It is a hotly debated topic in music circles as to who invented psychedelic music, but there were no greater or more devoted purveyors of the subgenre than Austin’s legendary 13th Floor Elevators. Formed in the mid-60’s out of the ashes of several local Austin bands, the Elevators made no bones about being all about the psychedelic, LSD-halucinogenic experience. They combined a Texas garage sound with psychedelics, and on their precious few recordings, a fascinating murky sound emerges. The murkiness of their sound is partly due to circumstance; the original masters of their recordings have long since disappeared (somewhere in Houston, rumour has it), so we are more or less stuck with the sound we’ve got.
The Elevators formed in Austin, spent some time playing shows throughout the Houston area, and also moved to San Francisco in the late 60’s (even headlining shows with the likes of Big Brother & the Holding Company opening for them). The Elevators’ secret weapons were threefold: 1. Tommy Hall. Not only did Hall write most of their psychedelic/spiritual/searching lyrics, he also played their most distinctive instrument. Playing the jug with a microphone held up to it, Hall’s distinct sound permeates the Elevators’ songs, creating a queasy feel throughout. 2. Underrated guitarist Stacy Sutherland not only played great solos, but his real strength lay in his complex and melodic rhythm playing (Sutherland was gunned down in the late 1970’s by his own wife). 3. Last and most important: the otherworldly wail of lead singer/guitarist Roky Erickson. Possessing one of the most powerful voices in rock history, Roky embodied the unbridled energy of great garage music.
The rock and roll landscape is littered with casualties and near-casualties, and none are more legendary that Roky Erickson. Listening to their music, it is not surprising that the Elevators ran into trouble with the Texas law in the late 60’s. After one of his drug busts, Roky was facing a substantial prison term. His lawyers instead were able to work out a deal for a stay in a mental institution. While there, Roky was subjected to electro-shock treatment, and he emerged crazier than he was when he went in. Whether he was already nuts (he supposedly now suffers from schizophrenia), or whether it was due to his prolific drug use and/or the treatment in the institution, or a combination thereof, Roky was never the same upon his release. He later recorded a series of horror movie inspired, gritty rock records (featuring tunes such as “Night of the Vampire”, “I Walked With a Zombie”, “Cold Night For Alligators”, “I’m a Demon (and I love Rock & Roll)”, “Creature With the Atom Brain”, “Red Temple Prayer (Two Headed Dog)”, etc.) that are held in high esteem by garage enthusiasts. It seems that Roky is finally turning his life around nowadays. For a gripping and fascinating study of Roky Erickson, check out the documentary ‘You’re Gonna Miss Me’.
OK, on to the actual album review. Easter Everywhere is the greatest psychedelic record ever made, rivaled only by The Elevators’ own debut and Pink Floyd’s Piper at the Gates of Dawn (led by the more famous drug casualty/loony, Syd Barrett. Barrett and Erickson are definitely kindred souls). The 8-minute opener “Slip Inside This House” may be their definitive piece, while tunes like “She Lives (In a Time of Her Own)”, “Earthquake” and “Pictures (Leave Your Body Behind)” are all classic psychedelic should-have-been singles. These tunes feature the Elevators rocking out at full speed, but they were equally at home slowing the pace down. Two notable tunes here in particular are sparse and haunting, their original “Dust” and a gorgeous cover of Bob Dylan’s “It’s All Over Now, Baby Blue” (entitled here just “Baby Blue”), which is reminiscent more of Van Morrison’s great version with Them. In fact, Roky’s voice often reminds the listener of a very young Them-era Van Morrison. No small compliment. Below is "Baby Blue"...
To explore some mindblowing psychedelia, check out Easter Everywhere. Once you get used to the murky production, you will find that the lo-fi feel actually enhances the overall mystery and listening experience.
For Further Listening:
The Elevators’ debut, The Psychedelic Sounds of the 13th Floor Elevators, is equally essential. It also features the closest thing they ever had to a hit, the classic screamer “You’re Gonna Miss Me”. Check out this appropriately grimy link to a performance of "Your Gonna Miss Me" from the 60's. Does anyone have a voice better suited for basic rock & roll than Roky Erickson? Their third album features Roky only sporadically, but Bull of the Woods is still worthwhile as Stacy Sutherland takes the reigns on their studio swansong. Going Up is a decent overview.
If you dare to enter the world of Roky Erickson, I would suggest the raw Gremlins Have Pictures or the two-disc retrospective I Have Always Been Here Before.
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