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Wednesday, October 28, 2009

Roky Erickson and the Aliens - British LP Advertisement

Roky Erickson and the Aliens

Take a look at this Roky Erickson and the Aliens vintage promo ad from a British newspaper known as Ad Lib. You know, I’ve been in this game for awhile now and this is the first time I have seen this item.

As one can see, this promotes the Roky Erickson and the Aliens LP. This album has been repackaged and/or reissued numerous times. It’s a Cornerstone of Roky Erickson’s solo career output.

The Bourbons - A Dark Corner

The Bourbons – A Dark Corner. Great Texas Psych from the Sixties. The Bourbons were a San Antonio band. A Dark Corner was later covered by the Chesterfield Kings.

Tuesday, October 27, 2009

Roky Erickson Halloween Show - The Bottom Lounge, Chicago

roky erickson
roky erickson

The Bottom Lounge, 1375 W Lake St., Chicago, Illinois will be hosting the famous Roky Erickson Halloween Show this year. Pioneering psychedelic rocker Roky Erickson, a founding member of the Thirteenth Floor Elevators and once again a healthy and inspiring solo artist returned from years of exile battling mental illness.

The Bottom is a big space that can accommodate a good crowd. The front bar has an extensive beer list and a big food menu. Rumor has it that there is some sort of tiki bar on the roof or something.

The Bottom has:
-Huge beer selection. (prices range from $3 Schlitz on tap to a $14 framboise lambic.)
-$9 for a pizza isn't all that bad. The menu seems legit.
-The door/security guys were super nice and hilarious.
-The sound system was pretty great.
-Clean bathrooms!
-Huge space.

Bottom Lounge Music Room is open Wednesday through Sunday unless otherwise noted. Doors at 8pm show at 9pm unless otherwise noted.

Go Roky!

Sunday, October 25, 2009

Walt Andrus RIP

walt andrus
R.I.P. Thirteenth Floor Elevators/International Artists Engineer Walt Andrus

​Walt Andrus, best known as the engineer of numerous Thirteenth Floor Elevators sessions, has gone where the pyramid meets the eye on 10-21-09. Andrus, who engineered many of the most famous sessions for Houston's infamous International Artists label during the psychedelic period, was living in Truth Or Consequences, New Mexico when he passed from melanoma.

While Andrus is most famous for his Thirteenth Floor Elevators session work, he was also involved with recording seminal Texas psychedelic acts like Lost & Found, Golden Dawn, the Red Crayola's free-form psychedelic opus, The Parable of Arable Land, and Fever Tree's 1968 classic Another Time, Another Place. He also worked for a time with Don Robey at the Duke-Peacock label.

Easter Everywhere, considered by many to be the fullest flowering of psychedelic music, was recorded at Andrus Studios on Broadway in Houston during the Summer of 1967. Most International Artists material was recorded at Andrus's studio until IA purchased Gold Star studios circa 1968.

In a 1996 interview with Richie Unterberger, the Red Crayola's Mayo Thompson said of Andrus, "Walt Andrus was head of the best studio in Houston, and in that particular period, he recorded everybody. Euphoria, who were definitely West Coast psychedelic progenitors of surf music, South Bay surf music, incredible guitar playing, power trio, the bass player out of the band that made "Pipeline" or "Wipe Out" or one of those kind of things, and a great drummer and a good guitar player. What you saw with Hendrix - the same principle, taken to its highest expression. Walt recorded this album."

Andrus was instrumental in remixing the Elevators catalog for the 10-CD recent box set Sign of the 3 Eyed Men.

Funeral arrangements are pending.

Friday, October 23, 2009

Golden Dawn Every Day Video

golden dawn

I found this on Youtube. It’s a great fan video celebrating the Golden Dawn Every Day. I absolutely LOVE Power Plant!

Wednesday, October 21, 2009

Vulcan Gas Company Handbill - Shiva's Headband

Vulcan Gas Company Handbill

Check out this 1968 Vulcan Gas Company handbill. It's known as the "Hookah Handbill". From this image it's impossible to read the exact date. Who knows more about this item?

Tuesday, October 20, 2009

13th Floor Elevators Avalon Ballroom Poster

13th Floor Elevators Avalon
Check out this 13th Floor Elevators Avalon 9.30.66. FD28-1 poster. Supporting the 'Elevators were Quicksilver Messenger Service. This poster is pretty rough with pinholes, creasing, trimmed edges and rippling. BUT it's signed by Mouse. The asking price for this poster is $700.00 (posterscene.com).

I wonder what my mint first printing (Bindweed) of this same poster would go for with signatures of Roky, Tommy, John Ike, Ronnie, Danny Thomas, Clementine Hall & Powell St. John. Har! Har! Har!

Sunday, October 18, 2009

Finnish Butchering of Hurricane Fighter Plane

5-15-09 butchering of Red Crayola classic, Hurricane Fighter Plane, by some Finnish group called the They. Repetitive and sluggish the only thing that makes this turkey remotely interesting is the choice of song. This band sucks ass.

Friday, October 16, 2009

Acid Tomb - Earthquake

Check out Austin’s own Acid Tomb playing Earthquake at the Full Moon Halloween Ball, October 2007. Acid Tomb is the premier 13th Floor Elevators tribute band featuring members of Austin locals the Alice Rose and the Jungle Rockers – electric jug included.

The revolutionary music of the 13th Floor Elevators could not be in more capable hands. Acid Tomb goes above and beyond the cover category to grant even the most hardcore ‘Vators fan an infectious and hypnotic vision of the famed material; electric jub and all.

Jim Franklin - Armadillo World Headquaters Poster

Jim Franklin

Check out this Jim Franklin 1971 poster for a Flying Burrito Brothers gig at the Armadillo World Headquarters. It is a goof on the first flight by the Wright Brothers only the craft's wings are made of burritos.

The Flying Burrito Brothers were an offshoot of the Byrds, best known for their influential country rock debut album, 1969's The Gilded Palace of Sin. Although the group is most often mentioned in connection with country rock legends Gram Parsons and Chris Hillman, the group underwent many personnel changes.

After turning the Byrds into a country rock band on the 1968 Sweetheart of the Rodeo album, Gram Parsons and Chris Hillman left to form the Flying Burrito Brothers. The idea behind the Flying Burrito Brothers was to draw more rock fans to listen to country, and vice versa. If they weren't the first country rock band, they were certainly one of the most influential, mixing '50's-style country with '60's folk-rock sensibilities.

The original lineup featuring Parsons and Hillman is considered by most to be the only real Burrito Brothers. However, the original incarnation of the band dissolved by 1972, and for decades afterward, different bands used the same name, and some of those lineups have contained no original members. Thus, sorting out this band's (or the band name's) complete history is quite difficult.

The first three studio albums that featured Parsons and/or Hillman are compiled in their entirety on the 2000 release Hot Burritos! The Flying Burrito Bros. Anthology 1969-1972. Most other Burritos albums were recorded by different versions of the band. At the start of the millenium, the Flying Burrito Brothers were declared defunct. However, before his death in January 2007, original member "Sneaky" Pete Kleinow formed a band called Burrito Deluxe, whose current members have decided to continue without him. So, the saga continues...

Thursday, October 15, 2009

Kenny and the Kasuals

Kenny and the Kasuals

Springing up from the potent East Dallas psych scene that birthed bands such as Jimmy Vaughan’s Chessmen and younger brother Stevie Ray’s The Cast Of Thousands—not to mention the Briks, the Novas, the Five Americans and so many more—Kenny and the Kasuals started out playing for tips under the name The Illusions Combo in 1964 and were quickly breaking attendance records at Dallas’s premiere teen spot, the Studio Club.

From 1964 to 1967, Kenny and the Kasuals were the top teen band in North Texas. To earn the distinction of being #1 was no easy task in those days as the competition was fierce. The hot R&B band, The Nightcaps, were still rockin' Dallas and younger rock bands were also filling local clubs and dances.Jimmie Vaughan was leading The Chessmen while his younger brother Stevie Ray was just starting to be noticed in a band called The Cast of Thousands.

With competition from The Novas, The Briks, The Sensations, The Chaparrals, The Outcasts, The Five Americans and so many other talented groups in town, it meant that the choices when booking a band were huge. But the top choice was always Kenny and the Kasuals. They were the kings of the proms, frat parties and dances, drawing full houses and demanding top dollar.

"We would drive around in a 1941 Plymouth with our sign in the back that obstructed the drivers' vision so much that we ran into everything when we backed up," recalls Kenny. "Our bassist was actually playing the low strings of a regular guitar, and members came and went. It was a rough start, but we were getting better and better."

Kenny remembers: "We were the opening act for most of the big name bands that came to town - Sonny and Cher, The Buckinghams and The Beach Boys, just to name a few. Sonny and Cher even came to see us perform at The Studio Club. Our band caught on and our style of dressing caught on too, especially the black-and-white saddle oxfords. One store at Northpark Mall had a display of the shoes in the window with a sign that read 'Kenny's Kasuals'. By 1966 we were regulars on Ron Chapman's TV show "Sump'n Else" which aired every Friday all across North Texas."

They were too accomplished to be called a garage band in the usual sense of the term – and were very popular in their hometown in the mid-'60s, but never made any impact on the national level. It's ironic that much of their reputation rests on a live album of covers, Impact, that ranks among the most collectable LPs of the Sixties, as the group actually wrote a lot of their own material.

After several 45’s they made a daring move when they decided to go all the way and issue an independently produced album, Impact, which would be recorded live at the Studio Club. Fellow Dallas favorites the Nightcaps had successfully done it with their Wine, Wine, Wine LP so why not the Kasuals? The album was an immediate success.

Like the Wailers’ Live At The Castle, "Impact" has been cited by Rolling Stone as one of the most collectible American albums ever, and original copies still sell for over $400. The LP was reissued on vinyl in the seventies and is now available on CD. Impact is both a high water mark for the band that produced it—perfectly capturing, as it does, their high energy mixture of punked-up R&B delivered with British Invasion attitude and Lone Star musical chops—but is also the ultimate musical snap shot of a specific time and place.

As the band's success and local legend grew, they realized that with a little luck they had what it took to break through on the national recording scene. After a couple of additional single record releases, in 1966 they hit on the song that would be picked up for national release. It was called "Journey To Tyme" and has been labeled as the very first "psychedelic style" recording. Co-written by Kenny Daniel and new lead guitarist Jerry Smith, the song is a wild, uptempo screamer inspired by a town in England named "Tyme".

Dallas' number one radio personality at the time was Jimmy Rabbit and he sensed that the band had a hit on their hands. Local airplay and positive sales caught the attention of the successful national record label United Artists who negotiated with Mark Lee for the American rights.The song received good radio station play around the country, making the top ten in its hometown and reaching number one in Buffalo and Pittsburgh.

Kenny has stated that the band's unwillingness to sign exclusively with the United Artists label kept the song from breaking into the national hit charts. Nevertheless, the song and the band were doing very well and it seemed like a good time for going "big time" and that meant a move to New York.

"In New York, we played The Rolling Stone Club after The Young Rascals and stayed in a hotel in Greenwich Village," Kenny remembers. "The New York bands we saw were terrific - Jimi Hendrix at the Nite Owl, The Seeds and The Lovin' Spoonful. We were asked to open for The Beatles at Shea Stadium. It was a great adventure."After returning from a successful month in the Big Apple, Kenny and the Kasuals went back to their lucrative frat-party and nightclub circuit, becoming the most popular live band in Texas. They were still playing their hot mix of The Byrds, Stones, Zombies, Yardbirds, Animals and U.S. R & B songs, and now were mixing in their original recorded songs as well.

But by late 1967 and early 1968, during the Vietnam buildup, the draft was cutting into band line-ups around the country. Kenny and the Kasuals were not an exception. With two members facing armed forces duty, the band and Mark Lee decided to go out with a bang. In early 1968 Mark put together one of the first music festivals, calling it The Flower Fair. The several stages were packed with local and national talent for the multi-day fest.

In addition to the farewell performance of Kenny and the Kasuals, attendees got the chance to see such stars and soon-to-be-stars as The Doors, The Box Tops, Keith, The Association, The Turtles, Mitch Ryder and the Detroit Wheels and Jimmy Reed at the festival. The best of the local bands rounded out the roster of talent.

In April of 1968, the day after The Flower Fair ended, Kenny Daniel left for boot camp and soon after lead guitarist Jerry Smith joined the Air Force. Kenny and The Kasuals were suddenly history. At least for a while.Record collectors rediscovered the "Impact" album in the early seventies, and eventually all of Kenny and The Kasuals recordings were re-released. Along with newly recorded albums, the band has several LPs in issue, two available in CD format. Among the album titles: "Nothin' Better To Do", "Things Getting Better" (both available on CD from the Eva Label in Paris, France), "Teen Dreams", "Garage Kings", and of course "Impact" also available on CD.

Kenny and the Kasuals still perform, regularly featuring three of the original members (and on certain fun occasions, the entire original band). Two other top-quality musicians round out the current line-up. The music they play is still a high-energy experience.

Sunday, October 11, 2009

Creedence Bassist Remembers Roky

Stu Cook, bassist for Creedence Clearwater Revival, commented recently in an interview on one of the highlights of his long career - producing Roky Erickson.
What are some of your more memorable experiences outside of CCR?

I produced some songs for Roky Erikson that I think are good.

Was Roky Erickson difficult to work with?

He was hard to get into the studio, but that wasn’t his fault. It was the people at the Texas state mental hospital in Austin. At first they wouldn’t let him leave.
Wow, that’s so rock n roll.

Thanks, yes, I think so too.

Friday, October 2, 2009

Sign of the Three Eyed Men - Another Fan's Review

Sign of the three eyed men

Greetings Friends of Texas Psych!

A few weeks ago, I finally broke down and spent a ransom on the Elevators Box Set, "Sign of the three eyed Men". Kiloh and I have since discussed the positive and negative aspects within the CDs and the Book.

The Positive aspect is: The Music is Out!

The Negative aspect is: The Music is Botched...!

Now, it this point, I am going to ask, politely, for members to refrain from sending me a howling stream of vitriolic and threatening e-mails for pointing out the worst news of all:

It appears the recordings were botched from the start, during the original recording sessions.

The brand of reel-to-reel tape IA chose to supply to the engineers was only the most inexpensive on the market; The photos of the “3M” boxes make this contention perfectly clear.

AMPEX tape machines of the vintage used to record the bands for IA came with a manual, just like the high-tech devices of today. The manual states clearly, "Use AMPEX Tape ONLY!"

Now, some of you may question this as an attempt by Big Corporate America to make a little more money on continued sales. Tape machines, however, do REQUIRE the recommended brand of tape be used for proper results. Within our group, we do have people versed in the use and care of this type of analogue equipment. If the wrong tape "bias" is used in a machine, the results will be disappointing...

Add to this the fact the Contact Sessions are from a deteriorating tape...

"She Lives" on the Stereo Easter Everywhere is from an old cassette that has been knocking around Austin for years... It is deteriorated to the point it is almost a loss...

The people who compiled the music leaned on the "Compression" switch; Some of the tracks, Wait for My Love, Splash 1 (Easter) and Right Track Now are mashed to the point of annoyance... Without "Sour Grapes", really, some of our recordings sound better; Clear, broad and full as intended by the artists.

The best track, in my opinion, in the whole morass of bad tapes and compression is "Reverberation" from the metal acetate. This is the Shining Star...! It showcases a rough garage sound only Austin could produce! And, it gives those of us not fortunate to have seen the Elevators in the early days a chance to hear what "Was and Could Have Been!"

If I had more time, there is a great deal to type about the Set. But, at this time, I am at the end of Professional Re-Education so, it is time for me to go silent, again...