Texas Psychedelic Rock!
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Friday, December 12, 2014

13th Floor Elevators Spotify Playlist!

13th Floor Elevators Playlist
13th Floor Elevators Playlist
Check out this 13th Floor Elevators Playlist on Spotify! There is 10 hour of continuous listening with 168 songs! This is all of the various takes, mixes and live versions that is now on Spotify. It's really, really cool. Be sure to "like" this Playlist so you can come back to it often.

Click this link, or the picture, to access this Playlist:

13th Floor Elevators


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The Catacombs, Houston - James Robert Wilson

Catacombs
Catacombs
The spring of 1966 found my group of friends feeling rather down. La Maison was closing and the Elevators were going to California. We wondered where we would go to experience our style of nightlife. After all, with all of us being underage, La Maison was the coolest place in town and the Elevators were our band. The Catacombs had been open for a while, but our impression was that it was kinda straight laced. When they first opened, they specified school dress and laid out a bunch of other restrictions. It really didn't sound like our kind of place. Still, some told us that it was no longer like that and once La Maison shut down we decided to check out the Catacombs.

Catacombs
Catacombs
The Catacombs lacked the magic of La Maison, but it was a good venue. The people were a lot like us, in fact, we knew some of them. After checking in at the door, you entered a wide room. There was a snack bar on the left and, straight ahead, a series of arched doorways to enter a larger room, where the headliners played. The stage was to the right with seating and an open area to the left. On the far side was another series of arched doorways to enter the back room, which was smaller. The backroom had a small stage to the right and was where the local bands played. These were the up and coming bands trying to make a name. There, I saw a number of bands, including Moving Sidewalks and Fever Tree, before they were Fever Tree. Quite a few touring bands played the main stage, many with songs on the Top 40. Two of these stand out for me.
   
Catacombs
Catacombs
One weekend, a blue eyed soul revue from Louisiana played. I can’t recall the name, but it was a full blown act with guitars, bass, drums, horns, guy singers, and three girl singers. The guys all wore fitted suits, and the girls wore blue sequin gowns. The guys had slicked back hair and the girls had bouffant hair. A lot of effort had been into the act, they played all of the R&B hits of the time with all of the dance moves. Their second set brought the girls out front to perform girl group songs. It was an interesting show. The blond in the center singing lead was a very good performer and loved the spotlight. The blond to her left was happy with her part and thrilled to be a part of the show. The brunette to her right really didn’t like the girl in the center and it was obvious that she felt that she could do better. The entire band seemed confused by audience, the people with long hair, funny clothes, and red eyes. Between their sets, I saw several of them watching The Moving Sidewalks, trying to figure out this new scene.

Catacombs
Catacombs
The best band that I saw there was Sopwith Camel. We had been hearing for some time that San Francisco had a really good scene going, and, by 1966, it was becoming common knowledge. Newspapers and magazines were reporting on the scene and had even coined a name, hippies, for the people. Record labels were beginning to sign bay area bands and we snapped up their records. One of the first signed was Sopwith Camel. They had an album and a single out. This was before progressive FM stations had started, AM Top40 was the only outlet. “Hello, Hello” was their single, an old-timey sounding song in a style that was popular at the time. The song was okay, but knowing that the band was from California was reason to go. I was completely unprepared for this show. They looked like us, that was cool, but their music was nothing like their single. They were tight, loud, and hard rockin’. Evidently, someone had convinced them that it was a good idea to alter their style for their record. 

Catacombs
Catacombs
After their first set, I looked around for someone that I knew. They were there earlier, but everyone had disappeared. After a few minutes of bewilderment, one of my friends showed up and asked me to come backstage. Everyone was there talking to the band. We asked about San Francisco, and they asked about Texas. After a few minutes, someone from the club said we would have to leave, but the band asked for us to stay until their next set. We stayed backstage until they had to go back out, and we went to watch the show, Quite an evening.

Catacombs
Catacombs
Then spring moved into summer.

James Robert Wilson


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Wednesday, November 26, 2014

Tales from the Vulcan Gas Company #1 - Forrest Preece

Texas Texas Psych Blog is please to announce a new Series: Tales from the Vulcan Gas Company. Here, we will be collecting memories and recollections from the people who were there so details about this important history and culture isn't lost forever. 

Please enjoy Tales from the Vulcan Gas Company #1 by Forrest Preece.

The Vulcan Gas Company,

Vulcan Gas Company
Vulcan Gas Company
In the late sixties, I was in my early twenties, in UT graduate school part-time and starting a career in advertising. My life experience to that point had been so whitebread and conventional that I squeaked.

Vulcan Gas Company
Vulcan Gas Company
I was a Longhorn Band player and had a Plan II degree. I’d had a summer internship at a large ad agency in Houston . My grades were solid and about the only experience I’d had with “letting myself go” was buying a book or magazine not on some recommended list.

Vulcan Gas Company
Vulcan Gas Company
Then one night in 1968, on a whim, I decided to visit this venue downtown called Vulcan Gas Company. The rush that it gave my senses when I went inside was unlike anything I had ever known. From the tranquility of lower Congress Avenue, I’d been transported into the heart of a Bruegel painting.

Vulcan Gas Company
Vulcan Gas Company
I felt an aural assault of heavy blues with a powerful bass line punching me in my core and soaring guitars. People swaying, dancing and just plain rocking out with everyone around them. And suspended from the south side ceiling was a beneficent gray-headed man flapping gels over an effect light, producing huge, swirling amoebas on the north wall. After that introduction, I spent many a weekend night there.

Vulcan Gas Company
Vulcan Gas Company
Soon I learned who some of the key people running the place were. Houston White, a tall, guy with long hair was the owner of the business. A brilliant artist named Jim Franklin lived upstairs where he drew his posters for the concerts. (In 1970, he would pioneer the idea of using the armadillo as the symbol of the counter culture in town.)

Vulcan Gas Company
Vulcan Gas Company
So many memories – like after the national championship football game at Arkansas and then the victory over Notre Dame in the Cotton Bowl, two studs from the UT team showed up and mingled unobtrusively in the crowd. Suddenly a young woman saw them, ran up on the stage, grabbed the mike and announced their presence. Another woman poked her and said, “And they’re looking for chicks!”

Vulcan Gas Company
Vulcan Gas Company
Another time, I sat down in a folding chair and a nice guy took the seat next to me. He just wanted to talk. He told me that he’d been diagnosed with an eye disease and that he was going blind, so he wanted to see as many concerts as he could before he lost his sight. We had a good time talking about our favorite bass players. I think that Mother Earth was playing that night.

Vulcan Gas Company
Vulcan Gas Company
And the bands! Shiva’s Headband with my Longhorn Band mate Jerry Barnett on drums and the wild-haired Spencer Perskin on electric fiddle. Conqueroo with Ed Guinn on keyboards. Georgetown Medical with Johnny Richardson on lead guitar and Don Lupo on bass. These were regular acts – and then there would be out of town stars like the Steve Miller Band. I can still hear his version of “Mercury Blues” in my head.

Vulcan Gas Company
Vulcan Gas Company
Bubble Puppy played a terrific concert one night—man, those guys were laying down a powerful and solid groove. And Mother Earth -- with a short singer named Tracy Nelson who had a deep, vibrato-filled voice that made the walls shake with every note she sang. Plus old time bluesmen like Lightning Hopkins, Jimmy Reed, Muddy Waters and Joe Williams often took the stage to great applause.

Vulcan Gas Company
Vulcan Gas Company
One night, I was amazed to see a strange apparition on the stage: a reed-thin, albino guitar player with white hair dangling to his shoulders. He played volcanic riffs and sang in a wail from the bottom of his soul. Later Johnny Winter would go on to national fame and all of us who had seen him at the Vulcan were amazed.

Vulcan Gas Company
Vulcan Gas Company
One special night, I met some guys at the cafĂ© nearby who had a band called Hub City Movers. I told them that I played sax (yeah, well, with the Longhorn Band) and they said that I could sit in with them for one number. I ran home and got my horn. We did a version of “Watermelon Man,” and as I was leaving the stage their lead guitar player grabbed me by the arm and said, “Man, you did great.”

Vulcan Gas Company
Vulcan Gas Company
On a few other occasions I would show up for jam sessions, one time playing with my old junior high friend and guitarist Ike Ritter. A few days after that session, I was walking back from class to my place in West Campus and the bass player for a hot band called New Atlantis saw me, hailed me down and said that he had heard me. He asked if I might like to play a few rehearsals with them to see if I’d fit in with them. I thought about and said that it just wouldn’t work—I had too much of a class load in school, I was working part-time at a local ad agency, and my priority at that point was making my career happen. I just couldn’t to commit to doing a lot of concerts, if they decided that they liked me.
Vulcan Gas Company
Vulcan Gas Company

(If I thought about it some more, I could come up with a lot of stories about specific concerts and people I met there. But you get the idea.)


Vulcan Gas Company
Vulcan Gas Company
To all of us who hung out in that magic spot, the Vulcan Gas Company was a place to escape for just a few hours from the madness that was happening all around us in Vietnam and on the streets. People of all colors mingled and when the music started playing, there was just about always someone willing to dance.
            
It was only there for a few years, but what an impression the Vulcan made on me. I would give anything to go back there for even one night.

Forrest Preece
Austin, Texas
http://www.goodrightarm.com



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Wednesday, November 5, 2014

New 13th Floor Elevators Live Recording! 1966!



Okay, okay, okay, the latest Roky CD Club effort is ready and boy is it a doozy! As most fans of the 13th Floor Elevators live know, earlier this year a radio broadcast of the band, from the New Orleans Club, surfaced on Youtube. What most don't know is that, when that Youtube video went up, a copy of the raw file was also given to the Roky CD Club! We have been working our magic on it and... here it is! We also combined this NOC broadcast with the other one that we put out earlier to make one, 56 minute, NOC 'Elevators extravaganza!

Download this on both Pirate's Bay & Demonoid:

Http://thepiratebay.se/torrent/11377691 & http://www.demonoid.ph/files/details/3093448/43871432/

The 13th Floor Elevators - 1966-02-22 & 03-16, New Orleans Club, Houston, TX, KAZZ, Pre-FM, 56:14, ROK CD 55

1966-02-22, 26:11

Unknown Source > 2 Channel 44.1k/16-bit FLAC file > iZotope (EQ, gain adjustments, minor edits) > WAV > TLH > FLAC 6 (no SBE)

1) Gloria
2) You're Gonna Miss Me
3) Tried To Hide
4) Roller Coaster
5) You Really Got Me (fades out)

-----------------------

1966-03-16, 30:03

Unknown Source > Mono 44.1k/16-bit FLAC file >  iZotope (EQ, gain adjustments, minor edits, light decrackle for non-vinyl distortion) > WAV > TLH > FLAC 6 (no SBE)

6) Station Introduction
7) The Word
8) Monkey Island
9) Roller Coaster
10) I'm Down
11) Gloria
12) You're Gonna Miss Me (fades out)


A LewsiVer Production

For more information please Visit us at:
http://www.texaspsychedelicrock.com
Https://www.facebook.com/groups/texaspsych


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Thursday, October 30, 2014

13th Floor Elevators La Maison Account

13th Floor Elevators La Maison
13th Floor Elevators La Maison
An account of seeing the 13th Floor Elevators La Maison by James Wilson.

August 1965, I left a small Kansas farm town to move to Houston and finish my last year of high school. I enrolled at Bellaire and began to learn the culture. I was thrilled about being in Texas and being in a new school. It was so much different from what I had known. It was intriguing to observe the different groups and trying to learn where I could fit in. Early on, I noticed some of the kids had "La Maison" bumper stickers on their notebooks and cars. Soon, I heard the occasional radio ad for the teen nightclub, no one older than twenty was allowed. Sometime around then I saw a small piece in the paper. A fifteen year old girl was arrested outside La Maison. She had a small amount of marijuana in a match box. I was interested by all this, but not compelled to seek out the place.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
After a while, I became more comfortable and soon became friends with a guy named Chris. It seems funny, but I met him when he took the paperback I was reading and tore it in half. At the time I was pissed about it but we soon became close friends. Chris and I hung out together and he suggested going to La Maison. He told me that it was a really cool place with cool bands and, of course, girls. By the time that we went for the first time, La Maison had relocated from the old church to a former grocery store. The parking lot was on the side with the entrance at the front, just like many other grocery stores of the time. The only windows were at the front and were painted over. Going in the door was nothing special, a lot like places I had been before. A couple of guys were standing behind a counter, checking ID’s and collecting the admission fee. Inside, however, was completely different, a new world.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
When no band was playing a few incandescent lights were on, and I could make out the inside. Everything was painted black, except for colorful florescent designs and sayings painted on the walls. There were black lights everywhere, so the designs on the walls jumped out and people's clothes glowed. There were a couple of mirror balls throwing moving balls of light around the room. From time to time, strobe lights would come on so that it looked like an old, silent film. At the back of the building was a stage and dance area. The jukebox by the entrance played Dylan's "Like a Rolling Stone" over and over. Very seldom did it play anything else. It probably sounds pretty lame now, but in 1965, it was new, exciting, and I could tell it was the start of something big.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
Walking into that room was something so exciting that I knew that my life would change. The style of the people inside was more than anything that I was familiar with. Everyone had long hair, both guys and girls. Both sexes wore colorful mod type shirts of paisley, flowers, or, polka dots. Lots of polka dots. Everyone had bell bottoms. Not so much jeans, but slack type pants of stripes, checks, and houndstooth. The guys wore Beatle boots and both sexes wore hats, lots of hats. Not ball caps or cowboy hats, but Top hats and big, floppy hats. Incredibly, everyone was cool. I never saw an altercation, a fight, or even a harsh word. These were people who would come to be called Hippies.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
As amazing as this was, it didn't prepare me for what was to come. The bands that I was used to seeing tried to be like the early Beatles, matching suits, stylish shoes, two guitars, bass, and drums, playing faithful covers of Top 40 hits. The 13th Floor Elevators were nothing like that. True, there were two guitars, bass, and drums, but a jug?

Nobody was dressed alike, they weren’t even wearing suits. What I did notice was they all had their pant legs stuffed into the tops of Wellington work boots. Nobody did that. The music was unlike anything I had ever heard. It was loud and brash and even the songs that I recognized didn't sound like the songs I was used to hearing. Blended into the mix of distortion and frenzy was this floating, warbling sound unlike any jug ever.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
Most of all, Roky’s performances were incredible, playing chords on guitar, ripping his vocals, and just wailing on harmonica. He would shake his head and scream into the microphone. I would like to say that I loved the band and music immediately, but I can't. It was so new, and radically different, that I wasn't able to appreciate it at first. As a point of reference, the Beatles had just released “Help”, Simon and Garfunkel were doing “Sounds of Silence”, and the Byrds were doing “Turn, Turn, Turn”. Still, I was fascinated and excited. I wanted to go back for more. I wanted to be a part of that.

13th Floor Elevators La Maison
13th Floor Elevators La Maison
Chris and I became regulars at La Maison, and though the Elevators weren't there every weekend, they were there on a regular basis. Each time that I saw them, my appreciation and understanding of what they were doing, grew. The playing and timing was tight and precise, and improved with every show. Stacy’s lead guitar broke new sounds with every performance. I came to realize that this was an incredible band with a vision of a new style, a way of life, actually. They had absolutely no desire to sound like anyone else. They were The 13th Floor Elevators. When the Elevators played, no body danced. We watched the band perform, tapping our feet in time to the music, appreciating the gift we were being given.  

13th Floor Elevators La Maison
13th Floor Elevators La Maison
One Saturday, about the time we heard that La Maison was closing, I ran into a friend's sister at Sharpstown Mall. The record store there had a lot of hard to find records and she was going there to see if they had a 45 of "You're Gonna Miss Me". It had been released in Austin on a small label. When we got there, the owner told us that International Artists had just reissued it and he had plenty of copies. He also told us that an album would be coming out soon. That album was "Psychedelic Sounds", the first concept album where each song was related to the others. The back cover explained the meaning of each song, a new way of thinking, a new way of life. That was also the album that gave the Elevators a legacy, a legacy that is still being discovered.




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Sunday, October 26, 2014

13th Floor Elevators Downfall from Smuggling Marijuana?

13th Floor Elevators
13th Floor Elevators
I have always wondered if the Legend about the Texas Authorities wanting to shut the 'Elevators down was really about their psychedelic message.

An alternative hypothesis:

It is now known that Tommy Hall was smuggling pot from Mexico. In 1964, Stacy had been busted trying to smuggle a pound of grass across the Border. In fact, early in the band's career, Tommy, Clementine and Roky were busted with several pounds of pot and "beat" the charge when the Judge misread the papers, detailing the charges, and sentenced the three to mere Probation because he (the Judge) thought that the amount of marijuana was small.

And, I think, that Tommy (et al) continued the smuggling activity or at least dealing with large amounts of grass if the tale of them dumping out a huge pile of pot, at an IA recording session, is to be believed by Lelan Rogers.

Could the Texas Law Enforcement Authorities have viewed the band as the front for a put smuggling ring? Could the unrelenting pressure have been to "bring down" the band for "beating" the system in the first bust?

Check out the attached newspaper article.


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Sunday, October 12, 2014

Johnny Winter Studio Spotify Playlist

Johnny Winter
Johnny Winter

Check out this Johnny Winter Studio Playlist on Spotify. It's 187 songs and almost 13 hours long. Great stuff! BTW, I left off all of the local label stuff where Johnny was playing Psych. To me, that's not the true "Johnny" sound. That stuff belongs on the Texas Psych Playlist. This stuff is Progressive Blues Experiment and onward.

Click the image above or click below:

http://open.spotify.com/user/1211622531/playlist/74S0R854VZQpaXNDOPPIA0

Here's a Player for that list too:







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Monday, September 29, 2014

Letter from Stacy Sutherland's Mom

Stacy Sutherland
Stacy Sutherland
Almost eleven years ago, the original Roky Erickson / Texas Psych group collected money for a Christmas gift for Stacy Sutherland's mom, Mrs. Sibyl Sutherland. Printed below is her reply back to the group. Mrs. Sutherland is gone now.

Kerrville, Texas
Jan., 2004

Dear Kiloh,

Thank you so much for your kind letter and the monetary gift from your group. You'll never know what a spiritual uplift it was. It makes me so happy to realize that Stacy is still loved and appreciated by others than his own family.

I've always grieved because he didn't get to live long enough to realize his full potential. Now, that I realize the impact that his life had on others, perhaps he did. He was so sensitive and a dreamer and music meant so much to him. He danced to a "different drummer" as Thoreau once wrote. It's wonderful to know, 25 years after his death, people still remember and appreciate him. Just knowing this I weep, joyfully, knowing that he did not live in vain. It proves that music is the "Universal Language" and that the bonds of love are stronger than death.

Please accept our gratitude for the monetary gift but more so for the happiness I feel knowing that Stacy is still loved and appreciated, still alive so to speak. Please convey our feelings for those who remember him so generously here at Christmas; a time so rife with memories of our loved son. I can't express the depths of appreciation I feel for all your group has given us. Without names and addresses, I can't thank each one as I would like to. Will you please tell them for me?

I also appreciate the offer to help with the upkeep of his grave. I kept fresh flowers on it, alive and growing, for years until I could no longer carry 5 gallon cans of water to them all summer. The cemetery mows regularly and a friend put a concrete edging around it. Grey Burney, at Center Point, Texas 78010, is the Manager's address. He would know the plot number. His stone is the nicest one there; he got that much at least! Stacy died at age 32. He would be 54 had he lived. I wish that he knew all this, and perhaps he does! Nothing else would have thrilled him more.

Thank you for your wonderful surprise.

Most sincerely,

Sibyl Sutherland

I'm 89, please overlook errors.


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Tuesday, August 26, 2014

13th Floor Elevators Avalon 9/30, 10/1 Ticket!

13th Floor Elevators Avalon
13th Floor Elevators Avalon

Get a load of this 13th Floor Elevators ticket, mint, good for admission to a pair of early shows at the Avalon Ballroom in San Francisco. The shows took place September 30 / October 1, 1966, and featured the 13th Floor Elevators & Quicksilver Messenger Service. These were the 28th shows in the Family Dog series. The ticket measures approximately 1 1/2" x 3", and remains in excellent/flawless condition.

13th Floor Elevators Avalon
13th Floor Elevators Avalon

The poster for these shows is one of the most famous of the Psychedelic Era. Art by Stanley Mouse & Alton Kelley, image ("Zebra Man") is # 28 in the Family Dog/Avalon series. Image "borrowed" from Life Magazine 1954 cover shot.

The original poster was printed on vellum and measures approximately 14″ x 20″. The notation “The Bindweed Press San Francisco” appears in the lower right corner. There is notable color variation from a true orange to a reddish orange, but all are from the original press run of 2,000 copies.

There is also a very rare original with a green background which was possibly a test run.

The second print poster was printed on vellum and measures approximately 14″ x 20″. The notation “28(2)” appears in the lower left corner and the Bindweed credit appears in the lower right corner. Only 1,000 of this printing were produced.

The third print poster was printed on uncoated index stock and measures approximately 14″ x 20″. This poster has the notation “28( )” in the lower left corner and the Bindweed credit has been deleted.

There is also a reprint made by Capitol Records. This poster carries the notation “28(3)” in the lower left corner.


There are also two forgeries of this poster, both bearing the “San Francisco Poster Co.” credit. One of these forgeries has yellow “zebra” stripes while the other has dark pink stripes.


13th Floor Elevators Avalon
13th Floor Elevators Avalon
The original handbill was printed on thin paper and measures approximately 5″ x 8″. The color of the stripes in these handbills varies considerably from yellow to red, with red being quite rare.

Here is a tracklisting from the 9/30/66 show:

1. Somebody to Love
2. Before You Accuse Me
3. You Don't Know
4. I'm Gonna Love You Too
5. You Really Got Me
6. Splash One (Now I'm Home)
7. Fire Engine
8. Roll Over Beethoven
9. The Word
10. Monkey Island
11. Roller Coaster

Here's a Youtube of 9/30/66:



This recording has been issued under various titles over the years, with the album cover and track listings for each version differing from one another. While this may be frustrating for collectors, what truly matters is that this recording offers a rare peak at the Elevators performing live while they were at their peak.


Below this is another vid that shows a 13th Floor Elevators Avalon 9/30/66 / 10/1/66 poster signed by EVERYBODY except Stacy.


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Tuesday, August 12, 2014

1977 at the Austin Opry House, Roky Erickson. Photographer: Ken Hoge.

Roky Erickson
Roky Erickson

I had to share this, 1977 at the Austin Opry House, Roky Erickson. Photographer: Ken Hoge. This is THE best photo of the Master I have ever seen. Roky Erickson; the Godfather of psychedelic music. Roky had two careers: 1) the Acid Elf with the prototype psychedelic rock group - the 13th Floor Elevators 2) Post Rusk which is completely different and just as interesting.

They say Roky took over 800 acid trips; of the pure stuff. When he performed, he would sometimes wear a band-aid on his forehead to conceal his Third Eye.

During the time of this picture, Roky was helping invent a thing called Punk Rock. Really, Roky always went his own way and the Punkers (sort of ) adopted him. But his single: Red Temple Prayer (2 Headed Dog) beat out the Sex Pistol's God Save the Queen in a Rolling Stone Writer's Poll of best new music.

Really, Roky was inventing Punk/Metal twenty years before it became popular. And when he screamed about demons and evil Psychiatrists it was not some put on like Black Sabbath. Roky LIVED that shit having been committed to a mental hospital for the crimina

lly insane in 1969 for possession of two joints. There, they gave him shock treatment and experimented with drugs on him. He emerged totally changed but still with that musical genius.

Oh yeah, when he gets tired of the Punk/Metal he picks up an acoustic and sings the most heart wrenching love songs and it's like *that* is his major area when he does it. Did I tell you that he did Christian music too?

And when you listen to him sing you are listening to the Greatest White Rock Singer that ever lived. Robert Plant, Mick, Joe Cocker have nothing on him. You need to compare him to James Brown and Little Richard. This is the guy who taught Janis Joplin how to scream.

About eight years ago Roky emerged from almost fifteen years of untreated schizophrenia and began taking medication again. Austin's best musicians, and Austin HAS the best musicians, lined up to play with him. It's been great.

This is a great shot that I have never seen before.

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