Brown Acid: The Thirteenth Trip – Album Review

Various Artists – Brown Acid: The Thirteenth Trip

RidingEasy Records

Release date: 31/10/2021

Running time: 35 minutes

Review by: Alun Jones

8.5/10

Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors.  Morrison was a pretentious, drunken bore – but we did have a few old laughs.  This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband.  Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car.  It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it.  He wasn’t in the best shape at that point.  Wrecked that beautiful car, too.  Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers.

Great days, indeed.  And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records.  Yet again, the guys have dug out some long-lost treasures of the early hard rock and proto metal variety, to return phoenix like from the netherworld.

Things get underway splendidly with “Run Run” by Max, a funky riff rocker that will light up your lava lamp straight away.  It’s probably my favourite on another strong collection.  Next is “Dark Street” by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace.  Geyda provide “Third Side”, another pacey rocker, reminiscent of the MC5.

Following that, there’s Gary Del Vecchio, who’s apparently “Buzzin’”.  But then, who wasn’t in those days?!  It’s party time blues rock in the vein of early Zep.  John Kitko is suffering from “Indecision”, as proven by the psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.   

“Hope” by Bacchus reminded me of old Jimbo’s band doing “Roadhouse Blues”.  Master Danse are up next with a very heavy blues number, “Feelin’ Dead”.  It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side “Wolf Child’s Blues”.

Orchid offer up the weakest track on the album, “Go Big Red”, a fairly unexceptional garage rock number.  It’s fun and still has some charm, though.  Then you’ve got Dry Ice and “Don’t Munkey with the Funky Skunky”, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song.  On drugs.  Finally, a strong final track from Good Humore, “Detroit” – a catchy tribute with a sprinkling of MC5 at their most rock’n’roll.

And there we have it: another fine collection of rock fossils unearthed and displayed for our enjoyment, never to be forgotten again.  It may be “the Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.

Remember that World Wide Web thing? Well, you can check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.

This review was presented to you by Platinum Al in association with Ever Metal.

A Halloween Horror Fest on Elm Street

A Nightmare on Elm Street (1984)

Now here’s a film that should need no introduction. Though to be honest, back in the 80s when A Nightmare on Elm Street – and it’s sequels – were hugely popular, I was never a fan. I’ve just never been really into “Slasher” movies – I was investigating the classic Gothic horror of Hammer and Universal at the time, and modern, contemporary films just didn’t grab me.

Never the less, I decided to give Wes Craven’s original another go, just in case I was missing something.

Brief recap: a bunch of kids on Elm Street suffer from terrifying dreams, featuring a crispy faced dude wearing a mask and possessing a gardening glove customised with lethal blades. Yes, it’s evil child murderer Freddy Krueger (Robert Englund), and he intends not only to provide the kids with some unforgettable nightmares, he also wants to bloodily murderise them.

Revisiting this film was actually a lot of fun, I was surprised how well A Nightmare on Elm Street stood up. Yes, it’s incredibly dated, and ridden with clichés, but hey – these were new, original ideas back in the day. It’s not Gothic horror, but the supernatural elements are well plotted and help create the Krueger mythos.

Englund is great, though he’s more restrained in this first instalment. It’s always great to see John Saxon, who plays a cop here; and there’s an interesting debut from a fresh faced Johnny Depp, playing teenager Glen (who was probably about 40 at the time of filming).

Yes, I have been proven wrong – A Nightmare on Elm Street is actually a pretty damn good movie, with a mix of scares, peril and gore that shows Craven knows what he’s doing. Not the best film eve made, but I’m beginning to see how the cult of Freddy became so formidable. I’ll definitely check out the sequels.

8/10

The Indestructible Man (1956)

Convicted criminal “Butcher” Benton (Lon Chaney Jr.) is going to the electric chair, and he refuses to tell his bank robbing colleagues where the loot is. After being executed, Benton is brought back to life in an experiment. He then commences to seek revenge on his former partners, and the police are left to put the clues together and stop the gruesome murders.

A strange mix of the Frankenstein tale and 1950s cop show, this movie hardly feels like horror, but does have an impressive body count. Chaney has few lines – he’s mute for some reason, when resurrected – and we usually see his intense emotion only in wacky, extreme close up.

No points for originality here, but the film benefits from scenes representing the streets, bars and Burlesque clubs of old Los Angeles. As a period piece, The Indestructible Man is fun – it’s typical drive-in B-movie fare. Ironic that a couple of key scenes actually take place in a drive-in theatre!

6/10