Tag: RidingEasy Records

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Grimy Ode to Broke Ass Weed Consumption Off Brown Acid: The Tenth Trip

Over this site’s 10 year history — 10! — Brown Acid, Permanent Records’ and RidingEasy Records’ ongoing collaborative proto-metal and pre-stoner rock compilations from the 1960s and 1970s have become a regularly occurring biannual feature. Now, as you may recall, each individual edition of the series 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, those bands haven’t written, played or recorded together in more than 30 years — but they encourage the bands to take part in the compilation process. “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,” Lance Barresi explained in press notes for the previous editions of the compilation. “However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Of course, having the original artists participate as much as possible in the compilation process can give the artists and their songs a real second chance at the attention they missed all of those years ago. And for critics and fans, the songs on the Brown Acid compilation series can often fill in the gaps within the larger picture of what was going on in and around both regional and national underground scenes at the time. Unfortunately, as a result of the COVID-19 pandemic, the release of Brown Acid: The Tenth Trip had to be rescheduled to its new release date of June 26, 2020. 

Much like its predecessors, the tenth edition finds the duo of Barresi and Hall digging even deeper into the well of material sadly reduced to obscurity. Earlier this year, I wrote about “Mr. Sun,” a song by a band that was previously featured on Brown Acid: The Third Trip — the Central Texas-based act First State Bank. Led by Randy Nunnally (vocals, guitar), First State Bank only released three singles during their six year history — 1970-1976 — with “Mr. Sun,” being a lysergic, power chord-driven, boogie woogie  synthesis of Jimi Hendrix, Grand Funk Railroad and T. Rex.  

Interestingly, not much is known about The Brood — or their grimy psych blues ode to broke-ass weed consumption “The Roach.” Originally released on the It’s A Lemon imprint, the track is centered around wailing guitar solos, screeching and arpeggiated organ blasts, howled vocals and enormous hook. And yeah, it’ll remind you of a weird little synthesis of the Rolling Stones and Steppenwolf — but with a raw, rock ‘n’ roll dirtiness that’s sorely missed.  

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Releases a Power Chord Fueled Boogie Woogie off “Brown Acid: The Tenth Trip”

Brown Acid, Permanent Records’ and RidingEasy Records‘ collaboration on their ongoing series of proto-metal and pre-stoner rock compilations from the 60s and 70s have become a regularly occurring biannual feature throughout this site’s almost decade history. Each individual edition of the series 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 recorded together in 30+ years or more, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for 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 so long ago. 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. Continuing the critical and commercial success of its first nine editions of the, RidingEasy Records and Permanent Records will be releasing Brown Acid: The Tenth Trip on April 20, 2020. (4/20 y’all!) And much like its predecessors, the tenth edition finds the duo of Barresi and Hall digging even deeper into the well of material sadly reduced to obscurity for a variety

Continuing upon the critical and commercial success of its first eight editions of the Brown Acid compilation, RidingEasy Records and Permanent will be releasing Brown Acid: The Ninth Trip on Halloween. And much like the preceding eight editions, the ninth edition finds Barressi and Hall digging even deeper into the well of obscure material written, recorded and released during the 60s and 70s. Interestingly, Brown Acid: The Tenth Trip’s latest single “Mr. Sun” is by a band that was previously featured on Brown Acid: The Third Edition — the Central Texas-based band First State Bank. Led by guitarist/vocalist Randy Nunnally, First State Bank only released three singles during 1970-1976, the first one being “Before You Leave.” “Mr. Sun” is the power chord-driven boogie woogie B-side to “Coming Home to You.” Sonically, the track sounds like a synthesis of Jimi Hendrix, Grand Funk Railroad and T. Rex –on acid.

Single Review by William Ruben Helms

New Audio: RidingEasy Records Releases Indianapolis-based Band’s Previously Unreleased Album 50 Years After Its Recording

Over the course of this site’s almost 10 year history — JOVM turns 10 in June — I’ve spilled quit a bit of virtual ink writing about RidingEasy Records’ and Permanent Records’ ongoing Brown Acid compilation series. The series’ 10th edition is slated for an April 20, 2020 release, and much like its predecessors, the forthcoming new edition will remind listeners that there’s a massive amount of incredible heavy psych, proto-metal and proto-stoner rocker that has seemingly been lost to the sands of time — but has been slowly rediscovered by RidingEasy Record and Permanent’s staff. 

During the late 1960s, Barry Crawford (vocals, keyboard), Jim Lee (lead vocals, bass), Mike Saligoe (drums), John Schaffer (lead guitar) and Richard Strange (rhythm guitar, vocals) started a band on Indianapolis’ West Side — and when they started the band they chose what they thought was the coolest name possible: ICE. The quintet quickly became one of the first emerging bands from their hometown to play a set of originals throughout the Midwest, performing at high schools, college campuses and venues. Building upon a growing profile, they eventually opened for national touring acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters. 

In 1970, the members of the Indianapolis-based psych rock band recored 10 songs of original material at Chicago’s 8-Track Studios, only to break up shortly after the sessions. Two of the album’s tracks were eventually released as a 45 in 1972 — but confusingly under a different band name: Zukus! Interestingly, that 45 managed to receive regional airplay. The A-side of that single “Running High” was featured on Brown Acid: The Ninth Trip. While licensing “Running High” for the ninth edition of Brown Acid, the folks at RidingEasy Records discovered that ICE had recorded an entire album that had been languishing in obscurity, with the 2-inch master tapes had been shelved and forgotten until recently. RidingEasy Records then converted the analog tape tracks to digital files, remixed them to preserve the original vocals and instrumentation, packaging the material as The Ice Age. 

50 years after the initial recording sessions that produced the album will finally be released — and see the light of day. Sonically, the material reportedly features 10 songs of hard-edger rock with enormous, radio friendly pop hooks that recalls Grand Funk Railroad, The Guess Who, and The Move. Centered around fuzzy power chords, shimmering organ arpeggios, propulsive drumming, some dexterous guitar soloing and enormous, arena rock friendly hooks, The Ice Age’s first single “Run to Me” finds the band meshing trippy and ambient-like psychedelia with explosive riffage that manages to recall the aforementioned Grand Funk Railroad and The Guess Who, along with a subtly nod of Steppenwolf. Listening to the track, there’s a sense that ICE if history was a bit more fair, the Indianapolis-based act should have been much larger. 

The Ice Age is slated for a May 15, 2020 release. Be on the lookout. 

Video by William Ruben Helms

New Video: JOVM Mainstays Blackwater Holylight Releases a Gorgeous and Feverish Visual for Doom-laden “Jizz Witch”

Led by founding member Allison “Sunny” Faris (vocals, bass), the acclaimed Portland, OR-based heavy psych act Blackwater Holylight can trace its origins to when Faris’ previous band split up. And at the time, Faris started the band as a way to experiment with what her own version of heavy should and could be both sonically and emotionally — while celebrating vulnerability in all of its forms. Secondly, Faris, who was frequently the only woman in many of her bands, desperately wanted to see how it was to work exclusively with women. 

Blackwater Holylight released their critically applauded self-titled, full-length debut last year, and as a result of extensive touring to support it, the band has managed to hone their sound and identity — with their sound evolving to the point that their live show has become about the slow build.  Interestingly enough, as a heavy band, the Portland-based JOVM mainstays sonically and structurally manage to do something unlike any of their peers in the scene: their material generally isn’t anchored to riffs, but rather riffs come and go in rippling and undulating waves that surface through meditative and entrancing songs, while focusing on building tension and intrigue. 

The band released their sophomore album Veils of Winter last October through RidingEasy Records, and the album finds the band with a different lineup — Faris (bass, vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths) along with the band’s newest members Mikayla Mayhew (guitar) Eliese Dorsay (drums). And perhaps s a result of their new lineup, their sound and writing process has changed dramatically. “The process of this album was vastly different from our first record,” Faris says in press notes. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” Faris continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

Now, as you may recall over the course of last year, I wrote about two of the album’s previously released singles — the one part doom metal, one part shoegazer “Motorcycle” and the nuanced, yet more straightforward shoegazer-like “Death Realms.” The album’s latest single “Jizz Witch” is an ominous track that further cements the band’s reputation for crafting a doom metal take on shoegaze — or better yet a shoegazer take on doom metal. In any case much like its predecessors, it’s a slow-burning and nuanced dirge that you can simultaneously light incense to and sway and headbang. 

Directed by Phoenix Wolfe, the recently released video is a gorgeously shot yet surreal and symbolic fever dream that features powerful women. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Scorching Single off “Brown Acid: The Ninth Trip”

Brown Acid, Permanent Records’ and RidingEasy Records‘ collaboration on their ongoing series of proto-metal and pre-stoner rock compilations from the 60s and 70s have become a regularly occurring biannual feature throughout this site’s nine-plus year history. Each individual edition of the series 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 so long ago. 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. Continuing upon the critical and commercial success of its first eight editions of the Brown Acid compilation, RidingEasy Records and Permanent will be releasing Brown Acid: The Ninth Trip on Halloween. And much like the preceding eight editions, the ninth edition finds Barressi and Hall digging even deeper into the well of obscure material written, recorded and released during the 60s and 70s.

Now, as you may recall I’ve previously written about two of the ninth edition’s previously released singles:  Fiberglass Vegetables’ funky blues-tinged, psych rock strut “Pain,” a track that nodded at Steppenwolf, The Animals, The 13th Floor Elevators and others — and Erik’s “Rebel Woman,” a trippy synthesis of 60s psych rock, 70s blues rock and metal that managed to sound both of its time and remarkably contemporary.  The ninth edition’s third and latest single ICE’s swaggering “Running High” manages to subtly recall Iron Butterfly’s “In-A-Gadda-Da-Vida” with a Cream-era Eric Clapton guitar solo, explosive blasts of organ chords and an enormous, hook. And interestingly enough, it may arguably be the funkiest single off Brown Acid: The Ninth Trip. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Trippy, Second Single from the Ninth Edition of Their “Brown Acid” Compilation

Brown Acid, Permanent Records’ and RidingEasy Records‘ collaboration on their ongoing series of proto-metal and pre-stoner rock compilations from the 60s and 70s have become a biannual feature throughout this site’s nine-plus year history. Now, as you may recall, each individual edition of the compilation series 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 so long ago. 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. Continuing upon the critical and commercial success of its first eight editions of the Brown Acid compilation, RidingEasy Records and Permanent will be releasing Brown Acid: The Ninth Trip on Halloween. And much like the preceding eight editions, the ninth edition finds Barressi and Hall digging even deeper into the well of obscure material written, recorded and released during the 60s and 70s. 

Earlier this year, I wrote about the ninth edition’s first single, Fiberglass Vegetables’ funky blues-tinged, psych rock strut “Pain,” a track that nods at Steppenwolf, The Animals, The 13th Floor Elevators and others, complete with an infectious, arena rock friendly hook. The compilation’s second track is the shimmering and shuffling psych blues “Rebel Woman” by Erik. Sonically, the track is a trippy synthesis of 60s psych rock, 70s blues rock and metal that makes it sound remarkably anachronistic and contemporary. 

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Blackwater Holylight Release a Shimmering, Shoegazer Take on Heavy Psych

Led by founding member Allison “Sunny” Faris (vocals, bass), the acclaimed Portland, OR-based heavy psych act Blackwater Holylight was formed after Faris’ previous band broke up as a way to begin experimenting with what her own version of “heavy” should and could be both sonically and emotionally — while celebrating vulnerability in all of its forms. The primary idea for the project was to have vulnerability be in the driver’s seat when it came to the creative process. And secondly, Faris, who was often the only female in many of her bands, desperately wanted to see how it was to work exclusively with women. 

Blackwater Holylight released their critically applauded self-titled, full-length debut last year, and as a result of extensive touring to support it, the band has managed to hone their sound and identity — with their sound evolving to the point that their live show has become about the slow build.  And as a heavy band, the members of the Portland-based JOVM mainstays sonically and structurally do something unlike their peers: their songs aren’t anchored to riffs, but rather riffs come and go in rippling and undulating waves that surface through material that’s generally meditative and entrancing. Additionally, the band focuses on building tension and intrigue through the song and its structure. 

Now, as you may recall, the band’s highly-anticipated sophomore album Veils of Winter is slated for an October 11, 2019 release through RidingEasy Records. The album finds the band with a different lineup — Faris (bass, vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths) along with the band’s newest members Mikayla Mayhew (guitar) Eliese Dorsay (drums) and perhaps as a result of their new lineup, their sound and writing process has changed quite a bit. “The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

While album single “Motorcycle”  featured fuzzy power chords, gorgeous melodies and a motorik groove and found the band crafting a song that was one part doom metal and one part shoegaze, the album’s latest single “Death Realms” is a decidedly straightforward, shoegazey affair centered around shimmering guitars, twinkling synths, propulsive drumming, ethereal vocals and a soaring hook. But the thing that “Death Realms” shares with its predecessor is that it’s an incredible nuanced song that you can sway and headband along to. 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Groovy Blues-Tinged Pysch Rock Number off the Forthcoming Ninth Edition of Brown Acid Compilation

Permanent Records’ and RidingEasy Records’ collaboration on their continuing series of proto-metal and pre-stoner rock compilations have become a biannual feature throughout this site’s nine-plus year history. Each individual edition of the series 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. Continuing upon the critical and commercial success of its first eight editions of the Brown Acid compilation, RidingEasy Records and Permanent will be releasing Brown Acid: The Ninth Trip on Halloween. Naturally, the ninth edition finds Barressi and Hall managing to deep even digger into a very deep well of obscure material written and recorded during the 60s and 70s. The ninth edition of Brown Acid’s first single is Fiberglass Vegetables’ funky blues-tinged, psych rock strut “Pain,” a track that nods at Steppenwolf, The Animals, The 13th Floor Elevators and others, complete with an infectious, arena rock friendly hook. 

Uncategorized by William Ruben Helms

New Audio: JOVM Mainstays Blackwater Holylight Release a Trippy Headbanger

The acclaimed Portland, OR-based heavy psych act Blackwater Holylight was formed by founding member Allison “Sunny” Faris (vocals, bass) after her previous band broke up, as a way to begin experimenting with what her own version of “heavy” should and could be both sonically and emotionally — while celebrating vulnerability in all of its form. In fact, the primary idea for the project was to have vulnerability be in the driver’s seat when it came to the creative process. Throughout most of her musical career, Faris was often the only female in many of her bands and she desperately wanted to see how it was to work exclusively with women. 

The band released their critically applauded self-titled full-length debut last year. And after extensive touring to support the album, the members of the JOVM mainstay act honed their sound and identity, with their live set being about the slow build, as their sound has evolved a bit 

The band released their critically applauded self-titled full-length debut last year and after extensive touring to support the album, they’ve honed their sound and identity — with their live set being about the slow build, as their sound has evolved a bit. In fact, as a heavy band they do something unique: their songs aren’t anchored to riffs, but rather riffs come in and go in rippling waves that surface throughout material that’s generally meditative and entrancing. But they also focus on building tension and intrigue throughout the song. 

Slated for an October 11, 2019 release through RidingEasy Records, Blackwater Holylight’s highly-anticipated sophomore album Veils of Winter finds the band with a different lineup — Faris (bass, vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths) along with the band’s newest members Mikayla Mayhew (guitar) Eliese Dorsay (drums). And perhaps a result of the new lineup, the band’s sound and writing process have changed quite a bit. “The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

 “Motorcycle” Veils of Winter’s finds the band balancing fuzzy, power chords, gorgeous melodicism and a motorik groove to create a unique take on heavy music that’s one part doom metal, one part shoegaze that manages to reveal subtle nuances on multiple listeners while being headbang worthy. 

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Warish Release a Menacing Mosh Pit Friendly Ripper off Their Forthcoming Full-Length Debut

I’ve written quite a bit about the Southern California-based punk trio Warish over the past 18 months or so and the act, which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed last year when its founding duo wanted to try their hand at something a bit more distinct than what they had previous done.“We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch Acid, Incesticide-era Nirvana, Static Age-era Misfits and others, and with the release of their first two EPs, the band quickly established themselves for crafting scuzzy, mosh pit friendly rippers with an aggressively sleazy Troma Films-inspired vibe.

Building upon a rapidly growing profile, the members of Warish will be releasing their highly-anticipated full-length debut, Down In Flames through RidingEasy Records on September 13, 2019. Down In Flames’ first single “Healter Skelter” isn’t a Beatles cover. but rather the title refers to the Manson Family’s misspelled blood scrawl at the site of the group’s second murder in 1969. Centered around thunderous drumming, scuzzy power chords and howled vocals — and while clearly recalling Bleach and Incesticde-era Nirvana, the song may arguably be among the most menacing of their growing catalog of mosh pit friendly rippers.