
Riding Easy
Various Artists - Brown Acid: The Thirteenth Trip
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-
Max,
from
Montreal,
QC
—
originally
known
as
Dawn,
before
Tony
Orlando
&
Dawn
forced
a
name
change
—
kick
things
off
with
“Run
Run”
from
their
lone
1970
single.
It’s
a
hard-hitting
rocker
with
scale
climbing
crunching
guitars
and
powerful
Bonham-esque
drumming.
Sadly,
the
band
didn’t
last
long
due
to
poor
management
and
various
other
factors,
so
this
is
the
only
surviving
document
according
to
guitarist
Gerry
Markman.
And
what
a
document
it
is,
paired
with
the
A-side
“The
Flying
Dutchman.”
You
might
remember
Ralph
Williams
and
the
Wright
Brothers
from
their
track
“Never
Again”
on
Brown
Acid:
The
Tenth
Trip.
Here
they
make
their
return
to
the
series
with
the
A-side
of
their
1972
Hour
Glass
Records
45,
which
sounds
like
Blue
Cheer
mangling
Roy
Orbison’s
“Pretty
Woman”
(that’s
right,
several
years
before
Van
Halen
actually
did
so.)
Alas,
Ralph
and
these
Wright
Brothers
soon
disappeared
from
terrestrial
airspace.
“Feelin’
Dead”
is
extremely
heavy
blues
from
this
also
extremely
rare
1974
single
by
Detroit,
MI’s
Master
Danse,
which
was
only
released
as
a
promo
45.
Think
Led
Zeppelin’s
“Since
I’ve
Been
Loving
You”
and
you’re
on
the
right
track.
A
little
dose
of
Hendrix
acid
blues
and
a
heartfelt
groove,
and
you’ll
wonder
why
this
single
never
even
made
it
to
official
release.
The
unavoidable
tell
in
the
lyric,
“help
me
get
this
damn
thing
out
of
my
arm”
hints
at
the
post-Vietnam
heroin
epidemic
as
a
potential
clue
why
we
never
heard
more
from
Master
Danse.
Folks,
Gary
Del
Vecchio
is
“Buzzin’”
hard
on
this
one,
and
from
what
sounds
like
an
in-studio
party
of
yelps
and
chatter
at
the
start
of
the
song,
it
seems
that
the
whole
band
was
in
on
the
festivities.
The
funky
blues
riff,
reminiscent
of
Led
Zeppelin’s
“Heartbreaker”
and
rollicking
rhythmic
changes
certainly
keep
the
buzz
a
rollin’.The
recording
is
technically
credited
as
Gary
Del
Vecchio
with
Max,
though
not
the
same
band
as
the
one
that
kicks
off
this
Trip.
John
Kitko’s
1973
heavy
psychedelic
rager
“Indecision”
is
the
only
recording
known
to
exist
by
the
mysterious
artist.
The
Twin
Record
Productions
release
features
a
different
artist,
Tom
Poff
on
the
B-side,
which
is
truly
a
shame,
considering
the
smoldering
ashes
Kitko
leaves
of
the
turntable
by
song’s
end.
It
starts
out
more
like
a
late
60s
Acid
Rock
jam
before
leaping
into
a
blazing
double-time
gallop,
whipped
into
a
frenzy
by
wailing,
neck-pickup
guitar
squeals
and
Kitko’s
barely
audible
howls.
Tampa,
FL’s
Bacchus
made
their
Brown
Acid
debut
way
back
on
the
very
first
Trip
with
“Carry
My
Load.”
This
1972
B-side,
“Hope”
is
a
huge
sounding
swinging
rocker
replete
with
roadhouse
piano
bolstering
the
chunky
riffs
and
confident
vocals.
After
relocating
to
Southern
California
a
few
years
later,
the
band
morphed
into
Fortress,
an
80s
melodic
metal
act
whose
Hands
In
The
Till
album
of
Pomp
Rock
on
Atlantic
Records
still
draws
chatter
today.
Orchid’s
“Go
Big
Red”
is
perhaps
the
most
garage-y
sounding
offering
here,
with
loose
rhythms
and
straightforward
stop-and-start
riffing.
Nonetheless,
the
stomping
energy
and
fried-amp
guitar
tone
make
this
one
a
charming
skull
thwack.
The
band’s
1973
single
on
American
records,
backed
with
a
cover
of
Johnny
Russell
and
Voni
Morrison’s
“Act
Naturally”
(popularized
by
Buck
Owens
and
the
Buckaroos)
is
their
only
release,
so
the
world
never
did
see
this
Orchid
fully
blossom.
By
the
title
alone
of
Dry
Ice’s
“Don’t
Munkey
with
the
Funky
Skunky”
you
know
you’re
in
for
a
good
time.
The
1974
barnstormer
seems
aimed
to
the
novelty
tunes
crowd,
with
its
kooky
lyrics
and
silly-voiced
spoken
catchphrase
break,
“peeyew,
you’ll
be
sorry
if
you
do.”
But,
the
Ohio
band’s
maniacal
drumming,
crunching
guitars
and,
of
course,
drug
euphemistic
lyrics
make
it
a
shoo-in
for
the
Brown
Acid
series
of
erudite
rock’n’roll.
Good
Humore’s
swaggering
1976
rocker
“Detroit”
is
a
slick
and
smooth
paen
to
the
Motor
City.
It
most
likely
doesn’t
predate
“Detroit
Rock
City”
by
Kiss,
also
released
in
1976,
and
it
has
more
rock’n’roll
swing,
but
it
could
fit
comfortably
alongside
the
era’s
arena
anthems.
Not
much
else
is
known
about
the
one-off
release
on
P.V.
Records,
but
songwriter
Mike
Moats
is
noted
to
also
have
been
a
recording
engineer
in
later
years
and
this
well
produced
track
sounds
like
a
labor
of
love.
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