Posts Tagged ‘Permanent Records’

Here we are, arriving at the tenth edition of Brown Acid in just half as many years! As always, we packed in the highest highs of the dankest hard rock, heavy psych, and proto-metal tracks previously lost to the sands of time. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. It’s hard to believe we’re already up to 10 volumes of this lysergic Neanderthal wail, but the long-lost jams just keep-a-coming like Texas crude to fuel your rock ’n’ roll engine and melt your metal mind.
This Trip kicks off with the Hammer of the Gods howl of “Plastic Thunder” by Bitter Creek. The Atlanta, GA quintet’s lone single from 1970 on Mark IV Records is rated #6 of the Top 50 Heaviest Songs Before Black Sabbath by GuitarWorld Magazine. You can hear why in the ominous riff and larynx-ravaging chorus that merges the deepest of Deep Purple sludge with The Who’s rollicking psychedelia.
Not much is known about The Brood’s 1969 bluesy paean to dirtbag weed consumption “The Roach” on the It’s A Lemon imprint, except that it’s a big, growling rocker with a crazed in-the-round blowout of wailing guitar solos, screeching organ blasts, wildly overlapping vocals and drum rolls for days.
Nova Scotia, Canada sextet Brothers and One’s double-entendre laden single “Hard On Me” certainly pushes the boundaries of what would be acceptable at the time (especially amongst their ever-polite Canadian brethren.) Their lone full length was released in 1970 on short-lived Audat label, the group featuring two sets of brothers (hence the name) recorded the album while all members were between age 13-18-years-old. This glam-influenced single was privately released on the band’s own label nearly 4 years later.
Louisville, KY quartet Conception’s excellent revision of Blue Cheer’s “Babylon” (1969, Perfection Records) adds heavy phaser effect on the guitar and a more driving rhythm to make the song entirely their own. Lead guitar and high harmony vocals by Charlie Day (not to be confused with the Sunny Philadelphian actor) are assertive and commanding as he implores listeners onward to hallucinagenic nirvana.
Not exactly a typically psychedelic band name for the era, but First State Bank’s “Mr. Sun” (1970, Music Mill) pays hearty dividends of boogie bustle. The Central Texas band led by guitarist/vocalist Randy Nunnally released only 3 singles in its career from 1970-1976. For those keeping score at home, their song “Before You Leave” was featured on The Third Trip back in 2016. “Mr. Sun” is the heavy B-Side to “Coming Home To You.”
Clearly inspired by Jimi Hendrix, Tucson quartet Frozen Sun topped the local charts in 1969 with this barnstorming rocker “Electric Soul” (Capt. Zoomer Records.) The song is replete with guitarist/vocalist (with big Hendrix hair) Ron Ryan’s spoken interlude, “Well have you been electrically stoned? You know, living in the danger zone?” We say yes.
Ralph Williams and the Wright Brothers took flight with “Never Again” on Hour Glass Records in 1972, and apparently never landed after this 45 with “Dark Street” on the A-side. The serpentine riff and sexually-charged backing vocal grunts drive this archetypal tale of a young man’s chemical odyssey… or, should we say, trip?.

Sounds Synonymous pretty much epitomized heavy fuzz from Michigan with their 1969 single “Tension” on the Wall Productions label. The Hendrix “Fire” meets Arthur Brown’s “Fire” track lunges and lurches with glee throughout its 3-minutes and change of unbridled crunch. Tabernash’s “Head Collect” (1972) is the suburban Denver quartet’s only release following the name change from The Contents Are and a move from Davenport, IA. This more stately psych-rock chune features Byrds-like harmonies, twangy reverse-looped guitar soloing and Keith Moon-esque drumming that should’ve made it a chart-topper, but we all know there’s no justice in rock’n’roll.
The Tenth Trip closes, appropriately, with the “War Pigs” reminiscent fuzz of New Orleans quartet The Rubber Memory’s 1970 tune “All Together.” The band self-released only 110 copies of their lone album, making it an incredibly sought-after rarity for decades. Alongside a limited edition reissue in 2000, the group reformed for a one-off show before quickly bouncing back into our collective cosmic consciousness.

Hear First State Bank’s “Mr. Sun”

The forthcoming tenth edition Episode #10! — of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Tenth Trip will be available, fittingly, on April 20th, 2020. As the celebrated series reaches landmark double-digits, there are no indications it will slow down in the near future.

We are living in unprecedented times, but this pandemic can’t stop the Brown Acid train! If you’ve kept up to date with all the latest BA releases, you might need a place to put them,

“Having released 10 editions of the Brown Acid series in just half as many years, we’re still only at the tip of the iceberg of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the 60s-70s. With each new edition, we unearth even more incredible bangers that somehow eluded popularity up until now. For every classic rock mainstay like Black Sabbath and Grand Funk Railroad, there’s hundreds of great bands who, for a variety of reasons, were previously lost to the sands of time.

They were different times between 1968-1979. The gatekeepers had a much tighter grip on which bands got airplay, whose records were available in shops and what sounds were considered palatable to nightclub audiences. Many of these bands barely made it out of the garage, self-releasing 45s as demo tracks for record executives or to beg club owners for a gig. Others have had fleeting brushes with fame, while a few recordings here have spent the past half-Century gathering dust in a closet before being discovered by Brown Acid archivists.

Couple those challenges with the rockcritstocracy’s enduring disdain for hard rock, and the exhaustively thorough archives of legendary compilation series like Nuggets, Pebbles and their ilk having virtually ignored this kind of lysergic Neanderthal wail while exhausting the mines of early garage rock and proto-punk. So, while certain types of unsung heroes have gotten their due, before Brown Acid, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten pre-metal wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices.

Of course, the Internet music revolution has made it possible to find extremely rare music with great ease. But even with such vast archives to draw from, few have organized such a nonstop barrage of heavy-hitting greats in the format they were meant to be heard: on vinyl. If you’re holding this box in your own collection, clearly you’re hooked on this mind-melting series dubbed Heavy Rock From The Underground Comedown.

This long, strange Trip began in the Fall of 2015 with the inaugural edition launching raging hellfire from Raw MeatZekesZebra and more. The Second Trip followed a little over half a year later on 4/20/16, showcasing later repeat offenders Ash and Spiny Normen among other crushing tunes. From that point on, new installments have been released like clockwork on 4/20 and Halloween every year. The tunes range from Sabbath plod to Hendrix squall, MC5 bluster to psychedelic heavy prog and everything in between that one might’ve heard blasting out of a tricked out van in the era.

Lance Barresi, co-owner of L.A.-cum-Chicago retailer Permanent Records and co-creator of Brown Acid has shown incredible persistence in tracking down a stellar collection of rarities that continues to grow and open up new avenues of discovery. Partnered with Daniel Hall of Riding Easy Records, the two have assembled an ever-growing library of songs that’s hard to believe have remained unheard for so long. As we’ve done throughout this series, all of the tracks were painstakingly licensed legitimately and the artists were paid. Because it’s the right thing to do.

While this box set nicely bookends the first 10 volumes, the Brown Acid trip will continue on, hopefully for at least another 10 volumes in order to amass the greatest collection of dank, subterranean, wild-eyed and hairy rock’n’roll in the world. For now, sit back, crack a cold one and dig in to over 100 tracks of mind blowing cosmic crunch.” – RidingEasy

Opening their album with more fuzz than an exploded dustbuster, Bloomington, Indiana’s Frankie and the Witch Fingers are riding high on the hallmarks of the 2010’s pantheon of garage rock heroes. Adding to the sonic soup a heavy dose of witchy vibes, psychedelic shake and an incessant grind that makes it feel vital and raw as skin peeled back, their sophomore album for Chicago’s chief gutwrenchers, Permanent Records, is fueled by more than just paint by numbers rock. The band knows when to ride the tide of fuzz-addled freakout, knows when to break in the shake n’ shimmy and knows just when to tear all the good times down for a good old fashioned dark horse that draws the shades and draws a little blood in the process. A solid offering from this band, reportedly uprooting from the doldrums of the Corn Belt to LA. It’ll be interesting to see how the move affects their sound in the future, but for now these nuggets are more than worth the price of admission.”

Frankie and the Witch Fingers are a garage rock outfit and with one song, they’ve made their forthcoming self-titled album on Permanent a hot album to pine for in 2015. Aside from the “True Detective” vibes, I’m not sure what exactly is going on in the “sexy and dangerous witchcraft” video for “Vibrations” which is puzzling, creepy and yet, sustains fascination. Regardless, this song is at the top of the heap when it comes to garage pop tunes that could’ve thrived in the 1960s. You just don’t hear organ work like that anymore.

Frankie and the Witch Finger’s track “Vibrations” off their self-titled album.

Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re seven Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems to increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!
Pegasus recorded one single in Baltimore in 1972 and they made it count. “The Sorcerer” is a throbbing ripper that prior to this was basically unknown. However, it doesn’t seem too far fetched to speculate that Black Flag lifted the riff for “No Values” from this track eight years later. Unlikely, but possible, especially considering how big a Black Sabbath fan Greg Ginn is. Pegasus was lauded back in the day for “how much they delivered that Black Sabbath feel.”
You may read the track title for the Nobody’s Children 45 and start thinking, “OH NO, the guys behind Brown Acid have given up on bad trips.” Fret not, “Good Times” was originally written as a joke, but when Ron Chapman of the Sump’N Else TV show heard it he passed it along to the folks behind GPC records and they quickly pressed 100 copies. Unfortunately, the evening it was slated to be played on the local Dallas radio station KLIF, Robert Kennedy was murdered and the premiere was pre-empted by a Classical music tribute to JFK’s slain brother. The song has since been bootlegged numerous times and even covered by the Butthole Surfers, but this is the first time it’s ever been fully licensed.

Youngstown, Ohio is the most commonly referenced city of the entire Brown Acid series. This town of just under 150,000 people may’ve had the highest (literally and figuratively) per capita output of heavy 45s. Blue Amber recorded this monster in 1971 at Gary Rhamy’s analog Mecca, Peppermint Recording Studios. This two-riff boneheaded banger sounds like a caveman protest song with an extraordinary amount of delay on the vocals. No wonder this 45 fetches three-figures on the rare occasion it comes up for sale.
Batting clean-up, we have Negative Space, the only LP sourced track on this album. This crunchy jam comes off the band’s 1970 record entitled Hard, Heavy, Mean, & Evil. At over six and a half minutes, “The Calm After the Storm” is the longest track included on this volume, but it never gets dull. Fun fact: before changing the name to Negative Space, Rob Russen called his band Snow and released the “Sunflower” 45 in 1969 — you might recall that groover from the First Trip.
We generally stick with American artists for this series, but every now and again something foreign grabs us and shakes us to the core. One example is this Swedish 45 by Zane. These crazy Swedes did one incredibly damaged (hence the title) record on the MM label in 1976. These proto-punkers relied heavily on synth for this tune and mixed the drums so obnoxiously loud, you might think the kit is in the room with you. This is a weird one that somehow sounds like Zolar X covering Wicked Lady. Brown Acid material all the way!
B must be short for Bangers, ‘cuz this Side is full of ‘em! The flip of this Trip begins with a virtually unknown Oklahoma record from 1973. Blizzard was Rod McClure’s high school band, but you couldn’t possibly guess that teenagers recorded this heavy slab on the Token (should’ve been Toking) label. It’s one of the best we’ve comped and it sounds like a hypothetical MC5/Hendrix collaboration. The “Under the Ice” level drum fills will knock your socks off if the heavy shred doesn’t first.

OOOOk-lahoma, where the wind comes sweepin’ down the plain and apparently where the fuzz goes seepin’ in your brain! Third World is the second Okie inclusion on this Trip and we couldn’t be more stOOOOked to be sharing this very obscure single with y’all. If the heavily distorted two-note riff doesn’t grab ya, the apocalyptic Grand Funk vibes will. Once they get their mitts on ya, Third World will take you back to 1971 and leave ya there. Can we hitch a ride too?
Ever heard of Virginia, Minnesota? We hadn’t either until we got in touch with Calvin Haluptzok and got the back story on his band Sweet Wine. This bitchin’ one-off 45 must’ve melted the snow off the roofs of the households brave enough to play it when it came out in 1970 and it’s still red hot nearly 50 years later. This vino may be sugary, but it packs an incendiary punch! Sadly, Calvin passed before we could get his music re-released, but it was nice to have reached him before it was too late. The Sweet Wine legacy lives on thanks to the Brown Acid archivists.
C.T. Pilferhogg wins the award for most puzzling band name in our series. What’s not puzzling is how righteous both sides of their self-released 1973 single are! Featured here is the A-side “You Haul” which is one of the best examples of a poor man’s Deep Heep (Deep Purple meets Uriah Heep) we’ve ever heard and the demonic Echoplex-laden laughs mixed into this track are out of control. The band was touted as “Southwest Virginia’s Finest Boogie Band”, but don’t let that fool ya. They could bang heads with the best of ‘em.
The closer on the Seventh Trip is one we hold very near and dear. Not only is this record the one that’s taken us the longest to secure the rights to, it’s also one of the very best examples of heavy psych you’ll ever hear. The track rings your bell (literally) straight out of the gate and the dank psychedelic vibes kick in immediately. “The Darkness” was recorded in a basement studio in Kansas City in 1969 when the lead guitarist was only 16. The band was from a rural Missouri town, played only one impromptu gig in Clinton, and pressed only 125 copies of this, their only single. It should come as no surprise that it sells for hundreds of dollars when it’s offered. That’s a small price to pay for such greatness.

Hailing from Bloomington, Indiana, Frankie and the Witch Fingers play fuzz-drenched, organ-swirling garage rock, circa mid-‘60s San Jose, California. along with bands like L.A. Witch and Death Valley Girls, they are stumping up some gloriously fuzzy and freaky jams that harken back to The Electic Prunes and Thirteenth Floor Elevators, but also the Paisley Underground scene of the 1980’s.

Lead single “Vibrations” is the perfect example of the band’s adoration for the past with its wiry guitars, creepy pop vocals and saucy hip shake. Fans of OG garage bands such as The Count Five and Chocolate Watch Band will be pleased. This release comes in either “Potion Pink” or black vinyl with an insert.

They have a new record out on the great Permanent Records called Brain Telephone. It’s their fourth full length, and they are all worthy of your attention.

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Frankie & The Witch Fingers do have a sound that is probably too big for Indiana to contain, So alas, with the stars in their eyes, they up and moved to L.A. like Axl Rose! It’s alright by me, as long as they keep churning out these magical LP’s.

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As the diamond hits the plastic on Frankie and the Witch Fingers’ Brain Telephone, a sonic tornado swirls out of the speakers and into your ears like a psychedelic party-line flipping a black-and-white world into technicolor. The quartet cooks up a cachophonic soup of sounds which boil over as the troglodytic beat and the fuzzy phased-out guitars melt together. From here, the spell gets sweeter.

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A rock n’ roll groove laced with slap back and heady lyrics quickly connects your call to the Witch Finger’s acid boogie shack nestled deep in the belly of Los Angeles.  A transformation occurs as mind bending shadows appear on a yet-to-be-named purple planet with lush gardens of grinning neon fungi bopping and swaying along to each catchy hook and chorus. The serpentine tape reels capture Texas barn burners, hallucinogenic Chuck Berry guitar licks, and middle-eastern rave-ups along the way as well.  This adventure is littered with evil caricatures and surrealistic visions that will warble your mind, if you stay on the line.
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Based in Bloomington, Indiana, FRANKIE & THE WITCH FINGERS drop their cataclysmic 12″ debut tomorrow on Permanent Records. The album is home to a scathing new set of LSD-cured garage rock.

After a couple of other early releases (a first cassette on Nice Legs Records and a 4-way split 7″ on Stroll On Records), it’s about time they’ve got a full-length to share. Their record showcases fearless punk snarl with a bright, twangy surf flare, not to mention an added dose of wicked, psych-fueled tones. The LP is rife with sizzling guitars that fall somewhere between fuzzy and wiry, backed by rollicking bass lines and explosive percussion. This all creates a bone-rattling sound and you can feel the elements at work as the ground rumbles beneath your feet.

These guys shake out hook after hook and every last one of them has the power to stick to you like glue. “Flower Pedals” sets the tone immediately and opens with a monstrous tidal wave. “Knife Fight” comes with a groovy little hook and it’s as invigorating as they come. Sharp-edged guitars aim for the throat, fortified by trashcan soloing and a bout of ear-piercing fuzz to close out strong. Guitars come with a neon glow in “Revival,” backed by the skuzzed up croon of frontman Dylan Sizemore whose voice recalls the Cosmonauts or even Ty Segall. Colorful synth swells saturate the air as you drift deep into spacey psychedelia. “Lou Reed” is streaked with lysergic, desert-bound guitar rays shining through the murky backdrop. They hold it together with a steady beat as the air is warmed by a cloud of glowing synths. They slow down the pace with “Smiling,” built with cooing vocals and bouncy bass lines for a completely hypnotizing affair.

It’s limited to 500 pieces with 150 on “potion pink” vinyl

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the sound is drowned in fuzz and catchy vocal melodies, something I can get behind.The band is originally from Bloomington Indiana, but the band are looking to move to LA. Which makes complete sense considering whats been going on down there recently in the garage rock scene. This band is only going to get better and if that move does happen, hooking up with some of garage rock’s finest will definitely push this band forward. The record drops February 17th on Permanent Records