The 13th Floor Elevators*The Psychedelic Sounds Of The 13th Floor Elevators

Label:International Artists – IA-LP-1, International Artists – L. P. - 1 A - No.1
Vinyl, LP, Album, Repress, Mono
Style:Garage Rock, Psychedelic Rock


A1You're Gonna Miss Me
ProducerGordon Bynum
Written-ByR. Erickson*
A2Roller Coaster
Written-ByR. Erickson*, T. Hall*
A3Splash 1 (Now I'm Home)
Written-ByClemantine Hall*, R. Erickson*
Written-ByR. Erickson*, S. Sutherland*, T. Hall*
A5Don't Fall Down
Written-ByR. Erickson*, T. Hall*
B1Fire Engine
Written-ByR. Erickson*, S. Sutherland*, T. Hall*
B2Thru The Rhythm
Written-ByS. Sutherland*, T. Hall*
B3You Don't Know
Written-ByJohn St. Powell*
B4Kingdom Of Heaven
Written-ByJohn St. Powell*
B5Monkey Island
Written-ByJohn St. Powell*
B6Tried To Hide
Written-ByS. Sutherland*, T. Hall*

Companies, etc.



Artist listed on sleeve: The 13th Floor Elevators
Artist listed on labels: Thirteenth Floor Elevators
Heavy cardboard sleeve with yellow and green labels.
Catalog no. on labels: IA-LP-1
Catalog no. on back cover: L. P. - 1 A - No.1
Pressing company derived from the runout groove etchings
This is the 2nd press with credit for Gordon Bynum as producer for Track A1 and printing credits to Tanner 'N' Texas at the bottom of back cover and no street address beneath Int.Artists logo.
Band members/musicians credits [listed above] do not appear on the cover or labels.
Songwriting credits on back cover credit Roky Erickson's contributions to R. Ericson. His name is credited and spelled correctly (R. Erickson) on the labels.

Barcode and Other Identifiers

  • Matrix / Runout (Runout etching side A [variant 1]): IA-5001 SIDE-1 S-1264
  • Matrix / Runout (Runout etching side B [variant 1]): I-A 5002 Re S-1265 Re
  • Matrix / Runout (Runout etching side A [variant 2]): IA-5001 SIDE-1 S-1264
  • Matrix / Runout (Runout etching side B [variant 2]): E̶-̶9̶ I-A 5002 Re S-1265 Re
  • Pressing Plant ID: S-1264
  • Pressing Plant ID: S-1265
  • Rights Society: BMI

Other Versions (5 of 70)

View All
Title (Format)LabelCat#CountryYear
New Submission
The Psychedelic Sounds Of The 13th Floor Elevators (LP, Album, Mono)International Artists, International ArtistsIA-LP-1, L. P. - 1 A - No.1US1966
New Submission
The Psychedelic Sounds Of The 13th Floor Elevators (LP, Album, Promo, Mono)International ArtistsIA-LP-1US1966
Recently Edited
The Psychedelic Sounds Of The 13th Floor Elevators (LP, Album, Stereo, 1st Back Sleeve Variant)International Artists, International ArtistsIA-LP-1, L.P. - 1A - No.1US1967
New Submission
The Psychedelic Sounds Of The 13th Floor Elevators (LP, Album, Stereo)International Artists, International ArtistsIA-LP-1, L.P. - 1A - No.1US1967
New Submission
The Psychedelic Sounds Of The 13th Floor Elevators (8-Track Cartridge, Album, Stereo)International Artists1A8S-1US1968


  • magsrecords.'s avatar
    ISO of an original Mono DISC ONLY in any condition. Could be completely trashed and unplayable, I don’t mind. Hit me up.
    • Phases.And.Stages's avatar
      Looking for a cover if anyone has an extra for sale! Found a loose 66 mono LP floating in a random stack last weekend!
      • myquealer's avatar
        The book that comes with the Music of the Spheres box set identifies this version, with the TnT address and producer credit for You're gonna Miss Me on the back cover, as being pressed 1/31/1967. The promo version was pressed 11/26/1966 and the version without the TnT address, but with the green and yellow labels as being pressed 11/30/1966. This release listing appears to be accurate.
        • BOBROCKS's avatar
          Edited 4 years ago
          This is the one that all the ersatz vinyl junkies have stains in their pants when they talk about it and it's now obligatory to have on your want list. Let me clue you in. This album is an all-time classic. Every song is a winner from the hard garage rock of YOU'RE GONNA MISS ME to the eerie psychedelia of KINGDOM OF HEAVEN. Unfortunately, in terms of sound quality it was never recorded very well and therefore like building a house on mud it is fatally flawed. In 1966 the suits in the recording studio would have had no clue as to what to do with the Elevators. They must have thought it was an alien invasion--all this in conservative Texas mind you. The recording has very few dynamics, a hollow feel to it and sounds as if it were recorded underwater. It has been done in a million formats and still you can only hope for it to sound good. I have owned the holy grail mono pressing and right out of the shrink wrap it has the Rice Crispies effect--you know--snap, crackle, pop. Phenomenal record and one of my personal favorites but again in terms of sound quality we can only wonder what if...
          • harakeric69's avatar
            speaking of classic : spaced out bluesy ranch rock *****
            • streetmouse's avatar
              This is a terrific album, a gem for history, and the sounds of the Texas Psychedelic movement. Too many people complain about the production and sound quality and I have to believe that most of them weren't around when this album was laid down. If you weren't around, let me tell you, most of us have better equipment in our living rooms then was available at the time to most artists.

              On this album and Roky, capture the time in music more then most people were ever able to do. From the very first song they grab hold and draw you deeper into the heat of a Texas summer in the early 60's. Don't go blaming them for not being proficient, they were just a bunch of spaced out kids with something to say, using the language of the day. They were true to the spirit of the times, as were not many of the successful psychedelic or want'a be psychedelic artists who just jumped on board the latest trend. These guys lived the life and it's reflected in their work. So the music is a little insane, so it's a bit immature as viewed through today's eyes and ears, but they paved the way for many to follow and I defy anyone out there to not be blown away by "You're Gonna Miss Me" for the first time.

              Still today it knock my socks off. And on a side note, in High Fidelity [the movie, not the recording process] what better song to blast from your window as your lover moves out. Hey, I may just be a chick, but I know my roots.

              SOME FUN FACTS: The 13th Floor Elevators formed as a band in Austin, Texas in late 1965. Tommy Hall, a University of Texas philosophy/psychology student, had been experimenting with psychedelics and playing the jug in a folk band. Hall came up with the unique idea of placing a microphone next to his jug which created a very unusual sound. He could see that combining his electric jug with psychedelic lyrics opened up a strange new territory, and Hall recruited several additional musicians from a Port Aransas-Rockport area group called the Lingsmen: Stacy Sutherland (lead guitar), Benny Thurman (bass), and John Ike Walton (drums). The final link was Roky Erickson.

              Erickson was seventeen when he had written and released a local Top Ten single with The Spades (August 1965/zero Records) called “You’re Gonna Miss Me.” He was an accomplished rhythm guitar player with a powerful voice, and The Elevators signed with a Houston record company called International Artists. “The Psychedelic Sounds of the 13th Floor Elevators” was released in August 1966, and the song “You’re Gonna Miss Me” eventually reached #56. The album also included such psychedelic songs as “Roller Coaster,” “Kingdom of Heaven,” “Reverberation (Doubt),” and “Splash 1.”

              Before a second album had been attempted, internal friction and drug problems forced the departure of John Ike Walton and Benny Thurman. Replacements were found in Danny Thomas (drums) and Ronnie Leatherman (bass) although Leatherman only lasted until July 1967 to be replaced by Danny Galindo. This unit entered the studio for two months to cut the worthy follow- up album Easter Everywhere (Sept. 1967). It contained an eight minute poem “Slip Inside This House” as well as “Postures (Leave Your Body Behind)” and a cover of Dylan’s “Baby Blue.”

              The Elevators did a good deal of touring that included an appearance on the Dick Clark show. When the Elevators had finished their song, Dick Clark innocently asked Roky, “Who is the head of the band?” Roky’s response was, “We’re all heads.”

              The Elevators were having a rough time of it in Texas as they were constantly in trouble with the police and the Texas Rangers. The penalty at that time for being caught with one joint was twenty years in jail. The first time the Elevators were busted they were not prosecuted due to a technicality, but a second bust occurred at a state university with Roky being ordered to stand trial. The defense attorney decided a plea of insanity (based on Roky’s altered state) would be less harsh for his client, but the result was a five year sentence. Roky would spend the next three and a half years at a mental institution called Rusk State Hospital.

              The Elevators, without Roky who was their figurehead and unofficial leader, were finished. International Artists tried to capitalize on what success the Elevators had by releasing The 13th Floor Elevators Live album (January 1968) which was essentially studio outtakes that were overdubbed with phony cheering and applause. The last Elevator album to appear was Bull of the Woods (December 1968) that was primarily the effort of Stacy Sutherland.

              The Elevators tried to get back together several times after Roky’s release, but an ongoing feud between Roky and Tommy never seemed to get resolved. The death of Stacy Sutherland (killed in a domestic squabble with his wife in 1978) confirmed the Elevators existence was officially over.

              Except for a bizarre single called “Red Temple Prayer (Two-Headed Dog)” that was released in 1975, Roky’s sabbatical would last thirteen years. Roky Erickson returned with the 1980 album based on B-grade horror movie material called Roky Erickson and the Aliens (August 198O/CBS-U.K.) It was produced by Stu Cook (ex-bass player for Creedence Clearwater Revival) and included such songs as “Creature with the Atom Brain,” “Cold Night for Alligators,” “Stand for the Fire Demon,” and “I Walked with a Zombie.”

              Roky continued to make several more interesting albums throughout the 1980s, but his mental condition seemed to be deteriorating. Then in 1989 he was charged with the federal crime of tampering with the U.S. Mail—apparently he collected mail for an apartment complex and never gave it to the addressees. Consequently, he went to court where the judge did not believe that Roky had a mental condition and had him sent to Missouri for “testing.” At some point in the process, Roky snapped.

              Review by Jenell Kesler



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