There can’t be a better album to listen to than The 13th Floor Elevators‘ 1967 masterpiece Easter Everywhere to celebrate today’s double whammy holiday (that’s Easter Sunday for you heathens and 4/20 for you straights). Recorded a year and a half after their incredibly influential debut album which opened a generation’s third eye while keeping their bodies moving and shaking, their sophomore album finds the Elevators still definitely crazed and lysergic but with more refined and less immediate songwriting. On the debut the stompers and screamers took up the majority of the album leaving few tracks to introspective reflection, while here it’s the opposite. While Levitation and She Lives In a Time Of Her Own are some of the catchiest garage-punk songs of the 60s, it’s the softer side of Roky Erickson’s band that really takes their music to another level, a reflective and melancholic comedown to an impending “madness”. On songs like the Tommy Hall penned opener Slip Inside This House and the majestic Dylan cover of It’s All Over Now, Baby Blue (considered by Dylan as the best one out there) the band’s distorted, yet comforting soundscapes take your soul to a higher plane.
It’s like sparking one up and going searching for Easter Eggs in a misty forest, the sun trying to crack the aqueous vapour above, while you find a kaleidoscopic egg inside a hollow trunk under a rolling hill. You eat it and start noticing rabbit ears behind every tree, but you thought the master hider was only one. You go to the pair that is closest to you, and as you grab them you realise they are made out of paper, as are the rest of them, covering the horizon, and as you swallow the last piece of egg you realise that the search will never be over and neither will your excitement.