Podcasts about easter everywhere

THE REVEREND OF KARMIC YOUTH-1The Interpreter2Starry Eyes3For You4Bloody Hammer5The Wind And More6Night Of The Vampire7You're Gonna Miss Me8I Walked With A Zombie9Stand For The Fire Demon10 When You Get Delighted11 To Think12 Warning13 True Love Cast Out All Evil14 Loving Isn't A Part Time Thing15 The Looking Glass SongAs lead singer of Texas' infamous 13th Floor Elevators — one of rock's earliest, strangest and greatest psychedelic bands — Roky Erickson explored the far reaches of musical and personal extremes. The Elevators' first two albums (Psychedelic Sounds of the 13th Floor Elevators and Easter Everywhere, released, respectively, in 1966 and '67) are essential classics whose far-reaching influence transcends genre boundaries. Following a nightmarish '70s mental-hospital stint that reportedly had a devastating long-term effect on his mental health, Erickson's subsequent work revealed a singularly brilliant songwriter and performer whose talent was no less impressive for the fact that he was singing about zombies, vampires and aliens. Indeed, the demons that abound in Roky's songs are all-too-real reflections of his own troubled psyche, and the combination of the artist's oddly poetic lyrical constructions and his bracing banshee wail makes it clear, as it wasn't always, that he's not kidding.The Elevators fell apart in the late '60s, when Erickson began a three-year stretch in a state mental institution to avoid criminal prosecution on a drug charge. He didn't return to recording until the second half of the '70s, with a string of one-off singles and the four-song Sponge-label EP (reissued in 1988 as Two Headed Dog). Three of the EP's numbers were re-recorded for the 1980 CBS UK LP (the title of which is actually five unpronounceable ideograms). Roky Erickson and the Aliens is an excellent manifestation of his post-Elevators persona, expressing dark dilemmas through creepy horror-movie imagery. Roky sings such offbeat gems as “I Walked with a Zombie” and “Creature With the Atom Brain” in a tremulous voice that insists he's telling the truth — or at least believes he is. Former Creedence Clearwater bassist Stu Cook turned in an excellent production job, bringing the hard electric guitars (and Bill Miller's electric autoharp) into a sharp focus that underscores Roky's excitable state. Erickson and band seem less unstable than the drug-crazed Elevators (best remembered for “You're Gonna Miss Me”), but just barely.

James R. Wilson, Jr. is a son, a sibling, a husband, a father, an artist, and -- amongst many other things -- he's my guest for Episode No. 153.James and I sat down to talk about family, growing up in KCK, fatherhood, the world of creating and making art, skating, and his creations on both YouTube and Instagram.We also talked a little bit about a few of James' favorite albums, which were these:Easter Everywhere (1967), 13th Floor ElevatorsMuzak Orchestra's Muzak Stimulus Progression 1976 (1976)The Infamous (1995), Mobb DeepPropaghandi's Less Talk, More Rock (1996)Please consider giving James a follow on any or all of his IG channels, which are @waxtron, @waxtronindustries, @ducketsruckus, & @terranova.tapes; his YouTube is Waxtron Industries. And please keep your eyes peeled for his upcoming art show on Saturday, April 12, at Alcott Art Center.Many thanks to James and to all that support the show.copyright disclaimer: I do not own the rights to the audio samples found within this episode. They are clips from a Joe Russo track, called, "Molly & Anni," which I lifted from his 2019 release, Phér•bōney, c/o Woodlot Recording.

Esta semana, en Islas de Robinson, baño nocturno veraniego entre clásicos de profunda esencia psicodélica. Suenan: LOVE - “NOTHING” (“FOUR SAIL”, 1969) / THE ACTION - "A SAYING FOR TODAY" (1968/1985) / TRIPSICHORD MUSIC BOX - "ON THE LAST RIDE" ("TRIPSICHORD" 1970) / CRABBY APPLETON - “CATHERINE” (“CRABBY APPLETON”, 1970) / FAMILY - “HOW-HI-THE-LI” (“FAMILY ENTERTAINMENT”, 1969) / JEFFERSON AIRPLANE - “IN TIME” (“CROWN OF CREATION”, 1968) / 13TH FLOOR ELEVATORS - “DUST” (“EASTER EVERYWHERE”, 1967) / THE FALLEN ANGELS - “DIDN’T I” (“IT’S A LONG WAY DOWN”, 1968) / JETHRO TULL - "LOOK INTO THE SUN ("STAND UP", 1969) / PINK FLOYD - “IF” (ATOM HEART MOTHER”, 1970) / THE PRETTY THINGS - “GRASS” (“PARACHUTE”, 1970) / RAINMAN - “GET YOU TO COME THROUGH” (“RAINMAN”, 1971)Escuchar audio

Here's one for all the jug addicts. Trip inside this house with us as we absorb these 2 albums like a drop of rye fungus on blotting paper.

Esta semana en Islas de Robinson, psicodelia entre 1967 y 1970... Y ¡viva el baloncesto! Suenan: JULY - "DANDELION SEEDS" ("JULY", 1968) / PRETTY THINGS - "BRACELETS OF FINGERS" ("S.F. SORROW", 1968) / SAM GOPAL - "YOU'RE ALONE NOW" ("ESCALATOR", 1969) / DAMON - "POOR POOR GENIE" ("SONG OF A GYPSY", 1968) / DOUGLAS FIR - "COMING BACK HOME" ("HARD HEARTSINGIN'", 1970) / CLEAR LIGHT - "NIGHT SOUNDS LOUD" ("CLEAR LIGHT", 1967) / 13TH FLOOR ELEVATORS - "SLIDE MACHINE" ("EASTER EVERYWHERE", 1967) / ELIZABETH - "WHEN ALL ELSE FAILS" ("ELIZABETH", 1968) / GREEN - "HAVE YOU EVER" ("GREEN", 1969) / KENSINGTON MARKET - "SIDE I AM" ("AARDVARK", 1969) / AUTOSALVAGE - "RAMPANT GENERALITIES" ("AUTOSALVAGE", 1968) / THE GLASS FAMILY - "GUESS I'LL LET YOU GO" ("ELECTRIC BAND", 1969) / PUFF - "OF NOT BEING ABLE TO GO TO SLEEP" ("PUFF", 1968) Escuchar audio

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Just a note before I begin, this episode deals with mental illness and with the methods, close to torture, used to treat it in the middle of the last century, so anyone for whom that's a delicate subject may want to skip this one. There's a term that often gets used about some musicians, "outsider music", and it's a term that I'm somewhat uncomfortable with. It's a term that gets applied to anyone eccentric, whether someone like Jandek who releases his own albums through mail order and just does his own thing, or someone like Hasil Adkins who made wild rockabilly music, or an entertainer like Tiny Tim who had a bizarre but consistent view of showbusiness, or a band like the Shaggs who were just plain incompetent, or people like Wesley Willis or Wild Man Fischer who had serious mental health problems. The problem with the term is that it erases these differences, and that it assumes that the most interesting thing about the music is the person behind it. It also erases talent, especially in the case of mentally ill artists. There are several mutually incompatible assumptions about creative artists who have mental health problems. One is that their music should be treated like a freak show, and either appreciated for that reason (if you're someone who gets their entertainment from someone else's suffering) or disdained (if you don't want to do that). Other people think that the mental illness *makes* the music, that great art comes from mental health problems, while yet others will argue that someone's art has nothing at all to do with their mental health, and is not influenced by it in any way. All of these positions are, of course, wrong. Mental illness doesn't stop someone from making great art -- except when it takes away the ability to make art at all of course -- people like Brian Wilson or Vincent Van Gogh are testament to that, and their best work has nothing to do with a freak show. But nor does it grant the ability to make great art. Someone with no musical talent who develops schizophrenia just becomes a schizophrenic person with no musical talent. But to say that mental illness doesn't affect the work is also nonsense. Everything about someone's life affects their art, especially something as important as their mental health. And the real problem with these labels comes with those artists who don't manage to develop a substantial body of work before their illness sets in. Those with real musical talent, but who end up getting put in the outsider artist bucket because their work is so obviously affected by their illness. And one of those is Roky Erickson, of the Thirteenth Floor Elevators. Erickson started his career aged fifteen with a group based in Austin, Texas, called the Spades -- and I hope that this wasn't intended as a racial slur, as the word was sometimes used at this time. Their first single, "We Sell Soul", released in 1965, shows the clear influence of "Gloria" by Them: [Excerpt: The Spades, "We Sell Soul"] That was a regional hit, and so their second single, the first song that Erickson had ever written, was recorded in the same style: [Excerpt: The Spades, "You're Gonna Miss Me"] But by December 1965, Erickson had left the Spades, and joined Stacy Sutherland, Benny Thurman, and John Ike Walton, the members of another band called the Lingsmen. They were joined by a fifth man, Tommy Hall, who became the band's lyricist, liner-note writer, and general spokesman, and who played an electric jug, creating an effect somewhere between bubbling and a wobble board. Hall started calling the group's music "psychedelic rock" in late 1965 after being influenced by Timothy Leary, and I've seen some people say he was the first person ever to use the term. The group released a rerecorded version of "You're Gonna Miss Me" on a small local label: [Excerpt: The Thirteenth Floor Elevators, "You're Gonna Miss Me"] That was released in January 1966, and later picked up by a larger label, International Artists, which was the home of a lot of Texan psychedelic bands, like the Golden Dawn and the Red Crayola. It spent most of the year slowly climbing the charts, eventually reaching number fifty-five -- the highest chart position the group would ever have. It was included on their debut album, The Psychedelic Sounds of the Thirteenth Floor Elevators, released towards the end of the year, by which time Thurman had been replaced by Ronnie Leatherman on bass. The album's liner notes were written by Hall and had a large amount of advocacy for the use of psychedelic drugs -- as did the music itself, though some of this was a little more subtle, like the song "Fire Engine", where the line "let me take you to the empty place" was meant to sound like "DMT place", DMT being a psychedelic drug: [Excerpt: The Thirteenth Floor Elevators, "Fire Engine"] Around this time, the band crossed paths with Janis Joplin, who was a big fan of the group and who they tried to get to join them, but Joplin decided to move to California instead. Tommy Hall was a huge advocate for both the potential of LSD to open people's minds, and of the general semantics of Alfred Korzybski, and his enthusiasm for both showed up on the group's second album. Unfortunately, not all of the group were of quite the same mind, and Leatherman and Walton left early in the sessions for that album, Easter Everywhere, which was considered not quite up to the standards of the previous album, though Erickson and Hall's eight-minute long "Slip Inside This House" is a favourite of most of the fans. [Excerpt: The Thirteenth Floor Elevators, "Slip Inside This House"] Unfortunately, the band started to disintegrate. The core of Erickson, Hall, and Sutherland remained together, but various bass players and drummers came and went -- though one of the band's rhythm sections, Duke Davis and Danny Thomas, was good enough that the band's label got them to back Lightnin' Hopkins on his album Free Form Patterns. According to reports I've read, Davis and Thomas were both on acid during the session, but they still play solidly throughout: [Excerpt: Lightnin' Hopkins, "Give Me Time to Think"] Another potential bass player at this point was a roommate of Erickson's, who Erickson tried to get into the band but who Hall turned down. Townes Van Zandt later went on to rather bigger things. Erickson also started to have some mental problems -- apparently taking LSD literally every day for years is not great for you. And when he was arrested for marijuana possession, he decided to use his mental health as a way to get out of a potential ten-year jail sentence, by getting three years in a psychiatric hospital instead. He later claimed that he was lying about his problems and acting mad to get this sentence, but he had been having problems before then. Hall and Sutherland and their current rhythm section finished up a few demos, and the record label put out one final album made up of outtakes, plus a faked live album with crowd noise overdubbed on some earlier studio recordings, but with their lead singer in hospital for three years the band split up. Hall became a Scientologist and quit the music industry altogether. If Erickson *was* faking his illness when he went into the hospital, he wasn't faking it by the time he came out. Psychiatric medicine was still in its infancy then. It's far from wonderful today, but at least in general you can be relatively sure that the treatment won't make you worse. That wasn't the case in the late sixties and early seventies, and Erickson was forced through multiple sessions of electro-shock therapy. (To be clear, electro-shock therapy can sometimes be effective for some conditions when done properly and with the patient's consent. This wasn't either.) When Erickson finally got out, he tried to put his life back together, and formed a new band called Bleib Alien, later renamed Roky Erickson and the Aliens, who made hard rock records with lyrics about science fiction and horror themes like zombies, fire demons, medical experimentation, and two-headed dogs: [Excerpt: Roky Erickson and the Aliens, "Two-Headed Dog"] Erickson became a cult artist, cited as an influence by everyone from Henry Rollins to ZZ Top, and intermittently released recordings for the next few decades, but he spent much of the time dealing with severe, untreated, schizophrenia. There are many stories about this time that get shared, and are easy to find online, but which I'm not going to repeat here because they tend to be shared in a freak-show manner. But by 2001 he was placed in the legal custody of his brother . This kind of situation is often abused, but in Erickson's case it seems to have done him good. His brother got him legal and medical help, and helped him start finally receiving royalties on some of his records. There was a one-off fiftieth anniversary reunion of most of the living original members of the Thirteenth Floor Elevators, and in 2010 Erickson released his finest album, a collaboration with the band Okkervil River, True Love Cast Out All Evil: [Excerpt: Roky Erickson and Okkervil River, "Ain't Blues Too Bad"] By all accounts the last years of Erickson's life were happier and more comfortable than any he'd had. He got to tour the world, playing for appreciative crowds, he got his schizophrenia under control, and he was able to live a relatively independent life, and to know that new generations of musicians admired his work. He died in 2019, aged seventy-one.

When this week's guest, producer/audio engineer Paul Mahern, discovered 'Easter Everywhere' by Texas psychedelic rock band 13th Floor Elevators in the early 80s, he was a punk rock loving musician (Indianapolis Indiana's Zero Boys) looking to expand his musical horizons. He got all that he bargained for and more with this wonderfully dense, expansive and mind-blowing record by a band - led by Tommy Hall and Roky Erickson - that went all-in on their spirituality-through-psychedelics ideals. "You're moving, keep climbing...leave your body behind." Songs featured in this episode: I've Got Levitation (live, 1967) - 13th Floor Elevators; Vicious Circle - Zero Boys; Forecast - Diane Coffee (feat. Deep Sea Diver); Lucifer Sam - Pink Floyd; You're Gonna Miss Me - 13th Floor Elevators; Night of the Vampire - Roky Erickson; Slip Inside This House, Slide Machine - 13th Floor Elevators; Monkey Island - Powell St John; She Lives (In a Time of Her Own) - The Judybats; She Lives (In a Time of Her Own) - 13th Floor Elevators; Let's Spend The Night Together - The Rolling Stones; Nobody To Love - 13th Floor Elevators; D.C.B.A.-25 - Jefferson Airplane; It's All Over Now, Baby Blue - Bob Dylan; It's All Over Now, Baby Blue, Earthquake - 13th Floor Elevators; I Look Around - Rain Parade; Things'll Never Be The Same - Spacemen 3; Dust - 13th Floor Elevators; Think (Let Tomorrow Bee) - Sebadoh; I've Got Levitation, I Had To Tell You - 13th Floor Elevators; Sweet Virginia - The Rolling Stones; Universal Soldier - Buffy Sainte Marie; Postures (Leave Your Body Behind) - 13th Floor Elevators; Earthquake - Butthole Surfers

Junior and Bop are Join by the incomparable Rodney Sauls and Conspiracy man on this special Easter

Have you ever been told something that you thought was obvious? If you’ve been around the church for a while, you’ve probably heard that Christians are meant to be like salt and light. This might sound obvious to Christians, but what does it mean exactly? In this message, Dr. Ed Stetzer describes what Jesus meant when he told Christians to be salt and light.

Have you ever been told something that you thought was obvious? If you’ve been around the church for a while, you’ve probably heard that Christians are meant to be like salt and light. This might sound obvious to Christians, but what does it mean exactly? In this message, Dr. Ed Stetzer describes what Jesus meant when he told Christians to be salt and light.

Marty and Kris are back at it again with a new yearly episode...The next 2 episodes, we're gonna tackle 1967! We start with talking about how 1967 is a "Fulcrum" year for music (2:35) as we transition into an in-depth conversation about the "Summer of Love", it's cultural impact at the time and how it endured and influenced other generations. (14:36). Moving on, Marty unveils his pick for 1967, 13th Floor Elevators second album, "Easter Everywhere". (This one was a lot of fun, we hope you guys enjoy it! Reach out at aotypodcast@gmail.com and check out our Patreon at patreon.com/albumoftheyear

This week we’re talking about the 13th Floor Elevators. Pioneers of psychedelic rock, these guys took more acid than most people took aspirin. Among many things, this exacerbated singer/guitarist Roky Erickson’s mental illness, which lead him on a rollercoaster of stints in mental institutions, tooth abscesses, and a whole period where he believed he was an alien. Thankfully, he made a recovery and a full on comeback prior to his death in 2019. This band holds up. Break out your weed for this one.Closing track: “Kingdom of Heaven” from The Psychedelic Sounds of the 13th Floor Elevators (1967)Check out our episode playlists on Spotify!https://open.spotify.com/user/motherpuncherincJoin our Patreon for bonus episodes, early access to shows, and more!https://www.patreon.com/everyalbumeverInstagram:Follow Mike @popejesseventura for show updates and @pandermonkey for original musicFollow Alex @motherpuncherMike’s Picks:Easter Everywhere (1967) — Best Album, Personal FavoriteBull of the Woods (1969) — Worst Album, Least FavoriteAlex’s Picks:The Psychedelic Sounds of the 13th Floor Elevators (1966) — Best Album, Personal FavoriteBull of the Woods (1969) — Worst Album, Least FavoriteAlbums we discussed this episode…The Psychedelic Sounds of the 13th Floor Elevators (1966)Easter Everywhere (1967)Bull of the Woods (1969)

No, this isn't about the Dinosaur, Jr. album with the same name. It's weirder than that. In the decades since Pink Floyd, the Beatles, and dozens of psychedelic bands topped the charts, experimental music has been pushed to the side; ghettoized. But it has always been there and continues to evolve like a kaleidoscope. Steve takes Keith on a journey down the rabbit hole, deep underground to discuss the first psychedelic band, an Australian punk band, a pair of eccentric sisters, and a Brazilian group that has been dubbed psychedelic witches. Tune in as they delve into the lairs of the 13th Floor Elevators, Tropical Fuck Storm, CocoRosie, and RAKTA. As Keith mentioned in the episode, each of these bands benefit from a deeper listen than a random song or two, nonetheless here are a few possible entry points to the bands we discussed this week:13th Floor Elevators have three albums, but it's the first two (The Psychedelic Sounds of... and Easter Everywhere) that feature the classic line-up. Some of our favorites are "Step Inside This House," "Roller Coaster," "She Lives in a Time of Her Own," and "Levitation." Their most famous song and title of the Roky Erickson biopic is "You're Gonna Miss Me."Tropical Fuck Storm have only been around a few years and have released two proper albums and a series of singles with b-sides. "You Let My Tyres Down," "Two Afternoons," "Suburbiopia," and "Maria 63" may be a good way in.Trying to navigate CocoRosie is a bit more difficult. They have been around over 15 years and have released seven albums. Their songs vary in style from freak folk to hip hop to something that might be played by a baroque music box. They surely have a handful of songs that you will like, it just comes down to finding the ones that suit your taste. "Lucky Clover," "Terrible Angels," "Werewolf," "Restless" and the whole Grey Oceans album are all good entry points. Or you could start with their most recent album, Put the Shine On, released in March of 2020.It will probably only take you a few minutes to know whether you want to hear more RAKTA. You could start with "Falha Comum," "Fin do Mundo," "Raiz Forte," or "Atrativos Da Mentira." Support the show (https://teespring.com/stores/the-new-dad-rock)

On this week’s podcast, we speak with Darcey Steinke, author of Flash Count Diary: Menopause and the Vindication of Natural Life. When menopause hit, she set out on a quest to better understand what was happening to her body and her identity as a woman.  The result is an extraordinary memoir that is more than personal.  It is a cultural quest to examine menopause through the lens of science, history, animal nature, and supernatural and patriarchal systems of belief.  For Darcey, hot flashes became a conduit to self-discovery.  Perhaps menopause is more than just a cluster of symptoms, but rather something vast and deep for us to experience. Darcey is also the author of Easter Everywhere and five novels: Sister Golden Hair, Milk, Jesus Saves, Suicide Blonde, and Up Through the Water. https://www.darceysteinke.com/index.html Flash Count Diary is available on Amazon or at your local book store.

tl;dr Darcey Steinke on menopause, changing bodies, & a new way forward   MENOPAUSE! It's a thing loads of us go through that's fraught with misinformation, silence, shame, and PATRIARCHY.   So, this week, I'm chatting with author Darcey Steinke about her new book, "Flash Count Diary: Menopause and the Vindication of Natural Life". I had a chance to read the book and chat about it with some friends in a queer elders book club I'm in.   Darcey and I dive into the ways menopause is vilified by the modern medical industrial complex, the stories we don't have, and what she discovered along the way around pleasure, sex, and changing bodies.   We acknowledge that this episode is cis and hetero centric as it's a largely about Darcey's memoir. If you're looking for some resources for other kinds of bodies and genders, head to dawnserra.com/ep287 for a few to check out.   You can grab "Flash Count Diary" wherever books are sold. Patreons, don't miss my bonus chat with Darcey just for you! You'll hear a moving story of how and why Darcey found inspiration in killer whales as she moved through menopause and what we can learn about changing bodies from these fierce mammals. It was one of my favorite parts of the book, too! The bonus is for folks who support at $3 per month and above, and you can hear it at patreon.com/sgrpodcast.   Have questions of your own you'd like featured on the show? Send me a note using the contact form in the navigation above! Follow Sex Gets Real on Twitter and Facebook and Dawn is on Instagram. About Darcey Steinke: Darcey Steinke is the author of the memoir Easter Everywhere and five novels: Sister Golden Hair, Milk, Jesus Saves, Suicide Blonde, and Up Through the Water. Her books have been translated into ten languages, and her nonfiction has appeared widely. Her web story “Blindspot” was a part of the 2000 Whitney Biennial. She has been both a Henry Hoyns and a Stegner Fellow, and a Writer-in-Residence at the University of Mississippi. She has taught at the New School, Columbia University School of the Arts, New York University, Princeton, and the American University of Paris. She lives with her husband in Brooklyn.   Stay in touch with Darcey at darceysteinke.com and on Instagram. Listen and subscribe to Sex Gets Real Listen and subscribe on iTunes Check us out on Stitcher Don't forget about I Heart Radio's Spreaker Pop over to Google Play Use the player at the top of this page. Tune in on Spotify. Find the Sex Gets Real channel on IHeartRadio. Hearing from you is the best Contact form: Click here (and it's anonymous) Episode Transcript Head to dawnserra.com/ep287 for the full transcript.

BTA Sounds' tribute to the great pioneer of psychedelic rock from Austin TX who passed away May 4th 2019. Here are some my fave tracks from Roky, The Spades and the 13th Floor Elevators. ALL HAIL ROKY, KING OF THE BEASTS! 1. 13th Floor Elevators - Slip Inside This House (1967 Easter Everywhere) 2. The Spades - You're Gonna Miss Me (1965) 3. The Spades - We Sell Soul (1965) 4. 13th Floor Elevators - Tried To Hide (Contact Sessions 1966) 5. 13th Floor Elevators - Everybody Needs Somebody (1966 Contact Sessions) 6. 13th Floor Elevators - Roller Coaster (1966 Contact Sessions) 7. 13th Floor Elevators - (I've Got) Levitation (1967 Easter Everywhere Mono Mix) 8. 13th Floor Elevators - I Had To Tell You (1967 Easter Everywhere) 9. 13th Floor Elevators - May The Circle Remain Unbroken 10. Roky Erickson - Interview/Blowin' In The Wind (From Fan made documentary 1984) 11. Roky Erickson - Cold Night For Alligators (from fan made doc 1984) 12. Roky Erickson - Interview/Creature With The Atom Brain (acoustic version 1980) 13. I Love The Living You - (recorded in Rusk State Mental Institution early 1970's) 14. You Don't Love Me Yet - (All That May Do My Rhyme 1995) 15. Roky and the Aliens - I Think Of Demons (The Evil One 1980)

Ghost Town w/ Creepy Steve radio/internet broadcast from Dec. 3, 2017, hanging out in the garages and clubs of 1960s Texas, digging The 13th Floor Elevators' second LP Easter Everywhere.

November 1967: Love, Cream, Moody Blues, Buffalo Springfield, Jefferson Airplane, Beatles, Amboy Dukes, 13th Floor Elevators

Paul Major is one of the originators to obscure psych and private press collecting and many of the records he found and documented are now seen as classics, such as Fraction, Peter Grudzien and Marcus. Paul started buying records when the psychedelic movement was at its peak in the late 60s, digging through the local K-mart’s dollar bins looking for anything that looked “psychedelic” and was able to pick up many rarities by today’s standard (e.g. Morgen, Easter Everywhere by The Elevators and The Moving Sidewalks). In the 70s he became aware of private presses and real people music (a term coined by him) and started to distinguish between those records and major label releases. This “realization” happened when he for the first time heard Attic Demonstration by Kenneth Higney and since then private presses has been his prime interest as a collector. During the early 80s he turned record collecting into a profession. His main sales channel was his homemade catalogues, which was sent out to other likeminded collectors. With the catalogues, he also introduced these types of records to a much wider audience and among the collectors receiving the catalogues was the psychedelic scholar Patrick Lundborg, who have said that “Paul Major is perhaps the single most important person for re-discovering the whole "private" and "local" music scenes of the 1960s-1970s" and that "The Acid Archives book is basically an extension of what he did in the late 1980s and early 1990s.”* Paul went into the record label business in the mid-90s when he started the label Parallel World, which both released contemporary artists as well as compilations and reissues, including Bobb Trimble, Blo and Steve Linnegar’s Snakeshed, which at that time must have been known to only a few hardcore collectors. Talking to Paul is like getting a history lesson in the development of obscure record collecting and together with several other devotees, he was part of laying the foundation to the collector community that we have today. His musical history and the story about the catalogues have been made into a book called “Feel The Music: The Psychedelic Worlds of Paul Major”, which will be published by Anthology this spring.  Kenneth Higney-Attic Demonstration (Kebrutney, 1976) -Children of Sound Marcus-From the House of Trax (No label, 1978) -The City of Inbetween Ilian-Love Me Crazy (Kitty. 1977) -Grease Lips (or See What You See, which is the correct title) Steve Linnegar’s Snakeshed-Classic Epics (Snake, 1982) -Kamakura Dragons *interview with Patrick Lundborg for Dig It! Magazine

For the second episode of the Granta Reads’ Halloween series, Eleanor Chandler reads Darcey Steinke’s essay ‘Frankenstein’s Mother’, which explores the relationship between mother and monster. Darcey Steinke is the author of the novels Sister Golden Hair, Milk, Jesus Saves, Suicide Blonde and Up Through the Water, as well as the memoir Easter Everywhere. She lives in New York.

Darcey Steinke – author of novels Suicide Blonde, Jesus Saves and the spiritual memoir Easter Everywhere – talks about faith, Kurt Cobain, freedom, the '70s, her fifth novel, Sister Golden Hair, and more.... The post Conversation with Darcey Steinke appeared first on Litro Magazine.

Proclamation of God's Word - Rev Billy Spink Scripture - 1 Peter 1 Title - Easter Everywhere Everyday