The jug, a crock-jug with a microphone held up to it while it was being blown, sounded somewhat like a cross between a minimoog and cuica drum. In contrast to traditional musical jug technique, Hall did not blow into the jug to produce a tuba-like sound. Instead, he vocalized musical runs into the mouth of the jug, using the jug to create echo and distortion of his voice. When playing live, he held the microphone up to the mouth of the jug, but when recording the "Easter Everywhere" album, the recording engineer placed a microphone inside the jug to enhance the sound. At Tommy Hall's urging, the band often played their live shows and recorded their albums while under the influence of LSD, and built their lifestyle and music around the psychedelic experience. Intellectual and esoteric influences helped shape their work, which shows traces of Gurdjieff, the General Semantics of Alfred Korzybski, the psychedelic philosophy of Timothy Leary, and Tantric meditation. The original 13th Floor Elevators line-up was built around singer/guitarist Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland. The rhythm section went through several changes, with drummer John Ike Walton and bass player Ronnie Leatherman being replaced in July 1967. Walton and Leatherman left the band; in their stead were new recruits Danny Thomas (drums, piano) and Dan Galindo (bass) which completed the classic Elevators line-up. Hall remained the band's primary lyricist and philosopher, with Sutherland and Erickson both contributing lyrics as well as writing music, and, later, working with Danny Thomas to arrange the group's more challenging music. In addition to Erickson's powerful vocals, Hall's "electric jug" became the band's signature sound. Later, Ronnie Leatherman returned for the third and final studio album, "Bull of the Woods" along with Thomas, and Sutherland. Other collaborators and contributors     After pleading insanity in response to drugs charges—he was arrested for possession of a single marijuana joint—Roky Erickson was committed to a mental hospital in 1969. Jason Ankeny of AllMusic has written that the treatments Erickson received during his three-and-a-half-year confinement may have contributed to his subsequent mental troubles. At that point the Elevators had already dissolved, although local promoters, along with their record label, International Artists, made some attempts to keep the band's name alive. Erickson attempted a sporadic solo career, burdened by management who exploited his instability and involved him in contracts that left him no control or profit from his music.