Been Here Before (Extended Mix) VERIFIED
If Roky Erickson had vanished from the face of the earth after the 13th Floor Elevators released their epochal debut single, "You're Gonna Miss Me," in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work. But while Erickson has become something of an icon among fans of rock at its edgiest, far too many regard the man as some sort of acid casualty who peaked with his first record and has been babbling about movie monsters ever since. Though Erickson's first two albums with the 13th Floor Elevators are watershed works of the early psychedelic movement (especially the wondrous Easter Everywhere), his later solo releases (recorded after a stay in a Texas mental hospital took a fearsome toll on Erickson's psyche) contain many moments of brilliant, bare-wired rock & roll despite their freak-show reputation, and his occasional forays into folk-rock (especially on the lovely All That May Do My Rhyme) possess a gentle wisdom and mesmerizing beauty that are genuinely inspiring. Erickson's body of recorded work has long merited an intelligently assembled critical overview, and thankfully Bill Bentley, a longtime Erickson partisan who assembled the 1990 multi-artist compilation Where the Pyramid Meets the Eye: A Tribute to Roky Erickson, has created just such an album with I Have Always Been Here Before: The Roky Erickson Anthology. Beginning with Erickson's first single (a magnetic 1965 side with his early band the Spades), I Have Always Been Here Before swings into a well-chosen ten-song overview of Erickson's tenure with the Elevators (and while the liner notes claim the version of "Slip Inside This House" is a rare single edit, it's actually the full-length album cut). Even more importantly, the bulk of I Have Always Been Here Before sorts the pearls from a number of poorly assembled collections of Erickson's solo recordings, and the switchblade proto-punk rock of "Click Your Fingers Applauding the Play," the twisted pop of "Creature With the Atom Brain," and the plaintive folk-rock of "You Don't Love Me Yet" make clear that Erickson's talents went in a number of different directions, but his bright, clear vocals, fine songs, and sharp rhythm guitar work shine like a jewel in any context. I Have Always Been Here Before: The Roky Erickson Anthology confirms what a handful of fans have long known -- that Erickson is a major talent who has created a remarkable body of work -- and this is easily the most comprehensive and satisfying collection of his music assembled to date. If you have any interest at all in Roky Erickson's music, this is easily the best starting point to investigate his work, and unlike many Erickson collections, the artist will actually get royalties for this one.
Been Here Before (Extended Mix)
A bootleg is any unsanctioned release. This can refer to releases where the track has been pirated before release, or even pirated after release. This can also refer to surreptitious recordings done at live recordings. This latter case has some interesting stories with regards to many songs so as a result, these can be very desired. A classic story is perhaps with Guess Who's American Woman which was originally performed as a live improv. A surreptitious recording of the set captured that live improv. This bootleg is out there but it was also shown to the band who later polished it up for a formal release.
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And another reason that I'm happy to live in this period is that we have been forced to a point where we're going to have to grapple with the problems that men have been trying to grapple with through history, but the demand didn't force them to do it. Survival demands that we grapple with them. Men, for years now, have been talking about war and peace. But now, no longer can they just talk about it. It is no longer a choice between violence and nonviolence in this world; it's nonviolence or nonexistence.
We aren't going to let any mace stop us. We are masters in our nonviolent movement in disarming police forces; they don't know what to do, I've seen them so often. I remember in Birmingham, Alabama, when we were in that majestic struggle there we would move out of the 16th Street Baptist Church day after day; by the hundreds we would move out. And Bull Connor would tell them to send the dogs forth and they did come; but we just went before the dogs singing, "Ain't gonna let nobody turn me round." Bull Connor next would say, "Turn the fire hoses on." And as I said to you the other night, Bull Connor didn't know history. He knew a kind of physics that somehow didn't relate to the transphysics that we knew about. And that was the fact that there was a certain kind of fire that no water could put out. And we went before the fire hoses; we had known water. If we were Baptist or some other denomination, we had been immersed. If we were Methodist, and some others, we had been sprinkled, but we knew water.
That couldn't stop us. And we just went on before the dogs and we would look at them; and we'd go on before the water hoses and we would look at it, and we'd just go on singing "Over my head I see freedom in the air." And then we would be thrown in the paddy wagons, and sometimes we were stacked in there like sardines in a can. And they would throw us in, and old Bull would say, "Take them off," and they did; and we would just go in the paddy wagon singing, "We Shall Overcome." And every now and then we'd get in the jail, and we'd see the jailers looking through the windows being moved by our prayers, and being moved by our words and our songs. And there was a power there which Bull Connor couldn't adjust to; and so we ended up transforming Bull into a steer, and we won our struggle in Birmingham.
But I'm going to tell you what my imagination tells me. It's possible that these men were afraid. You see, the Jericho road is a dangerous road. I remember when Mrs. King and I were first in Jerusalem. We rented a car and drove from Jerusalem down to Jericho. And as soon as we got on that road, I said to my wife, "I can see why Jesus used this as a setting for his parable." It's a winding, meandering road. It's really conducive for ambushing. You start out in Jerusalem, which is about 1200 miles, or rather 1200 feet above sea level. And by the time you get down to Jericho, fifteen or twenty minutes later, you're about 2200 feet below sea level. That's a dangerous road. In the days of Jesus it came to be known as the "Bloody Pass." And you know, it's possible that the priest and the Levite looked over that man on the ground and wondered if the robbers were still around. Or it's possible that they felt that the man on the ground was merely faking. And he was acting like he had been robbed and hurt, in order to seize them over there, lure them there for quick and easy seizure. And so the first question that the Levite asked was, "If I stop to help this man, what will happen to me?" But then the Good Samaritan came by. And he reversed the question: "If I do not stop to help this man, what will happen to him?"
It came out in the New York Times the next morning, that if I had sneezed, I would have died. Well, about four days later, they allowed me, after the operation, after my chest had been opened, and the blade had been taken out, to move around in the wheel chair in the hospital. They allowed me to read some of the mail that came in, and from all over the states, and the world, kind letters came in. I read a few, but one of them I will never forget. I had received one from the President and the Vice-President. I've forgotten what those telegrams said. I'd received a visit and a letter from the Governor of New York, but I've forgotten what the letter said. But there was another letter that came from a little girl, a young girl who was a student at the White Plains High School. And I looked at that letter, and I'll never forget it. It said simply, "Dear Dr. King: I am a ninth-grade student at the White Plains High School." She said, "While it should not matter, I would like to mention that I am a white girl. I read in the paper of your misfortune, and of your suffering. And I read that if you had sneezed, you would have died. And I'm simply writing you to say that I'm so happy that you didn't sneeze." 041b061a72