Paisley Underground Series, #20: The 13th Floor Elevators- The Psychedelic Sounds of The 13th Floor Elevators (1966) / Easter Everywhere (1967) / Bull of the Woods (1968) MP3 & FLAC

"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."

Exhaustively documented in Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968, the mid-sixties saw the rise of countless local D.I.Y. Garage-Rock music scenes throughout the U.S. that, in many ways, laid the groundwork for the psychedelic movement later in the decade and also the Punk movement that first cropped up in NYC in the mid-to-late seventies. While most of the bands comprising these local scenes were short-lived and destined for permanent obscurity, The 13th Floor Elevators, from Austin, TX., transcended their provincial origins by being one of the first bands to openly advocate the use of psychotropic drugs as a form of mind expansion as well as allowing the effects of this practice to overtly influence their music. Another characteristic that set The 13th Floor Elevators apart from their Garage-Rock contemporaries was their musical sophistication, which manifested itself not only in their playing, but also in their tendency to draw from multiple genres to create their distinctive brand of psych-rock. Led by one of the most tragic figures of the rock-era, Roky Erickson, arguably rock 'n' roll's first real counter-culture "wildman" figure and electric jug player Tommy Hall, who claimed to have participated in LSD experiments at UT Austin in 1964, The 13th Floor Elevators led a dangerously precarious (in a legal sense) bohemian existence in amidst the ultra-conservative culture of their home state, something that eventually necessitated an extended stay in San Francisco in 1966-1967, where they helped foment the quickly developing Bay Area psychedelic scene and reconnected with fellow Austin native Janis Joplin (Joplin is rumored to have been influenced by Erickson's distinctive vocal style). Just before their visit to the Bay Area, the band had released their classic debut album, The Psychedelic Sounds of The 13th Floor Elevators, which was something of a clarion call for an impending revolution in rock music. Aided by a breakthrough single, "You're Gonna Miss Me," which landed Erickson, Hall & co. on, of all things, American Bandstand, The 13th Floor Elevators' debut album was a minor commercial success despite their humble Garage-Rock origins; however, what truly set the album apart was its palpable sense of its own pioneering status. In 1966, there were a number of bands toying with adding psychedelic elements to their songs, but in the case of The 13th Floor Elevators, they were pretty much inventing psych-rock from scratch by investing their songs with a manic sense of emotional urgency and broadening their musical palette to include sonic textures falling far outside the purview of conventional pop music (not the least of which were Hall's simply bizarre contributions on the electric jug). After returning to Austin in early 1967, the band began recording what would become their masterpiece, Easter Everywhere, an unparallelled piece of late-sixties psychedelia that features a more polished and confident sound than its precursor matched with a cohesive set of consistently fine songs. From the acid-drenched slow-burner "Slip Inside This House," to the beautifully mournful folk ballad "I Had to Tell You," Roky Erickson's vocals are simply stunning in their ability to convey everything from unhinged passion to wistful melancholia, and Stacy Sutherland's lead guitar work is an exercise in understated melodic brilliance. Sadly, a year after the release of Easter Everywhere, Erickson was arrested for the possession of a single marijuana joint, which, in Texas at the time, was prosecuted in outlandishly harsh ways. In order to avoid a 10 year prison term, Erickson pleaded insanity; consequently, he was institutionalized and repeatedly subjected to electroshock therapy until his release in 1972.  As a result of Erickson's fate, The 13th Floor Elevators slowly fell apart, finally disbanding in 1969 after releasing Bull of the Woods; however, few if any bands were as instrumental in the rise of psychedelia and the unprecedented revolution that rock music underwent during the late 1960s.

The 13th Floor Elevators- "You're Gonna Miss Me" (1966) Unofficial Video

This mid-sixties Austin garage band, led by the legendary Roky Erickson and featuring the electrified jug playing of Tommy Hall, is pretty much ground zero for the psychedelic rock movement. If you've ever wondered what it would be like to drop acid in Texas, well, here ya go...

Paisley Underground Series, #18: The Chesterfield Kings- Night of the Living Eyes: 1979-1983 (1989) / Here Are the Chesterfield Kings (1982) MP3 & FLAC

"Cry all night girl, I won't care, you can't hurt me, I won't be there."

Since its original release in 1972, Nuggets, the legendary compilation of mid-sixties Garage-Rock, has served as a fertile inspiration to any number of underground music scenes ranging from hardcore Punk to psychedelic revivalism. One reason for this is the raw energy and D.Y.I. ethos that characterized bands such as The Electric Prunes, The Standells, and The Seeds, which, to some extent, created the blueprint for both the Punk and Post-Punk movements a decade later (it's no coincidence that Nuggets was curated by future Patti Smith guitarist Lenny Kaye). During the late seventies and early eighties, Los Angeles functioned as something of an underground epicenter for not only Punk, but psyche-rock as well, while the east coast played host to a major Garage-Rock revival spear-headed by bands such as The Lyres, The Fuzztones, and a Rochester band called The Chesterfield Kings. The band was conceived by Greg Prevost, a music journalist and record collector who had previously fronted a garage-punk band called Distorted Levels. In their original incarnation, The Chesterfield Kings went to great lengths to recreate the sound, look, and feel of original Nuggets-era bands, even going so far as to press limited copies of their early singles to render them just as collectable as those of the bands they were emulating. Until releasing their second album, Stop!, The Chesterfield kings were primarily a covers band, but one specializing in only the most esoteric Garage-Rock obscurities. As such, on their early singles, which were eventually collected on Night of the Living Eyes: 1979-1983, and their debut LP, Here Are The Chesterfield Kings, the band is able to consistently avoid sounding derivative because the material is, by and large, unfamiliar and the performances are informed with Punk-inspired fury and a meticulous attention to mid-sixties-era authenticity. The tracks comprising the first half of Night of the Living Eyes 1979-1983 are the band's initial pre-debut LP releases, which tend to showcase a more basic, punk-influenced sound than their later work. For example, on "Exit 9," a cover of a long-forgotten Garage-Rock gem by The Heard, The Chesterfield Kings manage to capture the grimy psychedelic feel of the original while injecting a little Punk rage for good measure, and when all is said and done, it's their version that sounds definitive. While their debut LP, Here Are The Chesterfield Kings, turns down the Punk quotient a notch or two, the results are no less impressive, as on The Turtles' "Outside Chance," which features razor-sharp guitar notes and sneering vocals that lend the song a little more bite than The Turtles were able to give it. Over the years, many have written off The Chesterfield Kings as being too derivative and one-note, but where a lot of their contemporaries eventually abandoned Garage-Rock for a more conventional, and thoroughly forgettable, hard-rock sound, The Chesterfield Kings have, for the most part, stayed true to the rich tradition that provided them with their original inspiration.

Paisley Underground Series, #7: The Salvation Army- Happen Happened (1992) MP3 & FLAC

"Memories and as time goes by, memories will age your mind."

Michael Quercio was one of the pivotal figures of The Paisley Underground, not only because he gave the scene its moniker (which most, including himself, eventually came to hate because of its emphasis on image over musical substance), but also as the leader of The Salvation Army, a punky garage-pysch band who would later become the more overtly psychedelic and equally important The Three O'Clock. If you're only familiar with the latter, then Happen Happened will come as something of a surprise because The Salvation Army had a much darker, grittier sound than the later, renamed version of the band, and the album itself, which collects all of The Salvation Army's recordings, happens to be one of the most vivid documents of the early days of the paisley scene in L.A. The album begins with one of Quercio's earliest recording sessions (for The Minutemen's New Alliance label), which yielded the excellent 1981 "Happen Happens / Mind Gardens" single. This early version of "Mind Gardens" is built around a simple Punk-inspired chord progression and Quercio's snarling vocals, and represents quite a contrast to the album version recorded the following year, which loses much of its directness beneath all the reverb and jangle. Despite this, The Salvation Army's sole original album is full of great Nuggets-inspired tracks such as the blues-psych cover of The Great Society's "Going Home," a song featuring a swaggering guitar-based hook and one of Quercio's better early vocal performances. Happen Happened is one of the most essential releases related to The Paisley Underground, as it both a great album and a rare snapshot of the scene's early roots in the L.A. Hardcore/Punk movement.

The Easybeats- "Sorry" (1966) Live on TV

A great clip from an extremely underrated Australian Mod-Beat Garage-Rock band: The Easybeats

Paisley Underground Series, #1: Various Artists- Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968 (1998) Box Set (4 Discs) MP3 & FLAC

"I can't get your love; I can't get a fraction. Uh-oh, little girl, psychotic reaction."

I've decided to initiate this massive series with what is arguably the closest approximation to a point of origin for The Paisley Underground. Originally released as a double album in 1972, Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968 was the first substantial attempt to re-appraise the incredibly fertile American garage-rock movement of the mid to late sixties. This movement, much like The Paisley Underground, was quite diverse, including garage, psychedelic, country and chamber-pop bands (and everything in between), some of which virtually invented the category "one hit wonder." Overall, Nuggets builds a spectacular and exhaustive counter-narrative to the sixties rock mainstream. For every derivative gem, for example The Knickerbockers "Lies," which sounds a bit like a Beatles tribute band, there are songs such as "Dirty Water" by The Standells" and "Psychotic Reaction" by Count Five, both of which clearly anticipate the unique marriage of garage, country and psychedelia that would blossom (again) in the early eighties. The original 1972 double album comprises the first disc, but don't stop there because the remaining discs harbor many obscure gems ripe for rediscovery. One of the best (and strangest) is "The Little Black Egg" by The Nightcrawlers, an ingenious mash-up of Jangle-Pop, Southern Gothic, and psychedelia. Nuggets is an essential point of departure for anyone interested in psych and neo-psych music.