul-like cover of Frankie Valli and the Four Seasons’ “Beggin'” that sounds as though it nods more towards Brown Sugar-era D’Angelo, giving the classic song a modern interpretation without erasing the song’s plaintive and urgent need. 

Single Review by William Ruben Helms

New Audio: RidingEasy Records and Permanent Records Release Bluesy, Anthemic, Fist Pumping, Second Single from Sixth Brown Acid Compilation

Over the past few years, Permanent Records’ and RidingEasy Records have collaborated on an increasingly expansive series of proto-metal and pre-stoner rock compilations, Brown Acid. Now, as you may recall, each individual edition of the series is based on RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in the compilation process, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Additionally, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first five volumes, RidingEasy Records and Permanent Records’ sixth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Sixth Trip is slated for an April 20, 2018 continuing what I hope will be an annual rite of passage. And much like the previous five editions, the sixth edition continues on Barressi’s and Hall’s exhaustive, painstaking research and curation with the duo continuing to discover that the well of hard rock, psych rock and proto-metal 45s from the period is incredibly deep — with the sixth edition featuring 9 deep cuts from bands based in Continental USA and one Canadian act.

Each edition of Brown Acid has begun with an barn burner of a track and the sixth edition also continues that honored tradition with a swaggering yet frenetic, mind-melting, guitar pyrotechnic-fueled track from San Francisco, CA-based act Gold, “No Parking” recorded circa 1970. Reportedly, the band used to open their sets with the song — and as soon as you hear it, you’ll hear why: it captures a band that’s completely unafraid to kick ass and take names. Interestingly, The Sixth Trip’s latest single is Flight’s “Luvin’, Huggin’ & More,” a single that to my ears sounds like a fist-pumping, beer chugging and beer raising, anthemic, amalgamation of Quadrophrenia-era The Who and Bachman Turner Overdrive’s “Takin’ Care of Business” but featuring a narrator, who gives his new lover a list of relationship requirements/demands, including the prerequisite luvin’ and huggin’ — with an emphasis on more. 

Single Review by William Ruben Helms

New Audio: RidingEasy Records and Permanent Records Team Up Once Again for Sixth Edition of Renowned “Brown Trip” Compilation — Release Explosive First Single from Album Slated for 4/20/18

Over the better part of the past few years, Permanent Records’ and RidingEasy Records have collaborated on an expansive series of proto-metal and pre-stoner rock compilations, Brown Acid. Each individual edition of the series is based on RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with both Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been he given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in their compilations, it frequently can give the artists and their songs, a real, second chance at attention and success. And certainly as a critic and as a fan, these songs help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first five volumes, RidingEasy Records and Permanent Records’ sixth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Sixth Trip is slated for an April 20, 2018 continuing an annual rite of passage.  And much like the previous five editions, the sixth edition continues on Barressi’s and Hall’s exhaustive, painstaking research and curation with the duo continuing to discover that the well of hard rock, psych rock and proto-metal 45s from the period is incredibly deep — with the sixth edition featuring 9 deep cuts from bands based in Continental USA and one Canadian act.

Interestingly, each edition of Brown Acid has begun with an barn burner of a track and the sixth edition also continues that honored tradition with a swaggering yet frenetic, mind-melting, guitar pyrotechnic-fueled track from San Francisco, CA-based act Gold, “No Parking” recorded circa 1970. Reportedly, the band used to open their sets with the song — and as soon as you hear it, you’ll hear why: it captures a band that’s completely unafraid to kick ass and take names.  

Single Review by William Ruben Helms

The late bluesman Roscoe Chenier was born in the tiny town of Notleyville, LA. And although his sharecropper family were extremely poor, Chenier grew up within a deeply musical family. Although he was related to zydeco legend Clifton Chewier and bluesman Morris “Big” Chenier, his father, Arthur “Bud” Chenier, a cajun accordionist, who was frequently accompanied by his first cousin, fiddler John Stevens (the father of Duke Stevens) was the Roscoe Chenier’s bigger influence; in fact, Bud Chenier and John Stevens were best known for playing at popular weekend house parties, where Roscoe would soak up the music.

In 1958, Roscoe Chenier was invited to join one of the region’s hottest traveling bands in the region — CD and the Blue Runners, which featured Lonesome Sundown on lead guitar and three of the Gradnier brothers on harmonica, drums and bass. Chenier played with CD and the Blue Runners until 1970, finding enough work to survive as a bluesman despite the popularity of the British Invasion acts of the 1960s. However, as tastes changed, Chenier like a lot of the great old bluesman discovered, it was difficult to eke out a living — especially when some gigs paid maybe $6 per man per night. And throughout the better part of the 70s, Chenier began a succession of jobs as a truck driver while picking up the occasional hired gun gig, playing in the backing bands of Good Rockin’ Thomas, Good Rockin’ Bob, his old bandmate Lonesome Sundown, Clarence Randle and Duke Stevens.

By 1980, Chenier was leading his own band and through a combination of reputation, luck and skill, he was able to recruit a number of talented musicians while desperately trying to remain as financial independent as possible, which by the late 90s became increasingly difficult. And yet, Chenier and his band managed to play several of Europe’s most prestigious festivals including Blues Estafette (in 1992, 1993, 1996, 1998 and 2001), North Sea Jazz Festival, toured across Europe several times and released a few albums before his death in February 2013 including 1998’s Roscoe Style and 2006’s Waiting For My Tomorrow. Roscoe Chenier’s last record, featured a haunting and folksy, acapella rendition of the old gospel standby “Will the Circle Be Unbroken” that immediately brings the early Delta Blues to mind — in particular, Son House, Lightnin’ Hopkins, early Muddy Waters and the like.

Interestingly, ElectroBluesSociety, a Dutch blues act, comprised of Japser Mortier (drums, bass) and Jan Mittendorp (guitar, production), who worked with Roscoe Grenier on several releases and several European tours decided to pay tribute to their late friend by adding a spectral and moody arrangement Chenier’s vocal that’s appropriately bluesy yet subtly modern, while retaining the timeless vibe of the original vocal take.