3, Going Up - The Very Best of the 13th Floor Elevators. Alors qu'ils sont embourbés dans ces problèmes judiciaires, leur maison de disques sort un faux album live, constitué de quelques morceaux de The Psychedelic Sounds of The 13th Floor Elevators et de reprises rock 'n' roll sorties jusque-là en 45 tours. Walton was a banjo picker who was playing for anyone who cared to listen, and Sutherland, already an accomplished guitarist, struck up a conversation.

The Elevators played a bracing fusion of garage rock and genre-defying musical exploration powered by Roky Erickson's feral vocals and rhythm guitar, Stacy Sutherland's concise but agile lead guitar work, and Tommy Hall's amplified jug playing, the latter of which gave them a sound unlike any other in rock. R.I.P. After an extended stay in San Francisco, where they made a strong impression on the budding local rock scene (and reconnected with an old Austin friend, Janis Joplin, who was beginning to make a name for herself in California), the Elevators ended up back in Texas in 1967 as they began work on their second album, Easter Everywhere. You guessed it: black.

Paul Drummond - 13th Floor Elevators: A Visual History quantity . When an attempt to record a live album at a concert in Houston went awry after Sutherland sunk into a bad trip on-stage in 1968, International Artists released The 13th Floor Elevators Live, a ludicrous LP in which old studio demos were overdubbed with crowd noises taken from a boxing match. At the same time, Hall grew tired of his role as the band's overseer, so Sutherland became the de facto leader of the group for the recording of their third and final album, Bull of the Woods. When the band released their debut album, The Psychedelic Sounds of the 13th Floor Elevators, in the fall of 1966, Hall insisted on including bizarre liner notes charting man's efforts to alter his consciousness. A ce moment-là, nos 13TH FLOOR ELEVATORS sont ainsi des morts-vivants qui effraieraient même les zombies recrutés par Georges Romero pour son fameux film qui sort à cette époque crépusculaire. 13th Floor Elevators sont les premiers à utiliser le terme « rock psychédélique »[7],[8] et parmi les premiers à utiliser le mot « psychedelic » dans un disque de rock avec leur album The Psychedelic Sounds of the 13th Floor Elevators et sa pochette graphique vert et pourpre, l'œil et la pyramide, symboles de cette perception supérieure atteinte à travers la prise de LSD[9].

Paperback. Il est formé en 1966 par Roky Erickson au chant et à la guitare (ex-membre du groupe The Spades d'Austin), de Ronnie Leatherman à la basse, de John Ike Walton à la batterie, de Stacey Sutherland à la guitare et de Tommy Hall à la cruche électrique (electric jug en anglais), instrument qui contribuait pour beaucoup au son original du groupe. While the group attempted to keep up a busy schedule of performances, they did so knowing they could end up in jail at any time. The Elevators were also exploring the outer limits of both consciousness and rock & roll in Texas in the early to mid-'60s, a time and place that wasn't quite ready for them, leading to the myriad problems that at once fueled their legend and cut down the band before their time. Le fait « d'altérer chimiquement son état mental » est présenté comme un moyen pour accomplir cette quête. Their lyrics and sleeve notes openly and religiously endorsed the use of drugs (particularly LSD) to alter human consciousness for the better. Les titres des chansons sont explicites: Slide Machine, I've Got Levitation. Bull of the Woods est surtout l’œuvre de Stacy, le moins cramé du bulbe de la confrérie. The Psychedelic Sounds Of The 13th Floor Elevators, Out Of Order / Live At The Avalon Ballroom, She'd Rather Be With Me / You're Gonna Miss Me. Stacy sera condamné à plusieurs mois de prison ferme, et Roky, plaidant la folie pour éviter la prison (il aurait déclaré au tribunal être un martien), est interné dans un hôpital psychiatrique. Danny Galindo became their new bassist, and Danny Thomas signed on as drummer. Sutherland, who had developed a powerful taste for marijuana and downers, began hanging out in Austin, and through mutual acquaintances met Hall; after seeing the Lingsmen play, Hall recruited Sutherland, Walton, and Thurman for the new band he hoped to form. The two became friends, and when they met Benny Thurman (born 1943), a classically trained violinist who could also play bass, they formed a band. Under Hall's leadership, the Elevators did every rehearsal, performance, and recording session under the influence of LSD (except for Walton, who after a bad trip refused to have anything to do with the drug), and while their single was climbing the charts on AM radio, the bandmembers were becoming the heroes of a Texas community that had not yet become known as hippies. While the album was a masterpiece, it didn't spawn a hit like "You're Gonna Miss Me," and it was recorded as the band was beginning to splinter; Walton, unhappy with the band's business affairs and their relationship with International Artists, left the group, and Thurman followed. The 13th Floor Elevators story began in Kerrville, TX, where in 1963, Stacy Sutherland (born 1946) was hanging out in the parking lot of a diner and met John Ike Walton (born 1942). Sutherland, who had developed a powerful taste for marijuana and downers, began hanging out in Austin, and through mutual acquaintances met Hall; after seeing the Lingsmen play, Hall recruited Sutherland, Walton, and Thurman for the new band he hoped to form. Malheureusement pour lui, il trouvera la mort tragiquement en 1978, tué accidentellement d'un coup de carabine par sa femme. Le côté subversif du groupe ne provient pas d'une volonté de choquer, mais dans sa foi absolue (et peut-être aveugle) en ses convictions. With time, the legend of the Elevators grew, and in 2007, author Paul Drummond published a richly detailed biography of the group, Eye Mind: The Saga of Roky Erickson and the 13th Floor Elevators, The Pioneers of Psychedelic Sound. Hall had begun to experiment with drugs such as peyote and mescaline that were local to Texas and that were legal at the time. With Erickson and Hall making only token appearances on the album, and Galindo replaced by Ronnie Leatherman, it was the most stripped-down and elemental Elevators album, despite IA's insistence on adding horn overdubs to several songs. Le premier morceau, Slip inside this house (repris par Primal Scream), évoque le « troisième œil », tandis que le dernier, Postures, explore la réincarnation. Il est formé en 1966 par Roky Erickson au chant et à la guitare (ex-membre du groupe The Spades d'Austin), de Ronnie Leatherman à la basse, de John Ike Walton à la batterie, de Stacey Sutherland à la guitare et de Tommy Hall à la cruche électrique (electric jug en anglais), instrument qui contribuait pour beaucou… Quick View. The two became friends, and when they met Benny Thurman (born 1943), a classically trained violinist who could also play bass, they formed a band.