The 13th Floor Elevators
Bull Of The Woods

A classic album often considered minor and thus underrated, "Bull of the Woods" was released in 1969 before the group dissolved for good.

Information about the record is scarce, but it is certain that Roy Erickson collaborated on only four tracks. Tommy Hall, with his jug, plays on only one track, even though he composed many of them himself. These two almost defections might seem negative for the result if it weren't for the fact that guitarist Stacy Sutherland was in an exceptional state of grace both in terms of composition and execution. Additionally, the group's original bassist Ronnie Leatherman is also in excellent form and inspired.

The group's sound does not differ much from the second album (it was, in fact, composed simultaneously), yet it finds even more alienating forms. The tracks are all of excellent quality, and even though it's an album with a compact sound, each track has lively peculiarities.

"Livin On," with a flamboyant Erickson, is a dirty mid-tempo r&b where Sutherland's guitar immediately lets us know who the protagonist is, even though Roy keeps up, demonstrating his great personality (in my opinion, one of the best voices ever).

"Barnyard Blues" is an acid blues with a warm voice and Sutherland's excellent guitar, the bass-drums rhythm emphasizes an extremely sensual movement. "Till Then" is a typical uplifting and joyful Byrds-like track, sung in multiple voices with very fast passages. With "Never Another," the jug and Roy's otherworldly voice lead us into a track as hallucinating as it is disorienting: frenzied brass counterpoints, improbable tempo changes, and Roy as a desperate lysergic bluesman calling for the pulsating hypnotic finale.

After an overwhelming trip, here come the bells of "Rose And The Thorn." The atmosphere is gloomy, Stacy's voice recites cryptic verses, and in the distance, ghost choirs can be heard, but then a enveloping bassline and a hopeful guitar riff make us soar into the clear sky. These progressions repeat with highly evocative and moving moments, the guitar seems like a second voice. The track is among the most unique ever heard.

"Scarlet And Gold" is no less in terms of originality; this strange track seems like a dub avant la lettre punctuated by psychedelic breaks. "Street Song" is pure electric shock: the breaks, the guitar solos, the relentless drumming throw us down into the clouds of a storm. The initial riff is almost a nod to Pink Floyd's "Astronomy Domine."

"Dr. Doom" is a fun folk-rock with Ray peaceful and resolute on vocals. The horns in the choruses are as delightful as they are cheerful. The central break with the reprise of the verse is splendid. "With You" is a swaying chant with multiple voices, featuring beautiful bass and drumming work.

The album concludes with, and thus the saga of the 13th Floor Elevators, an unforgettable track among the group's most beautiful: "May The Circle Remain Unbroken," with Roy headed among the immortals.

Sure, this album can be considered a bit naive in many parts, but it possesses a magical and mysterious aura that few albums have. For a fan of the group and psychedelia in general, it is a must-have.