VA- ACID VISIONS Vol.2 (1988 VINYL) Texas & Lousiana | K Billy y su supersonido de los 60s

Whenever discussing the great garage bands of the 60s, Texas is inevitably brought up. The bands from Texas seem to have their own special niche in the 60s scene; from the psychedelic ravings of the 13th Floor Elevators and Red Crayola, to the all out ’punk’ of The Zakary Thaks and Moving Sidewalks, Texas bands often seemed to go to extremes in their overzealous approach to the music and their general over-the-edge weirdness. From growing up in Texas, Corpus Cristi to be exact, I think a lot of it had to do with the over-conservative nature of Texas Society in general Having long hair was a good way to be involved in a physical confrontation with some “good ole boys. “While this was common everywhere at the time, Texans seem to take it much more to heart. Also Texas kids were more behind the times as compared with their East and West Coast counterparts. Scenes and trends would be outdated by the time they reached the Lone Star State. As a result, the Texas groups always seemed to take things one step farther as if to make up for missing the boat in the beginning. Combine the rebellion against the conservative overtones and the talent for taking the trends of the times to extremes and you have an atmosphere that produced some of the best raunchy rock/punk from the 60s a̾c̾t̾u̾a̾l̾ ̾e̾r̾a̾ ̾h̾e̾r̾e̾s̾y̾ ̾d̾o̾e̾s̾n̾’̾t̾ ̾d̾e̾s̾e̾r̾v̾e̾ ̾t̾o̾ ̾h̾a̾v̾e̾ ̾t̾h̾i̾s̾ ̾m̾a̾g̾i̾c̾ ̾m̾u̾s̾i̾c̾,̾ ̾b̾u̾t̾ ̾a̾t̾ ̾l̾e̾a̾s̾t̾ ̾w̾e̾ ̾c̾a̾n̾ ̾e̾n̾j̾o̾y̾ ̾&̾ ̾p̾r̾e̾s̾e̾r̾v̾e̾ ̾i̾t̾ a̾u̾d̾i̾o̾ ̾i̾m̾p̾r̾o̾v̾e̾d̾ ̾w̾i̾t̾h̾ ̾a̾ ̾n̾e̾w̾ ̾m̾e̾t̾h̾o̾d̾ ̾t̾o̾ ̾c̾o̾m̾b̾a̾t̾ ̾t̾h̾e̾ ̾y̾o̾u̾t̾u̾b̾e̾ ̾b̾i̾t̾r̾a̾e̾ ̾l̾i̾m̾i̾t̾a̾t̾i̾o̾n̾ ̾o̾f̾ ̾2̾0̾2̾2̾*̾ ̾*̾I̾f̾ ̾t̾h̾e̾ ̾v̾i̾d̾e̾o̾ ̾h̾a̾v̾e̾ ̾a̾d̾s̾ ̾I̾ ̾d̾o̾n̾’̾t̾ ̾p̾u̾t̾ ̾t̾h̾e̾m̾ ̾i̾n̾t̾o̾ ̾i̾t̾,̾ ̾t̾h̾a̾t̾’̾s̾ ̾w̾h̾y̾ ̾I̾ ̾r̾e̾c̾o̾m̾m̾e̾n̾d̾ ̾o̾f̾f̾l̾i̾n̾e̾ ̾l̾i̾s̾t̾e̾n̾i̾n̾g̾ ̾a̾l̾w̾a̾y̾s̾ ̾O̾R̾ ̾H̾A̾V̾I̾N̾G̾ ̾T̾H̾E̾ ̾V̾I̾N̾Y̾L̾,̾ ̾I̾ ̾d̾o̾n̾’̾t̾ ̾g̾e̾t̾ ̾a̾n̾y̾t̾h̾i̾n̾g̾ ̾w̾i̾t̾h̾ ̾t̾h̾i̾s̾.̾ ̾I̾ ̾h̾o̾p̾e̾ ̾t̾h̾e̾y̾ ̾w̾e̾r̾e̾ ̾a̾t̾ ̾l̾e̾a̾s̾t̾ ̾a̾d̾s̾ ̾f̾r̾o̾m̾ ̾t̾h̾e̾ ̾7̾0̾s̾.̾ ̾I̾ ̾d̾o̾n̾’̾t̾ ̾k̾n̾o̾w̾ ̾i̾f̾ ̾w̾i̾t̾h̾ ̾y̾t̾ ̾p̾r̾e̾m̾i̾u̾m̾ ̾y̾o̾u̾ ̾h̾a̾v̾e̾n̾’̾t̾ ̾a̾n̾y̾ ̾a̾d̾s̾ ̾ ̾*̾I̾f̾ ̾s̾o̾m̾e̾ ̾c̾o̾m̾m̾e̾n̾t̾s̾ ̾d̾i̾s̾a̾p̾p̾e̾a̾r̾ ̾s̾o̾m̾e̾t̾i̾m̾e̾s̾ ̾i̾s̾ ̾c̾a̾u̾s̾e̾ ̾y̾o̾u̾t̾u̾b̾e̾ ̾r̾o̾b̾o̾t̾s̾ ̾w̾h̾o̾ ̾d̾e̾l̾e̾t̾e̾ ̾t̾h̾e̾m̾ ̾n̾o̾t̾ ̾m̾e̾,̾ ̾y̾t̾ ̾a̾l̾s̾o̾ ̾b̾l̾o̾c̾k̾ ̾s̾o̾m̾e̾ ̾o̾f̾ ̾m̾y̾ ̾c̾o̾m̾e̾n̾t̾s̾ ̾o̾r̾ ̾r̾e̾s̾p̾o̾n̾s̾e̾s̾ ©̾ ̾T̾O̾ ̾O̾W̾N̾E̾R̾S̾ ̾&̾ ̾C̾O̾P̾Y̾R̾I̾G̾H̾T̾ ̾H̾O̾L̾D̾E̾R̾S̾:̾ ̾T̾h̾i̾s̾ ̾c̾h̾a̾n̾n̾e̾l̾ ̾i̾s̾ ̾c̾r̾e̾a̾t̾e̾d̾ ̾t̾o̾ ̾p̾r̾o̾m̾o̾t̾e̾ ̾m̾a̾g̾n̾i̾f̾i̾c̾e̾n̾t̾ ̾A̾l̾b̾u̾m̾s̾.̾ ̾A̾b̾s̾o̾l̾u̾t̾e̾l̾y̾,̾ ̾N̾O̾ ̾C̾O̾P̾Y̾R̾I̾G̾H̾T̾ ̾I̾N̾F̾R̾I̾N̾G̾E̾M̾E̾N̾T̾ ̾I̾N̾T̾E̾N̾D̾E̾D̾.̾ ̾T̾h̾i̾s̾ ̾C̾H̾A̾N̾N̾E̾L̾ ̾C̾L̾A̾I̾M̾S̾ ̾N̾O̾ ̾R̾I̾G̾H̾T̾S̾ ̾O̾R̾ ̾O̾W̾N̾E̾R̾S̾H̾I̾P̾ ̾o̾v̾e̾r̾ ̾t̾h̾e̾ ̾c̾o̾n̾t̾e̾n̾t̾s̾ ̾p̾o̾s̾t̾e̾d̾.̾ ̾I̾f̾ ̾y̾o̾u̾ ̾w̾i̾s̾h̾ ̾f̾o̾r̾ ̾a̾ ̾A̾l̾b̾u̾m̾ ̾t̾o̾ ̾b̾e̾ ̾r̾e̾m̾o̾v̾e̾d̾,̾ ̾p̾l̾e̾a̾s̾e̾ ̾l̾e̾t̾ ̾m̾e̾ ̾k̾n̾o̾w̾ ̾s̾o̾ ̾I̾ ̾c̾a̾n̾ ̾r̾e̾m̾o̾v̾e̾ ̾i̾t̾ ̾f̾r̾o̾m̾ ̾m̾y̾ ̾f̾e̾e̾d̾ ̾i̾m̾m̾e̾d̾i̾a̾t̾e̾l̾y̾ ̾:̾ ̾n̾a̾m̾g̾e̾n̾o̾1̾9̾6̾9̾@̾g̾m̾a̾i̾l̾.̾c̾o̾m̾ ̾ ̾I̾ ̾H̾A̾V̾E̾N̾T̾ ̾A̾N̾Y̾ ̾M̾O̾N̾E̾T̾I̾Z̾A̾T̾I̾O̾N̾ y̾o̾u̾t̾u̾b̾e̾ ̾a̾d̾s̾ ̾a̾n̾d̾ ̾c̾o̾p̾y̾r̾i̾g̾h̾t̾ ̾ ̾a̾r̾e̾ ̾d̾e̾v̾e̾l̾o̾p̾e̾d̾ ̾b̾y̾ ̾p̾s̾y̾c̾h̾o̾p̾a̾t̾h̾s