"Transcendence came with a price," Brian T. Atkinson writes in his introduction to this collection of reflections by and about pioneer psychedelic rocker Roky Erickson (1947-2019). The singer and songwriter who fronted the 13th Floor Elevators burst onto the Texas music scene in 1966 with the release of "You're Gonna Miss Me," the band's only charting single, which featured Erickson's primal vocal stylings. The band attracted considerable regional attention, including interest from a young Janis Joplin, who considered joining the group before opting to go to San Francisco instead. Through his interviews with those who were there and presentation of Erickson's own words, Atkinson chronicles how Erickson was haunted for most of his life by mental illness, likely compounded by his liberal usage of hallucinogenic and other drugs. Despite that, however, his influence on Texas musicians of various genres is vast. As Billy Gibbons of ZZ Top attests in his foreword, "He stands alone to this day and is revered as an artist because he had the gift of a wonderful voice." As with his previous books on Townes Van Zandt, Ray Wylie Hubbard, and Mickey Newbury, Atkinson has recorded hours of interviews with veteran and upcoming musicians who were impacted by Roky Erickson. Along with the insights of long-time music journalists like Joe Nick Patoski and the bittersweet recollections of friends and family members like Mikel Erickson, brother of the singer, this work includes poetry and lyrics written by Erickson during his confinement at Rusk State Hospital in the late 1960s and early 1970s. The picture that emerges is that of a brilliant, troubled mind and an artist whose influence extended far beyond the period of his greatest notoriety, continuing even beyond his death.

A compassionate, shame-free guide for your darkest days “A one-of-a-kind book . . . to read for yourself or give to a struggling friend or loved one without the fear that depression and suicidal thoughts will be minimized, medicalized or over-spiritualized.”—Kay Warren, cofounder of Saddleback Church What happens when loving Jesus doesn’t cure you of depression, anxiety, or suicidal thoughts? You might be crushed by shame over your mental illness, only to be told by well-meaning Christians to “choose joy” and “pray more.” So you beg God to take away the pain, but nothing eases the ache inside. As darkness lingers and color drains from your world, you’re left wondering if God has abandoned you. You just want a way out. But there’s hope. In I Love Jesus, But I Want to Die, Sarah J. Robinson offers a healthy, practical, and shame-free guide for Christians struggling with mental illness. With unflinching honesty, Sarah shares her story of battling depression and fighting to stay alive despite toxic theology that made her afraid to seek help outside the church. Pairing her own story with scriptural insights, mental health research, and simple practices, Sarah helps you reconnect with the God who is present in our deepest anguish and discover that you are worth everything it takes to get better. Beautifully written and full of hard-won wisdom, I Love Jesus, But I Want to Die offers a path toward a rich, hope-filled life in Christ, even when healing doesn’t look like what you expect.

Now is the time to break free of all the things, concepts, traditions, ideologies, people, and routines that are holding you back from living the blessed life that God destined for you. Who executes justice for the oppressed...The Lord gives freedom to the prisoners (Psalm 146:7). You can break the power of evil and live now in eternal freedom, peace, and joy by recognizing: The enemy called easy. The ultimate trap Pride. The roots of bondage. The two Christian mandates. The way to break the beast's yoke. Best-selling author Rick Joyner gives you the weapons to defeat evil and triumph over satan's plan to destroy your life s potential. After Breaking the Power of Evil equips you with a biblically solid battle plan, the included study guide gives you the ammunition to surge forward into action to break the power of evil!

Hurting people ask heart-felt questions about God and suffering. Some "answers" they receive appeal to mystery: “God’s ways are not our ways”. Some answers say God allows evil for a greater purpose. Some say evil is God's punishment. The usual answers fail. They don't support the truth that God loves everyone all the time. God Can't gives a believable answer to why a good and powerful God doesn't prevent evil. Author Thomas Jay Oord says God’s love is inherently uncontrolling. God loves everyone and everything, so God can't control anyone or anything. This means God cannot prevent evil singlehandedly. God can’t stop evildoers, whether human, animal, organism, or inanimate objects and forces. In God Can't, Oord gives a plausible reason why some are healed, but many others are not. God always works to heal everyone, but sometimes our bodies, organisms, or other creatures do not cooperate with God's healing work. Or the conditions of creation are not right for the healing God wants to do. Some people think God causes or allows suffering to teach us lessons or build our character. God Can't disagrees. Oord says God squeezes good from the evil God didn’t want in the first place. God uses pain and suffering without willing or even allowing it. Most people think God can overcome evil singlehandedly. In God Can't, Oord says God needs cooperation for love to reign now and later. This leads to a better view of the afterlife called “relentless love.” It rejects traditional ideas of heaven, hell, and annihilation. Relentless love holds to the possibility all creatures and all creation will respond to God’s love. God Can't is written in understandable language. As a world-renown theologian, Thomas Jay Oord brings credibility to the book’s radical ideas. He explains these ideas through true stories, illustrations, and scripture. God Can't is for those who want answers to tragedy, abuse, and other evils that make sense! What They're Saying... “If conventional notions of God make less and less sense to you, you’ll find Thomas Jay Oord’s new book a breath of fresh air. Simply put, “God Can’t” presents an understanding of God that thoughtful, ethical people can believe in.” -- Brian D. McLaren, author of The Great Spiritual Migration "I did not want this book to end. I wish Dr. Oord had written it 100 years ago, or 1000 years ago... To find your understanding of life and your love for God renewed, read this book." -- Dr. Karen Strand Winslow, Ph.D., Biblical and Jewish Studies Professor of Bible, Azusa Pacific University "As a clinical psychologist working with people in trauma, I owe Thomas Jay Oord an enormous debt of gratitude for recasting the so-called problem of evil in terms that are conceptually satisfying, theologically consistent, and pastorally liberating.” -- Dr Roger Bretherton- Principal Lecturer at the University of Lincoln (UK), Chair of the British Association of Christians in Psychology “Victims of trauma sometimes hear theological responses that imply their suffering is somehow “God’s will." A more careful theological reflection on the nature of the power of a God who is love can help. Oord gives us a clear and compelling alternative in this profoundly insightful and admirably concrete and accessible book.” -- Dr. Anna Case-Winters, Professor of Theology at McCormick Theological Seminary “I know of no book that speaks to suffering with the depth of theological sophistication and psychological sensitivity as God Can’t. This book is a rare combination of depth and accessibility, truly written for the wounded. I recommend it to my students, parishioners, and therapy clients.” -- Dr. Brad D. Strawn, Professor of the Integration of Psychology and Theology, Fuller Theological Seminary

Mickey Newbury (1940–2002) grew up in Houston and moved to Nashville in the early 1960s, following his muse. He wrote top hits for many well-known artists, including Don Gibson, Andy Williams, Kenny Rogers, Tom Jones, and others. He is probably best known, however, for being name-checked in the song “Luckenbach, Texas (Back to the Basics of Love)” by Waylon Jennings. Newbury has been cited by Jennings, Kris Kristofferson, Townes Van Zandt, and many other eminent singer-songwriters as a primary influence. In his own independent fashion, Newbury helped to loosen the grip maintained for decades by the Nashville studio system, thus paving the way for later innovators like Willie Nelson, David Allan Coe, and others. He is still the only songwriter to produce hits on four different charts in the same year in 1968: “Just Dropped In (to See What Condition My Condition was In)” on the pop/rock charts, “Sweet Memories” on easy listening, “Time Is a Thief” on the R & B charts, and “Here Comes the Rain, Baby” in country. Following the successful pattern established in his previous works on Townes Van Zandt and Ray Wylie Hubbard, veteran music journalist Brian T. Atkinson has interviewed artists such as Kris Kristofferson, Bobby Bare, Ramblin’ Jack Elliott, Steve Earle, Rodney Crowell, and many others to learn how Newbury’s influence continues to shape the musical and artistic approach of both seasoned and newer performers. Forewords by Larry Gatlin and Don McLean set the stage for a fascinating look back at one of the most revered songwriters and musicians of recent decades.

The writer of such influential songs as “Pancho and Lefty,” “To Live’s to Fly,” “If I Needed You,” and “For the Sake of the Song,” Townes Van Zandt exerted an influence on at least two generations of Texas musicians that belies his relatively brief, deeply troubled life. Indeed, Van Zandt has influenced millions worldwide in the years since his death, and his impact is growing rapidly. Respected singer/songwriter John Gorka speaks for many when he says, “‘Pancho and Lefty’ changed—it unchained—my idea of what a song could be.” In this tightly woven, intelligently written book, Brian T. Atkinson interviews both well-known musicians and up-and-coming artists to reveal, in the performers’ own words, how their creative careers have been shaped by the life and work of Townes Van Zandt. Kris Kristofferson, Guy Clark, Billy Joe Shaver, Rodney Crowell, Lucinda Williams, and Lyle Lovett are just a few of the established musicians who share their impressions of the breathtakingly beautiful tunes and lyrics he created, along with their humorous, poignant, painful, and indelible memories of witnessing Van Zandt’s rise and fall. Atkinson balances the reminiscences of seasoned veterans with the observations of relative newcomers to the international music scene, such as Jim James (My Morning Jacket), Josh Ritter, and Scott Avett (the Avett Brothers), presenting a nuanced view of Van Zandt’s singular body of work, his reckless lifestyle, and his long-lasting influence. Forewords by “Cowboy” Jack Clement and longtime Van Zandt manager and friend Harold F. Eggers Jr. open the book, and each chapter begins with an introduction in which Atkinson provides context and background, linking each interviewee to Van Zandt’s legacy. Historians, students, and fans of all music from country and folk to rock and grunge will find new insights and recall familiar pleasures as they read I’ll Be Here in the Morning: The Songwriting Legacy of Townes Van Zandt.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Danny Bland’s fictional prose novel about a doomed junkie couple is given depth by his first hand experiences in the ’90s grunge rock scene. “It wasn’t the pounding headache or the all too familiar taste of blood in my mouth that woke me that morning, but the stink of cat piss. They all have cats. Cats and bad tattoos and mops of dyed black hair that reek of cigarettes and watermelon Bubblicious.” This debut novel by veteran Seattle musician Danny Bland follows a pair of outsiders who find themselves locked in the palpable, dizzy grunge-rock scene of early-’90s Seattle. Vulnerable to the high relief of heroin addiction, Bland’s characters ― Charlie Hyatt and Carrie Finch ― are unapologetic protagonists whose epiphanies are as blinding as their weaknesses. Finch, 21, beautiful and dangerous, drowns out the voices in her head and the consequences of a misled life with electric guitars, booze and petulant misbehavior. Her single abiding faith takes the form of an unlikely savior ― ’60s psychedelic musician Roky Erikson. At the ripe old age of 28, Hyatt attempts to make sense of the cards he has been dealt: a miserable job in a porn shop, a drug habit he cannot afford and the wildly unstable woman he had chosen to love. Two damaged people can balance a seesaw for a long time, even finding the illusion of safety; but when one gets off unannounced, the other will fall. As Finch finds sobriety, her sanity and her relationship with Hyatt falter until an inevitable event brings the two back together a decade later.

After death, Townes Van Zandt found the success that he sabotaged during life. Diagnosed as bipolar, an alcoholic, and perennially unreliable, Van Zandt died of heart failure at the age of 52 on New Year’s Day 1997. He released sixteen albums during life, and since his death numerous albums both by and in honor of him have been released and many critical articles published, in addition to several books (including Robert Hardy’s A Deeper Blue by UNT Press). Van Zandt, once an underappreciated and self-destructive wandering troubadour, is now a critics’ and fan-favorite. His best-known songs are “Pancho and Lefty,” covered by Waylon Jennings and Willie Nelson, and “If I Needed You.” Steve Earle’s 2009 Townes album of covers jumpstarted a slate of more recent tributes, including those by Robert Earl Keen, Lucinda Williams, and John Prine. For the Sake of the Song collects ten essays on Townes Van Zandt from a variety of approaches. For example, contributors examine his legacy; his use of the minor key; psychological interpretation of “High, Low and In Between”; his reception in the Austin music scene; and an exploration of his relationship with Richard Dobson, a so-called “outlaw songwriter” with whom he toured as part of the Hemmer Ridge Mountain Boys. An introduction by editors Ann Norton Holbrook and Dan Beller-McKenna provides an overview of Van Zandt’s literary excellence and philosophical wisdom, rare among even the best songwriters.