Cover of The 13th Floor Elevators Easter Everywhere
Lord Of Nothing

• Rating:

For fans of the 13th floor elevators,lovers of psychedelic rock,enthusiasts of 60s music,listeners interested in psychedelic blues,followers of bob dylan covers
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THE REVIEW

Still ethereal atmospheres from an unclean, reverberating sound, still juggling (god, how it becomes unbearable over time!), still lyrics oscillating between love and hallucinogenic mysticism.

The best songs: "Baby Blue", a cover borrowed from the genius of Bob Dylan, extended and rarefied, is a psychedelic blues; "I Had To Tell You" which drags like a big sick crocodile sinking in the humid and deep Everglades.

An album of psychedelic blues, less raga, less exhausting, less lysergic and less fascinating than the previous one, still suffers from mediocre production.

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Summary by Bot

Easter Everywhere by The 13th Floor Elevators presents ethereal, hallucinogenic atmospheres with a blend of psychedelic blues. Standout tracks include the Bob Dylan cover "Baby Blue" and "I Had To Tell You." Despite intriguing songs, the album's production is mediocre and less captivating than its predecessor.

Tracklist Videos

01   Slip Inside This House (08:03)

02   Slide Machine (03:43)

03   She Lives (In a Time of Her Own) (02:57)

04   Nobody to Love (02:59)

05   Baby Blue (05:17)

06   Earthquake (04:50)

07   Dust (04:02)

08   Levitation (02:40)

09   I Had to Tell You (02:28)

10   Pictures (Leave Your Body Behind) (06:28)

The 13th Floor Elevators

American psychedelic rock band formed in Austin, Texas, in 1965. Fronted by Roky Erickson with Tommy Hall’s electric jug and Stacy Sutherland’s guitar, they pioneered a raw, hallucinatory garage-psych sound. Their key releases include The Psychedelic Sounds of the 13th Floor Elevators (1966), Easter Everywhere (1967), and Bull of the Woods (1969).
06 Reviews

Other reviews

By Melissa

 The psychotic hallucinations of Roky Erickson and Tommy Hall reach their peak in Easter Everywhere.

 Those who consider them a minor group are mistaken, they were precursors of the American counterculture.