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The 13th Floor Elevators @ Wikipedia

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allmusic.com says:
The 13th Floor Elevators were one of the pioneering bands of psychedelic music; many have cited them as the first true psychedelic rock band, and if they weren't, they certainly predated most of the San Francisco bands that gave the sound a global audience. 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. 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.

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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). 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 two became friends, and when they met Benny Thurman (born 1943), a classically trained violinist who could also play bass, they formed a band. The Lingsmen featured Sutherland and Max Range on guitars, Thurman on bass, and Walton on drums, and soon landed a steady gig in the resort town of Port Aransas, TX. Meanwhile, Tommy Hall (born 1942) was a student at the University of Texas, studying chemical engineering and psychology. Hall was keenly intelligent and had a philosophical bent, and he fell in with a group of Austin bohemians who were experimenting with peyote. In 1964, Hall claims to have been part of LSD experiments which took place at UT; no records exist which confirm such experiments, but however he became interested in the drug, Hall was a quick convert, and believed it was a tool to reaching the next level in psychological and spiritual evolution. As pop music grew more sophisticated with the emergence of Bob Dylan and the Beatles, Hall believed that rock & roll could be used as a medium to advance his ideas about psychedelics and philosophy. 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.

Hall was a gifted lyricist but no singer, so the group needed a lead vocalist. Roger Kynard Erickson (born 1947), known to his friend as Roky, was the frontman with a popular Austin band called the Spades, who had scored a local hit with "You're Gonna Miss Me." Hall and Sutherland believed Erickson's raw, powerful voice was just what their band needed, and in late 1965 they lured him away from the Spades to join the newly formed 13th Floor Elevators (the name a reference to the floor on a skyscraper that usually goes unnamed). In early 1966, the Elevators re-recorded "You're Gonna Miss Me" for a local label, Contact Records; the new version was in every respect more powerful than the original, and it looked to have the makings of a hit. By the spring, the record had been snapped up by an upstart label in Houston, International Artists Records, and IA was able to turn "You're Gonna Miss Me" into a small nationwide success.

While on the surface the Elevators rise to fame seemed ordinary, underneath things were anything but. 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. 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. And while LSD was not yet illegal when the group began using it, the marijuana they habitually smoked certainly was, and around the time "You're Gonna Miss Me" was released, Erickson, Hall, Sutherland, and Walton were busted for possession. 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. Despite this, the Elevators went out on tour and even appeared on American Bandstand, where Dick Clark innocently asked Hall, who was the head man of the group, to which he replied, "Well, we're all heads."

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. 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. Danny Galindo became their new bassist, and Danny Thomas signed on as drummer. The band's fragile legal situation prevented them from touring and they played only limited local shows in support of the album. 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.

The Elevators' use of drugs was beginning to catch up with most of them, and Erickson in particular began to buckle under his constant use of LSD and speed, ending up in a hospital for a while. 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. 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. When Erickson was busted for marijuana again in 1969, it spelled the end of the group for all practical purposes, especially when Erickson, pleading insanity on the advice of a lawyer, ended up in an Austin mental hospital. Hall and some friends attempted to liberate Roky, who had tried to escape several times on his own, and eventually he was sentenced to the Rusk Prison for the Criminally Insane, where he was subjected to repeated shock treatments and powerful psychoactive drugs.

Various handfuls of Elevators alumni played periodic reunion shows during the '70s after Erickson was finally released from Rusk, but those came to an end in 1978, after Sutherland was shot to death by his wife during a domestic dispute. Since then, only Erickson has continued to make music on a regular basis, finally overcoming frequent bouts of physical and mental illness to make a comeback album in 2010. 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. In 2009, Drummond helped compile Sign of the Three Eyed Men, a ten-disc box set that finally brought together the Elevators' recorded legacy in its definitive form.

________________________ The Thirteenth Floor Elevators' collection contains: ________________________

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The Thirteenth Floor Elevators - The Albums Collection (2011) [4CD Box Set] RE-UP

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Disc 1: The Thirteenth Floor Elevators - Psychedelic Sounds Of The 13th Floor Elevators (1966)
EAC-FLAC with CUE & LOG - 223 MB | Full Scans - available | MP3 CBR 320 Kbps - 82 MB
Running time - 35:42 minutes

allmusic.com says:
Did the 13th Floor Elevators invent psychedelic rock? Aficionados will be debating that point for decades, but if Roky Erickson and his fellow travelers into inner space weren't there first, they were certainly close to the front of the line, and there are few albums from the early stages of the psych movement that sound as distinctively trippy – and remain as pleasing – as the group's groundbreaking debut, The Psychedelic Sounds of the 13th Floor Elevators. In 1966, psychedelia hadn't been around long enough for its clichés to be set in stone, and Psychedelic Sounds thankfully avoids most of them; while the sensuous twists of the melodies and the charming psychobabble of the lyrics make it sound like these folks were indulging in something stronger than Pearl Beer, at this point the Elevators sounded like a smarter-than-average folk-rock band with a truly uncommon level of intensity. Roky Erickson's vocals are strong and compelling throughout, whether he's wailing like some lysergic James Brown or murmuring quietly, and Stacy Sutherland's guitar leads – long on melodic invention without a lot of pointless heroics – are a real treat to hear. And nobody played electric jug quite like Tommy Hall…actually, nobody played it at all besides him, but his oddball noises gave the band a truly unique sonic texture. If you want to argue that psychedelia was as much a frame of mind as a musical style, it's instructive to compare the recording of "You're Gonna Miss Me" by Erickson's earlier band, the Spades, to the version on this album – the difference is more attitudinal than anything else, but it's enough to make all the difference in the world. (The division is even clearer between the Spades' "We Sell Soul" and the rewrite on Psychedelic Sounds, "Don't Fall Down"). The 13th Floor Elevators were trailblazers in the psychedelic rock scene, and in time they'd pay a heavy price for exploring the outer edges of musical and psychological possibility, but along the way they left behind a few fine albums, and The Psychedelic Sounds of the 13th Floor Elevators remains a potent delight.

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Disc 2: The Thirteenth Floor Elevators - Easter Everywhere (1967)
EAC-FLAC with CUE & LOG - 292 MB | Full Scans - available | MP3 CBR 320 Kbps - 104 MB
Running time - 45:32 minutes

allmusic.com says:
On their groundbreaking debut album, the 13th Floor Elevators sometimes sounded as if they were still learning how to work with the strange beast of their own creation known as psychedelic rock. But their second set, 1967's Easter Everywhere, found them a great deal more comfortable and confident with their loose and hypnotically trippy approach. Easter Everywhere doesn't have an out-of-the-box classic cut like "You're Gonna Miss Me" or "Fire Engine" from The Psychedelic Sounds of the 13th Floor Elevators, but in many ways it's a more cohesive and consistent work, and the subtle but effective structures of the longer tracks grow and develop through repeated listenings, while rockers like "She Lives (In a Time of Her Own)" and "Levitation" pack a surprisingly visceral punch. Stacy Sutherland was never a blazing guitar hero, but his concise aural punctuations on the epochal "Slip Inside This House" and a superb cover of Dylan's "It's All Over Now, Baby Blue" are perfectly suited to the material. In addition, the rhythm section of Dan Galindo on bass and Danny Thomas on drums locks these songs into place with confidence and skill. The strange patterns of Tommy Hall's electric jug playing are as gloriously bewildering as ever, merging the music of the spheres with an alien attack, and Roky Erickson's vocals make even the most acid-damaged poesy sound passionate, graceful, and wildly alive. And Roky and the Elevators never sounded sweeter and saner than they did on the penultimate tune, "I Had to Tell You," with Roky seemingly offering a postscript to his many sad years to follow with the words "If you fear I'll lose my spirit/Like a drunkard's wasted wine/Don't you even think about it/I'm feeling fine." Even if less influential than The Psychedelic Sounds of the 13th Floor Elevators, Easter Everywhere is every bit as compelling and a true benchmark of early psychedelic rock – not bad for an album produced by Kenny Rogers' brother.

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Disc 3: The Thirteenth Floor Elevators - Bull Of The Woods (1968)
EAC-FLAC with CUE & LOG - 215 MB | Full Scans - available | MP3 CBR 320 Kbps - 81 MB
Running time - 36:08 minutes

allmusic.com says:
While the 13th Floor Elevators' debut album caught them as they were still buzzing with the excitement of their musical journey through inner space and Easter Everywhere found them exploring the possibilities of the recording studio as well as their own creative process, their final studio set, 1969's Bull of the Woods, documented a band that was running out of gas. Legal problems were dogging the Elevators and preventing them from touring, they were justifiably unhappy with their record company, lead vocalist Roky Erickson was beginning to buckle under the group's steady diet of LSD, and lyricist and founder Tommy Hall was growing tired of the demands of the group after the difficult process of writing Easter Everywhere. As a consequence, guitarist Stacy Sutherland became the de facto leader of the group during the recording of Bull of the Woods, writing most of the songs and singing lead on several numbers, and in his hands the 13th Floor Elevators were a very different band. Sutherland's compositions on Bull of the Woods are more languid and pastoral than the material that dominated the first two albums, and while there's still a psychedelic undertow to this music, Sutherland's music was gentler and his lyrics more solidly grounded in the real world than what he created in tandem with Erickson and Hall. At the same time, Bull of the Woods also showcases Sutherland's consistent strength as a guitarist, and his fluid lead lines and melodies rooted in country and blues figures are Texas psychedelic music at its purest and most refreshing; after the psychic roller coaster of the 13th Floor Elevators' first two albums, Bull of the Woods is a relatively quiet trip to the countryside, and it's joyous, frequently beautiful stuff. Unfortunately, the sessions for Bull of the Woods were recorded quickly, and producer Ray Rush overdubbed an incongruous horn section on several numbers at the insistence of International Artists Records, but even in compromised form, Bull of the Woods is a testament to Stacy Sutherland's talents and his often overlooked role in one of America's truly visionary rock bands.

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Disc 4: The Thirteenth Floor Elevators - Live (1968)
EAC-FLAC with CUE & LOG - 209 MB | Full Scans - available | MP3 CBR 320 Kbps - 74 MB
Running time - 31:43 minutes

allmusic.com says:
In 1968, the 13th Floor Elevators were dealing with legal troubles and personal strife that prevented them from touring, but they still had a reputation in Texas as a powerful live act, and their label, International Artists, wanted to capitalize on that by releasing an album of the group in concert. However, IA's attempt to record a live Elevators album in 1967 proved little short of disastrous – the group was booked into an unfamiliar and uncomfortable venue in Houston and guitarist Stacy Sutherland had a bad reaction to the LSD he customarily took before a show, and the results were well recorded but musically ragged. So the folks at IA decided to simply invent an Elevators live disc – Live is an often laughable collection of unreleased studio recordings and album cuts overdubbed with crowd noises (reportedly taken from a boxing match) kicked off by an announcer declaring "We're all gathered together here for psychedelic music! We all are a family!" with the sincerity and hippie fervor of a used car salesman. Despite all this, Live is not without interest for serious Elevators fans. Beneath the sound effects, there are several excellent early performances that otherwise appeared only on B-sides or bootlegs, including some fiery covers (great versions of "Everybody Needs Somebody to Love," "Before You Accuse Me," and "I'm Gonna Love You Too") and little-heard group originals ("You Gotta Take That Girl" and "You Can't Hurt Me Anymore"). However, the versions of "You're Gonna Miss Me," "Tried to Hide," and "She Lives (In a Time of Her Own)" are the same ones that appeared on The Psychedelic Sounds of the 13th Floor Elevators or Easter Everywhere, albeit in curious stereo mixes with the canned audience bobbing up and down throughout. The 2010 collection Headstone: The Contact Sessions features the rare material on Live in its original form (no crowd noises and in considerably better fidelity), rendering Live pointless for most listeners, though the kitsch factor of this obviously phony concert makes it entertaining for folks with a taste for arcane psychedelic artifacts.