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Thursday, April 17, 2014

Stacy Sutherland Remembered by Clementine Hall's Son

Stacy Sutherland
Stacy Sutherland
I asked Clementine Hall's son, Roland, if he remembered Stacy Sutherland and if he ever saw the band perform. This was his reply:

I remember sitting with him and he turned all his fingers upward which was mystifying. I really liked him and he was very nice to me as a kid and friendly and I miss the hell out of him. He was taken from this world too young. I saw them perform at the Avalon and other places but briefly in some places because of the drinking age. He is one of the first people I am going to visit in the afterlife.

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Monday, April 7, 2014

Clementine Hall Offers Signed Drawing of Roky Erickson

Dear fans of the 13th Floor Elevators - Founding member of the 13th Floor Elevators, Ms. Clementine Hall, is offering signed prints of a drawing that she did of founding member of the 13th Floor Elevators, Roky Erickson. These are a strictly limited edition and will be artist quality copies produced on archival quality stock and individually signed by Ms. Hall. If you ever wanted to own something to remind you of the mighty 'Elevators NOW is your chance.

The price of the print will be $35.00 (postage anywhere in the world included) for one and $60.00 for two.

All proceeds go to Ms. Hall's ongoing financial needs.

Mail checks here:Clementine Hall
6537 Madrone Drive
Kelseyville, CA 95451

Paypal here: clementinehall13@aol.com 

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Monday, March 24, 2014

Another Grackle Debacle

This is another Grackle Debacle poster. Somebody heard about mine and emailed me about possible restoration. This one was in a Texas attic for 20 years and then affixed to a board and displayed around a house for another 25. Check it out.

Here is a video of my restored 13th Floor Elevators, Grackle Debacle, poster.

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Tuesday, March 11, 2014

Muddy Waters at Vulcan Gas Company, August 2 and 3, 1968

Muddy Waters at Vulcan Gas Company, August 2 and 3, 1968 was an amazing show. The Vulcan is where Muddy Waters met Johnny Winter, who would be the Chicago blues icon’s greatest champion to the rock world, in 1968. From his dressing room, Waters heard Winter’s trio and was so impressed with the authentic sound, he got King Curtis, the saxophone player from Fort Worth, on the phone. Muddy held up the receiver for about a minute while JW wailed the blues, then got back on the phone. “He's white,” Waters exclaimed. “I mean, he’s really white. Do you believe this shit!?”
Muddy Waters Vulcan
Muddy Waters Vulcan

“They did a standard 45 minute set,” Vulcan owner Don Hyde recalls of Muddy’s Friday show. As you can see from the photo, they weren’t even wearing their customary suits. “It was only 10:45, so I asked Johnny if he would play for a couple of more hours. He said 'sure'.” Waters did hear that set, when JW came out and blew the doors off the place.

“The next night, Muddy’s band came back dressed to the nines and played for over two hours,” Hyde says. “They blew Johnny off the stage, then they did a couple of tunes together.” Winter went on to produce and play on some of Muddy’s great ’70s albums.
Muddy Waters Vulcan
Muddy Waters Vulcan

Asked about that weekend, his first visit to Austin, Muddy’s harmonica player Paul Oscher says he doesn’t remember any time Winter cut Muddy’s band. “It wasn’t possible,” said Oscher, who now lives in far South Austin. “I think maybe we’d been driving all day Friday and we were tired. And then we were well-rested on Saturday and got down to business.” Check out this vid of a newly restored poster from this gig: 


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Friday, February 14, 2014

Love Street Light Circus Building Being Renovated

Love Street Light Circus
Love Street Light Circus
The Buffalo Bayou Beautification Project is underway and the old "Love Street" building is due for a makeover. Love Street Light Circus was a Sixties club on the top floor of this avocado colored building on Allen's Landing. This was the one of the focal points of Texas's fertile psych-rock scene, which was both bluesier and more adventurous (musically and pharmaceutically) than its better-known San Francisco Bay Area counterpart.

Love Street Light Circus
Built as the headquarters of the International Coffee Company in the 1930s but only 10 years later the building was vacated and remained empty for over 45 years. In 1967 the third floor became a psychedelic night club and nurtured bands like the 13th Floor Elevators, Bubble Puppy, The Red Crayola and ZZ Top (who played their first show there) while giving their fans a place to congregate and enjoy the swirling light shows with minimal hassle from The Man. Love Street Light Circus closed after only a few years, and the building has remained vacant for – again – over 45 years!

Love Street Light Circus
Love Street Light Circus
After receiving over $600,000.00 for renovations, the Buffalo Bayou Partnership will be turning the old "Love Street" into a cultural center. Soon, it will bear no trace of it's Sixties history. Check out these pictures to see what the interior of Love Street looks like today. One can still see the psychedelic art on the walls.

Be sure to click each picture to see in full size. Read more about Love Street Light Circus by going HERE.

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Friday, January 31, 2014

Clementine Hall Interview

Clementine Hall
Clementine Hall

This interview is very similar to the Roky CD Club's Interview of Clementine Hall in 2003. Only our's is much earlier.

Clementine Hall Interview

She Lives

The Clementine Hall interview

In the mid-Sixties, the Rock Wife didn't really exist. There were Beatle wives Cynthia Lennon and Maureen Starr, but the mold didn't set well, because the appeal of a musician to his female admirers was his availability. Paul McCartney's mod girlfriend Jane Asher was adored, in part because she was his girlfriend, not wife. In the not-so-secret palpitating hearts of girls everywhere, you still had a chance with Paul because he wasn't married.

Years before McCartney broke up with Asher, married Linda Eastman, and formed Wings, before Lennon divorced Cynthia, married Yoko Ono, and recorded Two Virgins, Clementine Tausch married 13th Floor Elevators founder and visionary Tommy Hall and became arguably the first and best example of the total immersion Rock Wife.

Clementine was a palpable force in the Elevators, a hip maternal Wendy providing food and security for the band's tribe of Lost Boys. She maintained a deep and abiding friendship with Roky Erickson, composing "Splash 1" with him on The Psychedelic Sounds of the 13th Floor Elevators and harmonizing in the studio on their co-written "I Had to Tell You" from Easter Everywhere. The boys treated her "like an equal," an experience she relates with a childlike sense of wonder.

Speaking from her home in Northern California, Hall talked fondly of the high times with the 13th Floor Elevators, noting that she still visits with Tommy regularly in San Francisco. She raised her two children during those turbulent times, joking that her memory is so good because she was "raising babies instead of taking drugs." Clementine Hall's story is unique in rock history, a pioneer woman in a pioneer band.

"I was an English major at the University of Texas and used to hang out at the Chuck Wagon, the cafeteria you went to for lunch at UT. And I knew Tommy for a year, disliking him intensely. He'd sit at a table and behave in such an arrogant manner. He seemed so stuck-up and aloof. He was really quite shy, but I didn't know that. He'd make a pronouncement, and it would come out with greater force than he intended to because he was so shy."

"I'd immediately recoil, thinking, 'Who the hell does he think he is?!' I really did think he was just an arrogant SOB, but we were thrown together because we hung out with the same friends. They knew there was a fine person in him, and eventually I came around to their way of thinking. After knowing him about a year, I fell in love with Tommy. It was about the time the Beatles came out. I found he was as enchanted with them as I was, so I thought, 'Oh, he can't be all bad!'"

"I wasn't a songwriter. I was working on a novel. Roky said, 'You're pretty articulate. Why don't you write lyrics to some of my songs?' I said I didn't know how Tommy would feel about that, but Tommy said, 'Roky's working on a tune that I'm not interested in. Why don't you see what you can do with that?'"

"Roky got excited and said, 'Yeah, yeah!' So that's when we did "Splash 1," because he said that it was like something splashed between us when we met. For me, it was like neon flashing when our eyes met. We dearly loved each other but not in sexual way. I said, 'We should call this song "Splash 1,"' and that's how that song was written."

"When Roky or Tommy would say, 'You've got to come onstage with us,' I'd say, 'No, I don't think I want to do that, I really don't. I think you have a pure sound and pure message. Besides, I have children and my children are my first job.' I didn't mind singing on a recording, or working on a lyric, but I didn't want to tour or horn in or anything."

"Oddly, it was Stacy [Sutherland], John Ike [Walton], and Benny [Thurman] who dragged me into the Elevators. Roky and Tommy said nothing, but the three others said, 'We want you to be an Elevator.' That was shortly after they told Tommy they wanted him in the band and could he find something to do to be in the Elevators [laughs]. He said, 'I'll write music for you guys,' and they said, 'No, no, no, we want you in the band! Is there anything you can do?' That's when he came up with electric jug."

"I remember John Ike saying, 'We need to play one gig where we play nothing but Western music. Just cowboy music.' And Tommy said, 'No, we really cannot do that. Not at this point in our career, because that will confuse people as to what the heck we're here for, and we need to have something really, really pure right now and not get sidetracked into being all things to all men, or a three-ring circus or anything like that. Later, if we make it, we can do what we want, but at this time now, the message has to be pure, the music has to be pure. The intentions have to be pure, the heart has to be pure.'"

"And I always had that in mind. I thought, 'If I slip my way into this just because they're so damn good-hearted and big-hearted, it will alter things. I can't keep up with them anyway, because of the children.' So, anytime I wanted to be any part of the band, they were ready for me to do it, but mostly I stayed out of it. Except that they lived with me.

"I used to say, 'I'm married to a rock & roll band.' Because it wasn't just Tommy, it was Roky. It was all of them under my roof ? rehearsing and crashing and then being there the next morning. It was constant. They would rehearse in the living room or in the garage, then they would crash, stay over. They would stay over an entire weekend high on LSD and just jam, jam, jam. So, I was the one who provided food, bought the blankets to cover the asleep. The one who tried to clean house around them, which was damn near impossible."

"Once you take LSD with people and you're that intimate and that close to each other, you lose your ego. You also lose consideration of what becomes a male and what becomes a female; you forget about what's becoming. It's irrelevant and you trust each other, like you're children at the age children are before they discover their differences in sex."

"Roky was the person I loved more than anyone except Tommy, because Roky was unlike anyone I'd ever met in my whole life. He was so free, the freest person I ever met, completely free. He didn't care what people said or thought about him. He said and did exactly what he felt like doing, and had he been a person who had a bad side or a mean side to him, that would have been uncomfortable for me to be around. But since everything came from such goodness in him, it was okay to let him loose."

"He had the ability to spot when things were getting uncomfortable and something awful was about to happen. If somebody was about to really upset somebody, he'd muscle in and say a couple of words totally off the subject and we would fall over laughing and forget what the heck it was we were heading towards. We used to call that Roky's 'safety device.' He had 'safety devices' he'd throw out into conversations and everyone would lose that electrical charge. They would stop trying to save face and stop trying to be macho and all that stuff, because we would all fall over laughing. He was magic that way."

"Roky would not hesitate to come into my bedroom in the middle of the night and kneel down by my bed and say, 'Come on! I wanna show you something! Let's take a ride! I found the most incredible thing!' It did not disturb Tommy. It was fine with him. And I would go off on an adventure with Roky."

"Off we'd go in the middle of a moonlit night. He might go high up in the Austin hills and look down at the electrical plant and it would look really really magical. Or when we were touring in Galveston or places like that, he'd find a view of the beach and he'd want us to see it, too. Or it would be a wild ride through the hills, around and around. He was nocturnal. He would take us and show us and it was always magical and wonderful as could be. And we'd laugh and laugh, because he was a very funny person. He just had a twinkly way of looking at things."

"Roky still uses those safety devices I mentioned. I was talking to Sumner [Erickson], who told me a story. Some friends took Roky up to some hills to show him a beautiful view. This is something he would like to do. But the friends were pushing him to go to the edge of the cliff and he didn't want to. Not comfortable. One friend turned it into a macho thing, 'What are you, afraid? We're not scared to come out on the edge. Come on out and stop being such a pussy.' About the fifth time the guy pushed, Roky just said, 'You know what? From now on, whenever anybody tries to make me do something I don't want to do, I'll think of you.' They laughed and backed off, but that's Roky."

"The paranoia ... I remember it starting after he got out of one of the institutions because friends brought him to California to get him away from all the horror of what he'd been going through. They asked if he could stay with me and I said, 'Of course."

"Something was happening to him and it was awful. We'd be sitting together and he'd look at me and say, 'You know, the Russians keep talking to me. And they're telling me I need to kill Jackie Kennedy. And I keep telling them, "I do not want to kill Jackie Kennedy."'

"This I could live with; I could understand this about him. Then came the day he said, 'The Russians are trying to get me to kill Jackie Kennedy and I don't want to kill Jackie Kennedy.' Then he looked at me and said, 'You look an awful lot like Jackie Kennedy.'

"That was it. It could get dangerous. I got together with his friends to find another place for him. I didn't feel safe with my little boy in case the Russians ever convinced him to kill Jackie Kennedy, number one. And number two, if he decides I am Jackie Kennedy, I'm in trouble. As much as I loved him, I could not fight his demons. Couldn't do it. It was getting darker and darker and scarier and scarier."

"What did we know about psychology and psychiatry? We would take him out to the beach in San Francisco, several of us, and we would hold his hand, hold his body, and let the waves pound him. And after about 20 minutes of waves pounding, he would be lucid again for several hours. It was like good shock therapy, not bad shock therapy."

"It wasn't just drugs that affected the Elevators. There's something that happens when a group of people, who are really tight together, start to get a little bit famous. Then outsiders come around and say, 'You don't need those jerks. You're better off all by yourself. You're 10 times the talent of the other guy. Why don't you break away from them, why do you put up with bullshit from them, why should you sublimate your own personality and desires to them when you can just get away from them?' That's what happened."

"But the truth was, as talented as each of the Elevators were, they were 1,000 times more talented together. They meshed and dovetailed together. We'd talk about the 'third voice,' that you'd get two voices and put them together and a third voice came from the middle, like that saying the sum is greater than the whole of its parts."

"Had I thought that anyone would give a holy damn about the whole thing this many years later, I would have thought I'd died and gone to heaven. I can't get over the fact that anyone gives a damn after all this time! To me, it was like the most incredibly wonderful cake that got baked and eaten and couldn't be saved. Could not be saved, and yet it got saved and people are still enjoying it years and years and years later. I thought of the Elevators and everything they did as a fleeting work of art ? wonderful, deep, rich, profound, but fleeting. I had no idea that we would become [laughs] legends in our own mind."

"[Those days were] a vortex of unbelievable events; you don't get over reeling from the first event before another comes along. There was music pouring out of people's mouths and guitars. It was incredible. Tommy used to call it the 'cosmic goose.' He said it was like the cosmos goosed that entire generation with music, then along came a wasteland and it died. He thought there had been something like that just before World War II and it stopped because so many creative minds were killed."

"I don't think anyone has ever bettered Tommy's lyrics. Ever. I don't know many musicians who could better Stacy's licks. John Ike is one of the best drummers on the planet. He was the perfect support. And Roky's music, with his enchanting melodies. Best of all was his stage presence. I'd never ever seen anyone with presence like that. He'd use his eyes, go around the room, and connect with every single person in the room. He was making love."

"I've talked to Roky several times on the phone recently, and he feels and sounds like the Roky I knew. I absolutely adore Sumner for what he's done for Roky. He was 2 or 3 when we were around. Who knew he'd grow up to be his savior?"

"The music stands on its own because the poetry is universal. Tommy used references to other disciplines and philosophies, but beyond that, there was something so universal about what he'd say, and his poetry was so metaphysical. Not to put him in the same class as John Donne, but they were both metaphysical poets. You can see the universality of the sacred poems and love poems. Underneath is common human attraction, reaction, and love, devotion, excitement."

"The band's story has a lot of tragedy in it, tremendous ups and tremendous downs. You've got Stacy dying in a particularly horrible way, and you've got Tommy going through some very bizarre periods. And Roky's story, even with its happy ending. The irony is the 13th Floor Elevators didn't even get to be mighty enough to fall."

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Saturday, January 25, 2014

13th Floor Elevators KAZZ! New Recording Found!

13th Floor Elevators KAZZ
13th Floor Elevators KAZZ
A 28 minute long KAZZ broadcast has surfaced of the 13th Floor Elevators KAZZ - 2/22/66. Here it is on Youtube below. There is also a bit longer and better quality of the 3/66 broadcast too. The total minutes is 56. The Roky CD Club is preparing both for release on a single CD. many thanks to the Donor who wishes to remain anonymous.

Here is the 3/66 recording (the upgrade):

Here is the 2/22/66 recording:

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Saturday, January 11, 2014

Custom Framing Phoenix: Phoenix Rock Art Framing - 13th Floor Elevators Handbill

Custom Framing Phoenix: Phoenix Rock Art Framing - 13th Floor Elevators Ha...: Phoenix Rock Art Framing Check out this dead mint 13th Floor Elevators handbill from 1967. This is the famous "Winnie the Pooh" Image!.

Friday, January 10, 2014

Roky Erickson Black Angels Announce Winter Tour

Roky Erickson Black Angels
Roky Erickson Black Angels
Roky Erickson will be hitting the road with the Black Angels this winter. I was at the 2008 show that was captured on video and released as 'Night of the Vampire'. Let me tell you, the 'Angels and Roky is a powerful combination. The Elevators material smokes appropriately and his Roky's 70s/early 80s material takes on an eerie depth not really glimpsed on the albums.

Since the Black Angels broke onto Austin’s music scene back in 2004, They have been delivering fuzzed out, high energy psychedelic rock. They’re now four studio albums in and nothing has changed. The Black Angels are the undisputed avatars of contemporary psychedelic rock. Their live show is always loud, full of energy, and something to see. Adding Roky to the bill is all the more reason to come out and see this tour.

01/31 Lawrence, KS - Granada *
02/01 St. Louis, MO - The Firebird *
02/03 Minneapolis, MN - First Avenue *
02/04 Madison, WI - Majestic Theatre *
02/07 Newport, KY - Southgate House *
02/08 Cleveland, OH - Beachland Ballroom *
02/09 Detroit, MI - Magic Stick *
02/11 Toronto, ON - Phoenix Concert Theatre *
02/12 Montreal, QC - Corona Theatre *
02/14 Washington, DC - Black Cat *
02/15 Pawtucket, RI - The Met *
02/16 Philadelphia, PA - Union Transfer *
02/20 Asheville, NC - The Grey Eagle *
02/21 Nashville, TN - Mercy Lounge *
02/22 Atlanta, GA - Terminal West *
02/24 Orlando, FL - The Social *
02/25 Miami, FL - Grand Central *
02/26 St. Petersburg, FL - State Theatre *
02/28 Houston, TX - Fitzgerald's Upstairs *
03/01 Dallas, TX - Granada Theater *

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Sunday, December 29, 2013

Roky CD Club Brief History

Roky CD Club
Roky CD Club
This exchange was posted recently in the Texas Psych group's Parent group on Google:

Tobias Larsson,

Hello! I am new to this group. And a bit confused. I found this page after reading the excellent guide to Rokys music on http://www11.brinkster.com/groovies1/Roky.html. And after reading i am really eager to listen to all the CD Club releases. But I am having difficulties finding active torrents for these? I was trying the server But it seems dead? And since demonoid is down as well, I'm wondering if I still can download all the cds? And the DVDs. ROK DVD 1-5 is on the pirate bay, but will not download.

Roky CD Club

I am also looking for historic information on the cd club and how the original recordings where found and released. Thanks!

I'm new to google groups, so maybe the information is on here and i have just missed it. In that case i am sorry, but i have tried to search and browse the conversations.

Bob Bond,

Roky CD Club
Hello Roky fans. I can't take any credit for the creation of the Roky CD Club but I was there for it from the beginning. It started out in the late 1990's as a partnership between Chris Meerbott (you see his name mentioned in the Roky guide you cited) and Kiloh Smith (who responded to your inquiry).

Well the impetus for the formation of the club was that passionate Roky fans had grown sick and tired of waiting for any new Roky CD's to come their way. It was obvious that nothing was going to happen the official route (Roky's music being entangled in legal disputes) and it was time for fans to take matters into their own hands. Originally Meerbott handled the production and distribution of the CD's, while Kiloh procured tapes and assumed the spokesman role.

Roky CD Club
Well as it turned out one of Roky's former managers, who saw himself as the czar of the Roky universe, didn't take too kindly to being upstaged and proceeded to undermine our efforts. At first he pretended to want to *help* us in our efforts, and we were initially grateful for this. But after a while it became apparent that this was nothing but a ruse to frustrate us, stall us, and instill fear in us (he even managed to get our discussion groups at the time terminated). Once we wised up we kicked his sorry ass to the curb and got the ball rolling.

Roky CD Club
But unfortunately, while Meerbott had the passion to be the engine for the Roky CD Club, he just didn't have the balls. Once Roky's former manager started hurling legal threats this way and that, he bailed, leaving Kiloh to take all the heat. And to his credit he took it, weathering one shit storm after another. There were times when he bent, but he never broke and has kept it going to this day (I'm sure to the consternation of those involved). Ultimately the Roky CD Club has unearthed a body of work to rival the official (and bootleg) catalog. I can't think of another major artist where fans have accomplished this. Of course none of this would have been possible without the tape donors (god bless them). I could cite many of them by name but I won't. Anyway if you can get your paws on these gems, all I can say is "dig in", as many of these are as good or better to any official product.

As to the current state of the Roky CD Club, I'm not sure. It might be going through another one of it's dormant phases, or it might have finally fizzled out. Whatever the case, be grateful for all that has come your way. You are standing on the shoulders of giants.

Roky CD Club Volumes 1 - 47 in lossless:

Also, read more about this topic is my, redacted, Interview from that joke of a fake magazine: It's Psychedelic Baby:


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