1. Sunrise
2. Where Are We Going Pt. 1
3. Where Are We Going Pt. 2
4. Solar Wind

Recorded at Dimensional Sound Studios (PPX Enterprise) West 54th Street, New York, N.Y., October 1975.

Bass Guitar, Vocals – Kevin Orsie
Drums, Vocals – Ralph Jenkins
Guitar, Lead Vocals, Mellotron, Written-By, Producer – David Oickle
Lead Guitar, Written-By – Gary Oickle
Mastered By – Sam Feldman
Mellotron, Engineer – Bob Halsal*
Producer – Ed Slade
Slide Guitar, Producer – James Albert

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1. Grey Day
2. December Dream
3. Don’t Cry For Me
4. Tour Line Ladies
5. Some Kind of Change
6. Long Way Home
7. Warm
8. Reason For Leaving
9. Free Fall
10. Silver Cord

John Braheny’s rare “Some Kind Of Change” LP issued on the small Pete label out of Los Angeles in 1968 has the unusual distinction of existing like a psychedelic skeleton in his closet. He never made another record, this one is still largely under the radar even for long time deep divers into buried treasure from the vintage ‘60s era. He actually became quite famous behind-the-scenes in the songwriting and music biz as the top dog LA songwriting coach for people like Lindsay Buckingham, Stevie Nicks, Warren Zevon, Janis Ian, Stephen Bishop and countless others including one of the most successful hit songwriters of all time, Diane Warren, for whom he critiqued 150 songs when she was 15 years old. You gotta wonder if he played his LP for any of them back in the day or hid it away since it is pretty far out underground stuff, perhaps too far out if your life’s work is steering budding songwriters towards the top of the charts. It is a full on psychedelic classic to my ears. every track a winner, with an unusual blend of earthy folk rock veering off into otherworldly atmospheres. Though not a concept album it hangs together like a journey, the psychedelia peaking with an epic extended final track in classic late ‘60s underground mind expansion style.
John Braheny was born in Iowa on December 9, 1938, first appearing on the early ‘60s LA folk scene and gigging around the folk circuit out west, there is easily findable video of him on the internet performing live in Vancouver in 1965 if you wanna hear him before the psychedelics kicked in. One of the remarkable things about the LP is that he also produced it, indicating no compromise in getting what was in his head captured on tape the way he wanted it. His arrangements are elaborate, bursting with creativity without losing focus, the songs are warm and human at the core with his innovative use of electronics and effects taking them to uncanny places. He’s a proto singer-songwriter foreshadowing the emergence of that LA scene via a side trip through the Twilight Zone. Familiar and mysterious simultaneously. This psychedelic skeleton in John’s closet is in my personal pantheon of the best late ‘60s LA solo artist mind blowers right along with very different sounding but astonishing LPs by Darius, Arthur Lee Harper, Damon and the likes.

The players on the album include Rick Cunha on guitar and help with production, he made some LPs of his own. Lisa Kindred on backing vocals came out of the folk scene and is best known for the LP she made with notorious cult leader Mel Lyman in 1969 on Reprise Records titled ‘The Lyman Family with Lisa Kindred – American Avatar’. Bass, drums, trombone, trumpet are provided by session musicians with backgrounds in west coast jazz… Don Waldron on tuba is an unusual credit for a psychedelic LP but he also appears on albums by Frank Zappa, Dr. John, and It’s A Beautiful Day. One of the two bassists is Colin Cameron who also appears on the rare psychedelic Richard Twice LP on Philips Records. John Braheny plays guitar, violin, does the lead vocals and the way out experimental electronics that kick this record into a higher key.

John’s first visibility as a songwriter in the world at large came with his song “December Dream” which is the opening track on the Stone Poneys with Linda Ronstadt LP ‘Evergreen Vol. 2’ also issued in 1968. Soon after he founded the Los Angeles Songwriters Showcase with Len Chandler, published the Songwriters Musepaper, did radio on Pacifica flagship station KPFK, and wrote what is considered the ‘songwriter’s bible’ the book ‘The Craft And Business Of Songwriting’ in 1988 for which he is best known. It is still in print. He was known around the biz as “the songwriter’s best friend” and the ‘Some Kind Of Change’ LP merely a footnote in his career. For us psych heads, however, it is one helluva dosed footnote! Several promo 45s were issued at the time so the label did try to work it, without success. The arc is long but this arrow flies higher than ever 56 years on!

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Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Ted Nugent back in the day and unleashed the amazing “Songs Of The Dead” in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, ‘is this heaven or hell’ type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert ‘Ace’ Williams on bass, Paul Cockrum on guitar, and Mike Dulany on drums (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name!

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Albatross was a hard southern rock band with extremely solid guitars. It’s confident, driving, and often metallic in the way that Blackfoot could be. A consistent album that is an absolute must for those looking into the far reaches of southern rock obscurities, and the heavier side of Southern Rock in general.

Private press out of Virginia. Killer guitar leads, and tons of rad songs about partying. Very strong album, with one awesome jam after another.

1. Out Of Control
2. After The Fire
3. Share A Dime
4. About Losing
5. Back Street Lover
6. Same Old Song
7. No Reason To Cry
8. On The Run
9. Yankee Jam
10. Both Sides Now
11. Other Side Of Town
12. Mean Woman Blues

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Track List
1. San Francisco Man
2. 24 Hours A Day
3. Me And You
4. Where’s The Country Gone
5. One Up For Listening
6. There’s Just You
7. Days End
8. The Feeling
9. Don’t Deny It

SOUTHERN STEEL “Get On Through” out of Miami, Florida in 1974 firmly resides in the upper realms of rare early ’70s southern rock LPs and the brilliant guitar interplay, vibrant vocals and finely crafted songs will seriously grab late ’60s westcoast rock ears as well. It’s really accessible stuff, heartfelt country inflected vocals with appealing vivid guitar textures and rhythms that fly. Echoes of Buffalo Springfield, Flying Burrito Brothers, Byrds, more on the rock than the country side but genuine about both. It’s southern but it’s also eastcoast-westcoast. In fact the opening track titled “San Francisco Man” is loaded with searing guitar licks and propulsive rhythmic action hitting pleasure points similar to the first Moby Grape LP. “Get On Through” contains thoughtful song oriented outdoors rock with little in the way of “south’s gonna rise again” attitude, bluesy grit, bad women, whiskey, or hard livin’ roadhouse action. These guys genuinely sound turned on to life, everyday regular dude seeker post ’60s style and it is contagious. You can really feel it when the sweet southern fried dual guitar leads cascade out at just the right moment.
Southern Steel’s primary songwriter, vocalist, electric 12 string, and bassist was Jim Goodman. The other members all did time in previous local bands with names like Heat Machine, Willy Bogg, The Force, and Dakota. Spike Warner on lead / slide guitar and vocals , Ed Ocean Olszewski on lead guitar, bass and vocals, and Greg Orsini on percussion all play tight together with an assured energetic vibe that only comes from experience. Recorded quickly in two days at Criteria Studios with producer Craig Leon ((produced the Ramones and Blondie’s first records) at the helm, this LP exists because two rich Floridian lawyers Bill Blanton and Bill Barragan saw Don Kirshner’s In Concert rock series on TV, decided to get into the music biz, formed a label named Earth Records, put an ad in the paper and found Southern Steel, ready to rake in massive rock and roll dollars. That didn’t happen but fortunately nearly 50 years later we do have this uplifting slice of life. Hard to imagine a band this pure and sincere could exist nowadays with no taint of irony and no corny posing. Real people. In other words… this is a vintage blast of humanity with mesmerizing guitar magic you can really fly high with. Every track has hooks and staying power, the sort of album that feels fresher each time you spin it but somehow also seemed familiar the first time you heard it.
After this LP was issued the band got serious interest from major labels, they certainly had the terrific songs and sonic mojo needed to go up the charts… but it all fizzled out over the next year. If you are into early ’70s southern rock with country flavor and leftover ’60s westcoast flashes, more turned on than traditional in approach you should give this album a chance get stuck in your mind.

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1. Blind Man
2. Rose Petal Lady
3. Reason To Be
4. The Machine Is Small Enough
5. August Apathy

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the 5 tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a 9-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. This is another extremely rare record put out by RidingEasy Records. Expect Vinyl very soon.

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Track List –
1. I Live In Here
2. Gathering The Forces
3. I’m Awake When I Should Be Asleep
4. Remember The Battle
5. For The Paramecium
6. Do You Dream In Color (Or Black And White)
7. Two Girls
8. Like An Animal
9. I’m Not Streetwise
10. Manger (bonus track)
11. Every Sad Night (bonus track)
12. You And The Unkown (bonus track)
13. I Stop Short (bonus track)

Living Links
Gathering The Forces

Even the most ardent fans of the early 80s post-punk underground explosion would be forgiven for never having heard Living Links. The band effortlessly combines the art-funk of Talking Heads with the threadbare melodies of Joy Division, and explored a compelling variety of ideas on their lone album Gathering The Forces. But their music didn’t make it far outside of their Baton Rouge, LA home, until now.

The obscure duo of husband and wife Hans and Margie VanBrackle released just one album and 2 singles between 1983-1985, though the pair wrote and performed live together for a longer period. However, Living Links was mostly a side project for the two singer/guitarists: Hans played guitar in punky locals US Times and Margie played & sang in the all-girl band the ParalElles.

Living Links played out locally during their heyday, occasionally with a live drummer, sometimes with a drum machine, or both. They often headlined shows over touring acts, no doubt due to Margie’s training in opera and musical theater and Hans’ ripping guitar work. But at the time, despite the impact that the Sex Pistols had on their 1978 tour through the area, “New Wave” music remained essentially an underground phenomenon.

Like the southern gothic undercurrent of contemporaries like the B-52s, R.E.M. or Atlanta’s The Brains (“Money Changes Everything”), there’s a playful feel to Living Links’ music that eschews the dour posturing of more urban post-punk fare. And where the Talking Heads remained ensconced in David Byrne’s intellectual existentialism, the duo’s music is often more fun as it bops through numbers like “I’m Not Streetwise” and “I’m Awake When I Should Be Asleep.”

RidingEasy Records’ reissue of Gathering The Forces combines the band’s full discography, the 9-song album — originally released on Skratch Records in 1985 — plus 2 7” singles (the 3-song Every Sad Night and “Manger”/“I’m Not Streetwise” single) for a comprehensive introduction to this long overlooked band. Album opener “I Live in Here” perhaps most directly echoes their Joy Division influence, with Hans’ lead vocals nodding to Ian Curtis’ cold baritone delivery, and his guitar lines referencing Bernard Sumner’s infectious single notes. But it’s not mere imitation — the chorus lifts to a soaring melody with hazy synths and Hans delivering an impassioned croon. The title track shifts the mood to a Gang Of Four style dance track replete with handclaps and funky guitar bouncing along as the duo sings the anti-war anthem, “we’re all awaiting orders.” Meanwhile, “Like an Animal” and “Two Girls” share the 60s-retro charm of the B-52s, with true earworm melodies. Elsewhere, “Every Sad Night”, from their debut 7” EP wouldn’t sound out of place next to a Young Marble Giants or other early Rough Trade release, with its stripped down instrumentation and Margie affecting a semi-British accent.

While Gathering The Forces might seem all over the map on paper, the duo pulls all of their influences together into a very cohesive whole. Listeners can hear the mood of the times that barely bubbled to the surface on college radio stations in small pockets of the country, beneath the weight of the Cougar Mellencamps, Michael Jacksons and Huey Lewises that dominated the mainstream.

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