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Psychedelic rock

May 15, 2023

Psychedelic rock is a rock music genre that is inspired, influenced, or representative of psychedelic culture, which is centered on perception-altering hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation.[2] Many psychedelic groups differ in style, and the label is often applied spuriously.[3]

Psychedelic rock
Hendrix on stage at Gröna Lund in Stockholm, Sweden in June 1967
Stylistic origins
Cultural originsMid 1960s, United States and United Kingdom
Derivative forms
Subgenres
Fusion genres
Regional scenes
Local scenes
Other topics
  1. ^ "Acid rock" may also be a synonym.[1]

Originating in the mid-1960s among British and American musicians, the sound of psychedelic rock invokes three core effects of LSD: depersonalization, dechronicization, and dynamization, all of which detach the user from everyday reality.[3] Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, and extended instrumental segments.[4] Some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called "raga rock". In the 1960s, there existed two main variants of the genre: the more whimsical, surrealist British psychedelia and the harder American West Coast "acid rock". While "acid rock" is sometimes deployed interchangeably with the term "psychedelic rock", it also refers more specifically to the heavier, harder, and more extreme ends of the genre.

The peak years of psychedelic rock were between 1967 and 1969, with milestone events including the 1967 Summer of Love and the 1969 Woodstock Rock Festival, becoming an international musical movement associated with a widespread counterculture before beginning a decline as changing attitudes, the loss of some key individuals, and a back-to-basics movement led surviving performers to move into new musical areas. The genre bridged the transition from early blues and folk-based rock to progressive rock and hard rock, and as a result contributed to the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.

Definition

Further information: Psychedelic music
See also: Acid rock

As a musical style, psychedelic rock incorporated new electronic sound effects and recording effects, extended solos, and improvisation.[2] Features mentioned in relation to the genre include:

The term "psychedelic" was coined in 1956 by psychiatrist Humphry Osmond in a letter to LSD exponent Aldous Huxley[16] and used as an alternative descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy.[17] As the countercultural scene developed in San Francisco, the terms acid rock and psychedelic rock were used in 1966 to describe the new drug-influenced music[18] and were being widely used by 1967.[19] The two terms are often used interchangeably,[12] but acid rock may be distinguished as a more extreme variation that was heavier, louder, relied on long jams,[20] focused more directly on LSD, and made greater use of distortion.[21]

Original psychedelic era

Main article: Psychedelic era

1960–65: Precursors and influences

See also: Psychedelic folk

Music critic Richie Unterberger says that attempts to "pin down" the first psychedelic record are "nearly as elusive as trying to name the first rock & roll record". Some of the "far-fetched claims" include the instrumental "Telstar" (produced by Joe Meek for the Tornados in 1962) and the Dave Clark Five's "massively reverb-laden" "Any Way You Want It" (1964).[22] The first mention of LSD on a rock record was the Gamblers' 1960 surf instrumental "LSD 25".[23][nb 1] A 1962 single by the Ventures, "The 2000 Pound Bee", issued forth the buzz of a distorted, "fuzztone" guitar, and the quest into "the possibilities of heavy, transistorised distortion" and other effects, like improved reverb and echo began in earnest on London's fertile rock 'n' roll scene.[24] By 1964 fuzztone could be heard on singles by P.J. Proby,[24] and the Beatles had employed feedback in "I Feel Fine",[25] their sixth consecutive number 1 hit in the UK.[26]

According to AllMusic, the emergence of psychedelic rock in the mid-1960s resulted from British groups who made up the British Invasion of the US market and folk rock bands seeking to broaden "the sonic possibilities of their music".[7] Writing in his 1969 book The Rock Revolution, Arnold Shaw said the genre in its American form represented generational escapism, which he identified as a development of youth culture's "protest against the sexual taboos, racism, violence, hypocrisy and materialism of adult life".[27]

American folk singer Bob Dylan's influence was central to the creation of the folk rock movement in 1965, and his lyrics remained a touchstone for the psychedelic songwriters of the late 1960s.[28] Virtuoso sitarist Ravi Shankar had begun in 1956 a mission to bring Indian classical music to the West, inspiring jazz, classical and folk musicians.[29] By the mid-1960s, his influence extended to a generation of young rock musicians who soon made raga rock[30] part of the psychedelic rock aesthetic and one of the many intersecting cultural motifs of the era.[31] In the British folk scene, blues, drugs, jazz and Eastern influences blended in the early 1960s work of Davy Graham, who adopted modal guitar tunings to transpose Indian ragas and Celtic reels. Graham was highly influential on Scottish folk virtuoso Bert Jansch and other pioneering guitarists across a spectrum of styles and genres in the mid-1960s.[32][33][nb 2] Jazz saxophonist and composer John Coltrane had a similar impact, as the exotic sounds on his albums My Favorite Things (1960) and A Love Supreme (1965), the latter influenced by the ragas of Shankar, were source material for guitar players and others looking to improvise or "jam".[35]

One of the first musical uses of the term "psychedelic" in the folk scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Belly's 'Hesitation Blues' in 1964.[36] Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s experimented with unusual recording techniques, including backwards tapes, and novel instrumental accompaniment including flute and sitar.[37] His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings".[37] Similarly, folk guitarist Sandy Bull's early work "incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes".[38] His 1963 album Fantasias for Guitar and Banjo explores various styles and "could also be accurately described as one of the very first psychedelic records".[39]

1965: Formative psychedelic scenes and sounds

Main article: Psychedelia
See also: Counterculture of the 1960s, Folk rock, and Raga rock
 
"Swinging London", Carnaby Street, circa 1966

Barry Miles, a leading figure in the 1960s UK underground, says that "Hippies didn't just pop up overnight" and that "1965 was the first year in which a discernible youth movement began to emerge [in the US]. Many of the key 'psychedelic' rock bands formed this year."[40] On the US West Coast, underground chemist Augustus Owsley Stanley III and Ken Kesey (along with his followers known as the Merry Pranksters) helped thousands of people take uncontrolled trips at Kesey's Acid Tests and in the new psychedelic dance halls. In Britain, Michael Hollingshead opened the World Psychedelic Centre and Beat Generation poets Allen Ginsberg, Lawrence Ferlinghetti and Gregory Corso read at the Royal Albert Hall. Miles adds: "The readings acted as a catalyst for underground activity in London, as people suddenly realized just how many like-minded people there were around. This was also the year that London began to blossom into colour with the opening of the Granny Takes a Trip and Hung On You clothes shops."[40] Thanks to media coverage, use of LSD became widespread.[40][nb 3]

According to music critic Jim DeRogatis, writing in his book on psychedelic rock, Turn on Your Mind, the Beatles are seen as the "Acid Apostles of the New Age".[42] Producer George Martin, who was initially known as a specialist in comedy and novelty records,[43] responded to the Beatles' requests by providing a range of studio tricks that ensured the group played a leading role in the development of psychedelic effects.[44] Anticipating their overtly psychedelic work,[45] "Ticket to Ride" (April 1965) introduced a subtle, drug-inspired drone suggestive of India, played on rhythm guitar.[46] Musicologist William Echard writes that the Beatles employed several techniques in the years up to 1965 that soon became elements of psychedelic music, an approach he describes as "cognate" and reflective of how they, like the Yardbirds, were early pioneers in psychedelia.[47] As important aspects the group brought to the genre, Echard cites the Beatles' rhythmic originality and unpredictability; "true" tonal ambiguity; leadership in incorporating elements from Indian music and studio techniques such as vari-speed, tape loops and reverse tape sounds; and their embrace of the avant-garde.[48]

 
Producer Terry Melcher in the studio with the Byrds' Gene Clark and David Crosby, 1965

In Unterberger's opinion, the Byrds, emerging from the Los Angeles folk rock scene, and the Yardbirds, from England's blues scene, were more responsible than the Beatles for "sounding the psychedelic siren".[22] Drug use and attempts at psychedelic music moved out of acoustic folk-based music towards rock soon after the Byrds, inspired by the Beatles' 1964 film A Hard Day's Night,[49][50] adopted electric instruments to produce a chart-topping version of Dylan's "Mr. Tambourine Man" in the summer of 1965.[51][nb 4] On the Yardbirds, Unterberger identifies lead guitarist Jeff Beck as having "laid the blueprint for psychedelic guitar", and says that their "ominous minor key melodies, hyperactive instrumental breaks (called rave-ups), unpredictable tempo changes, and use of Gregorian chants" helped to define the "manic eclecticism" typical of early psychedelic rock.[22] The band's "Heart Full of Soul" (June 1965), which includes a distorted guitar riff that replicates the sound of a sitar,[52] peaked at number 2 in the UK and number 9 in the US.[53] In Echard's description, the song "carried the energy of a new scene" as the guitar-hero phenomenon emerged in rock, and it heralded the arrival of new Eastern sounds.[54] The Kinks provided the first example of sustained Indian-style drone in rock when they used open-tuned guitars[55] to mimic the tambura on "See My Friends" (July 1965), which became a top 10 hit in the UK.[56][57]

 
The Beatles on tour, July 1965

The Beatles' "Norwegian Wood" from the December 1965 album Rubber Soul marked the first released recording on which a member of a Western rock group played the sitar.[58][nb 5] The song sparked a craze for the sitar and other Indian instrumentation[63] – a trend that fueled the growth of raga rock as the India exotic became part of the essence of psychedelic rock.[64][nb 6] Music historian George Case recognises Rubber Soul as the first of two Beatles albums that "marked the authentic beginning of the psychedelic era",[65] while music critic Robert Christgau similarly wrote that "Psychedelia starts here".[66] San Francisco historian Charles Perry recalled the album being "the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit", as pre-hippie youths suspected that the songs were inspired by drugs.[67]

 
The Fillmore, San Francisco (pictured in 2010)

Although psychedelia was introduced in Los Angeles through the Byrds, according to Shaw, San Francisco emerged as the movement's capital on the West Coast.[68] Several California-based folk acts followed the Byrds into folk rock, bringing their psychedelic influences with them, to produce the "San Francisco Sound".[14][69][nb 7] Music historian Simon Philo writes that although some commentators would state that the centre of influence had moved from London to California by 1967, it was British acts like the Beatles and the Rolling Stones that helped inspire and "nourish" the new American music in the mid-1960s, especially in the formative San Francisco scene.[72] The music scene there developed in the city's Haight-Ashbury neighborhood in 1965 at basement shows organised by Chet Helms of the Family Dog;[73] and as Jefferson Airplane founder Marty Balin and investors opened The Matrix nightclub that summer and began booking his and other local bands such as the Grateful Dead, the Steve Miller Band and Country Joe & the Fish.[74] Helms and San Francisco Mime Troupe manager Bill Graham in the fall of 1965 organised larger scale multi-media community events/benefits featuring the Airplane, the Diggers and Allen Ginsberg. By early 1966 Graham had secured booking at The Fillmore, and Helms at the Avalon Ballroom, where in-house psychedelic-themed light shows[75] replicated the visual effects of the psychedelic experience.[76] Graham became a major figure in the growth of psychedelic rock, attracting most of the major psychedelic rock bands of the day to The Fillmore.[77][nb 8]

According to author Kevin McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on 4 December 1965, the date of the second Acid Test held by novelist Ken Kesey and the Merry Pranksters. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments".[76] The Acid Test experiments subsequently launched the entire psychedelic subculture.[79]

1966: Growth and early popularity

See also: Psychedelic pop

Psychedelia. I know it's hard, but make a note of that word because it's going to be scattered round the in-clubs like punches at an Irish wedding. It already rivals "mom" as a household word in New York and Los Angeles ...

—Melody Maker, October 1966[80]

Echard writes that in 1966, "the psychedelic implications" advanced by recent rock experiments "became fully explicit and much more widely distributed", and by the end of the year, "most of the key elements of psychedelic topicality had been at least broached."[81] DeRogatis says the start of psychedelic (or acid) rock is "best listed at 1966".[82] Music journalists Pete Prown and Harvey P. Newquist locate the "peak years" of psychedelic rock between 1966 and 1969.[2] In 1966, media coverage of rock music changed considerably as the music became reevaluated as a new form of art in tandem with the growing psychedelic community.[83]

 
The Byrds' "Eight Miles High" (1966)
Excerpt of intro with guitar figure and part of first verse
Problems playing this file? See media help.

In February and March,[84] two singles were released that later achieved recognition as the first psychedelic hits: the Yardbirds' "Shapes of Things" and the Byrds' "Eight Miles High".[85] The former reached number 3 in the UK and number 11 in the US,[86] and continued the Yardbirds' exploration of guitar effects, Eastern-sounding scales, and shifting rhythms.[87][nb 9] By overdubbing guitar parts, Beck layered multiple takes for his solo,[89] which included extensive use of fuzz tone and harmonic feedback.[90] The song's lyrics, which Unterberger describes as "stream-of-consciousness",[91] have been interpreted as pro-environmental or anti-war.[92] The Yardbirds became the first British band to have the term "psychedelic" applied to one of its songs.[85] On "Eight Miles High", Roger McGuinn's 12-string Rickenbacker guitar[93] provided a psychedelic interpretation of free jazz and Indian raga, channelling Coltrane and Shankar, respectively.[94] The song's lyrics were widely taken to refer to drug use, although the Byrds denied it at the time.[22][nb 10] "Eight Miles High" peaked at number 14 in the US[96] and reached the top 30 in the UK.[97]

Contributing to psychedelia's emergence into the pop mainstream was the release of the Beach Boys' Pet Sounds (May 1966)[98] and the Beatles' Revolver (August 1966).[99] Often considered one of the earliest albums in the canon of psychedelic rock,[100][nb 11] Pet Sounds contained many elements that would be incorporated into psychedelia, with its artful experiments, psychedelic lyrics based on emotional longings and self-doubts, elaborate sound effects and new sounds on both conventional and unconventional instruments.[103][104] The album track "I Just Wasn't Made for These Times" contained the first use of theremin sounds on a rock record.[105] Scholar Philip Auslander says that even though psychedelic music is not normally associated with the Beach Boys, the "odd directions" and experiments in Pet Sounds "put it all on the map. ... basically that sort of opened the door – not for groups to be formed or to start to make music, but certainly to become as visible as say Jefferson Airplane or somebody like that."[106]

 
The Beatles' "Rain" (1966)
23-second segment of chorus
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DeRogatis views Revolver as another of "the first psychedelic rock masterpieces", along with Pet Sounds.[107] The Beatles' May 1966 B-side "Rain", recorded during the Revolver sessions, was the first pop recording to contain reversed sounds.[108] Together with further studio tricks such as varispeed, the song includes a droning melody that reflected the band's growing interest in non-Western musical form[109] and lyrics conveying the division between an enlightened psychedelic outlook and conformism.[108][110] Philo cites "Rain" as "the birth of British psychedelic rock" and describes Revolver as "[the] most sustained deployment of Indian instruments, musical form and even religious philosophy" heard in popular music up to that time.[109] Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on Revolver, particularly with "Tomorrow Never Knows", as having "opened the doors to psychedelic rock (or acid rock)".[111] In author Shawn Levy's description, it was "the first true drug album, not [just] a pop record with some druggy insinuations",[112] while musicologists Russell Reising and Jim LeBlanc credit the Beatles with "set[ting] the stage for an important subgenre of psychedelic music, that of the messianic pronouncement".[113][nb 12]

Echard highlights early records by the 13th Floor Elevators and Love among the key psychedelic releases of 1966, along with "Shapes of Things", "Eight Miles High", "Rain" and Revolver.[81] Originating from Austin, Texas, the first of these new bands came to the genre via the garage scene[117] before releasing their debut album, The Psychedelic Sounds of the 13th Floor Elevators in October that year.[118] It was one of the first rock albums to include the adjective in its title,[119] although the LP was released on an independent label and was little noticed at the time.[120] Two other bands also used the word in titles of LPs released in November 1966: The Blues Magoos' Psychedelic Lollipop, and the Deep's Psychedelic Moods. Having formed in late 1965 with the aim of spreading LSD consciousness, the Elevators commissioned business cards containing an image of the third eye and the caption "Psychedelic rock".[121][nb 13] Rolling Stone highlights the 13th Floor Elevators as arguably "the most important early progenitors of psychedelic garage rock".[8]

Donovan's July 1966 single "Sunshine Superman" became one of the first psychedelic pop/rock singles to top the Billboard charts in the US. Influenced by Aldous Huxley’s The Doors of Perception, and with lyrics referencing LSD, it contributed to bringing psychedelia to the mainstream.[123][124]

The Beach Boys' October 1966 single "Good Vibrations" was another early pop song to incorporate psychedelic lyrics and sounds.[125] The single's success prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.[126] As psychedelia gained prominence, Beach Boys-style harmonies would be ingrained into the newer psychedelic pop.[99]

1967–69: Continued development

Peak era

 
Poster for the Mantra-Rock Dance event held at San Francisco's Avalon Ballroom in January 1967. The headline acts included the Grateful Dead, Big Brother and the Holding Company and Moby Grape.

In 1967, psychedelic rock received widespread media attention and a larger audience beyond local psychedelic communities.[83] From 1967 to 1968, it was the prevailing sound of rock music, either in the more whimsical British variant, or the harder American West Coast acid rock.[127] Music historian David Simonelli says the genre's commercial peak lasted "a brief year", with San Francisco and London recognised as the two key cultural centres.[85] Compared with the American form, British psychedelic music was often more arty in its experimentation, and it tended to stick within pop song structures.[128] Music journalist Mark Prendergast writes that it was only in US garage-band psychedelia that the often whimsical traits of UK psychedelic music were found.[129] He says that aside from the work of the Byrds, Love and the Doors, there were three categories of US psychedelia: the "acid jams" of the San Francisco bands, who favoured albums over singles; pop psychedelia typified by groups such as the Beach Boys and Buffalo Springfield; and the "wigged-out" music of bands following in the example of the Beatles and the Yardbirds, such as the Electric Prunes, the Nazz, the Chocolate Watchband and the Seeds.[130][nb 14]

In February 1967, the Beatles released the double A-side single "Strawberry Fields Forever" / "Penny Lane", which Ian MacDonald says launched both the "English pop-pastoral mood" typified by bands such as Pink Floyd, Family, Traffic and Fairport Convention, and English psychedelia's LSD-inspired preoccupation with "nostalgia for the innocent vision of a child".[133] The Mellotron parts on "Strawberry Fields Forever" remain the most celebrated example of the instrument on a pop or rock recording.[134][135] According to Simonelli, the two songs heralded the Beatles' brand of Romanticism as a central tenet of psychedelic rock.[136]

 
Poster for Jefferson Airplane's song "White Rabbit", which describes the surreal world of Alice in Wonderland

Jefferson Airplane's Surrealistic Pillow (February 1967) was one of the first albums to come out of San Francisco that sold well enough to bring national attention to the city's music scene. The LP tracks "White Rabbit" and "Somebody to Love" subsequently became top 10 hits in the US.[137]

The Hollies psychedelic B-side "All the World Is Love" (February 1967) was released as the flipside to the hit single "On a Carousel".[138]

Pink Floyd's "Arnold Layne" (March 1967) and "See Emily Play" (June 1967), both written by Syd Barrett, helped set the pattern for pop-psychedelia in the UK.[139] There, "underground" venues like the UFO Club, Middle Earth Club, The Roundhouse, the Country Club and the Art Lab drew capacity audiences with psychedelic rock and ground-breaking liquid light shows.[140] A major figure in the development of British psychedelia was the American promoter and record producer Joe Boyd, who moved to London in 1966. He co-founded venues including the UFO Club, produced Pink Floyd's "Arnold Layne", and went on to manage folk and folk rock acts including Nick Drake, the Incredible String Band and Fairport Convention.[141][142]

Psychedelic rock's popularity accelerated following the release of the Beatles' album Sgt. Pepper's Lonely Hearts Club Band (May 1967) and the staging of the Monterey Pop Festival in June.[83] Sgt. Pepper was the first commercially successful work that critics recognised as a landmark aspect of psychedelia, and the Beatles' mass appeal meant that the record was played virtually everywhere.[143] The album was highly influential on bands in the US psychedelic rock scene[12] and its elevation of the LP format benefited the San Francisco bands.[144] Among many changes brought about by its success, artists sought to imitate its psychedelic effects and devoted more time to creating their albums; the counterculture was scrutinised by musicians; and acts adopted its non-conformist sentiments.[145]

The 1967 Summer of Love saw a huge number of young people from across America and the world travel to Haight-Ashbury, boosting the area's population from 15,000 to around 100,000.[146] It was prefaced by the Human Be-In event in March and reached its peak at the Monterey Pop Festival in June, the latter helping to make major American stars of Janis Joplin, lead singer of Big Brother and the Holding Company, Jimi Hendrix, and the Who.[147] Several established British acts joined the psychedelic revolution, including Eric Burdon (previously of the Animals) and the Who, whose The Who Sell Out (December 1967) included the psychedelic-influenced "I Can See for Miles" and "Armenia City in the Sky".[148] Other major British Invasion acts who absorbed psychedelia in 1967 include the Hollies with the album Butterfly,[149] and The Rolling Stones album Their Satanic Majesties Request.[150] The Incredible String Band's The 5000 Spirits or the Layers of the Onion (July 1967) developed their folk music into a pastoral form of psychedelia.[151]

Many famous established recording artists from the early rock era also fell under psychedelia and recorded psychedelic-inspired tracks, including Del Shannon's "Color Flashing Hair", Bobby Vee's "I May Be Gone", The Four Seasons' "Watch the Flowers Grow", Roy Orbison's "Southbound Jericho Parkway" and The Everly Brothers' "Mary Jane".[152][153]

According to author Edward Macan, there ultimately existed three distinct branches of British psychedelic music. The first, dominated by Cream, the Yardbirds and Hendrix, was founded on a heavy, electric adaptation of the blues played by the Rolling Stones, adding elements such as the Who's power chord style and feedback.[154] The second, considerably more complex form drew strongly from jazz sources and was typified by Traffic, Colosseum, If, and Canterbury scene bands such as Soft Machine and Caravan.[155] The third branch, represented by the Moody Blues, Pink Floyd, Procol Harum and the Nice, was influenced by the later music of the Beatles.[155] Several of the post-Sgt. Pepper English psychedelic groups developed the Beatles' classical influences further than either the Beatles or contemporaneous West Coast psychedelic bands.[156] Among such groups, the Pretty Things abandoned their R&B roots to create S.F. Sorrow (December 1968), the first example of a psychedelic rock opera.[157][nb 15]

International variants

See also: Psychedelic rock in Australia and New Zealand and Psychedelic rock in Latin America

The US and UK were the major centres of psychedelic music, but in the late 1960s scenes began to develop across the world, including continental Europe, Australasia, Asia and south and Central America.[159] In the later 1960s psychedelic scenes developed in a large number of countries in continental Europe, including the Netherlands with bands like The Outsiders,[160] Denmark where it was pioneered by Steppeulvene,[161] Yugoslavia, with bands like Kameleoni,[162] Dogovor iz 1804.,[163] Pop Mašina[164] and Igra Staklenih Perli,[165] and Germany, where musicians began to fuse music of psychedelia and the electronic avant-garde. 1968 saw the first major German rock festival, the Internationale Essener Songtage [de] in Essen,[166] and the foundation of the Zodiak Free Arts Lab in Berlin by Hans-Joachim Roedelius, and Conrad Schnitzler, which helped bands like Tangerine Dream and Amon Düül achieve cult status.[167]

A thriving psychedelic music scene in Cambodia, influenced by psychedelic rock and soul broadcast by US forces radio in Vietnam,[168] was pioneered by artists such as Sinn Sisamouth and Ros Serey Sothea.[169] In South Korea, Shin Jung-Hyeon, often considered the godfather of Korean rock, played psychedelic-influenced music for the American soldiers stationed in the country. Following Shin Jung-Hyeon, the band San Ul Lim (Mountain Echo) often combined psychedelic rock with a more folk sound.[170] In Turkey, Anatolian rock artist Erkin Koray blended classic Turkish music and Middle Eastern themes into his psychedelic-driven rock, helping to found the Turkish rock scene with artists such as Cem Karaca, Mogollar, Barış Manço and Erkin Koray. In Brazil, the Tropicalia movement merged Brazilian and African rhythms with psychedelic rock. Musicians who were part of the movement include Caetano Veloso, Gilberto Gil, Os Mutantes, Gal Costa, Tom Zé, and the poet/lyricist Torquato Neto, all of whom participated in the 1968 album Tropicália: ou Panis et Circencis, which served as a musical manifesto.

1969–71: Decline

See also: Progressive rock and Heavy metal music
 
The stage at the Woodstock Festival in 1969

By the end of the 1960s, psychedelic rock was in retreat. Psychedelic trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, including Jimi Hendrix, Jefferson Airplane, and the Grateful Dead.[171] LSD had been made illegal in the UK in September 1966 and in California in October;[172] by 1967, it was outlawed throughout the United States.[173] In 1969, the murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his cult of followers, claiming to have been inspired by Beatles' songs such as "Helter Skelter", has been seen as contributing to an anti-hippie backlash.[174] At the end of the same year, the Altamont Free Concert in California, headlined by the Rolling Stones, became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards.[175]

George Clinton's ensembles Funkadelic and Parliament and their various spin-offs took psychedelia and funk to create their own unique style,[176] producing over forty singles, including three in the US top ten, and three platinum albums.[177]

Brian Wilson of the Beach Boys,[125] Brian Jones of the Rolling Stones, Peter Green and Danny Kirwan of Fleetwood Mac and Syd Barrett of Pink Floyd were early "acid casualties",[clarification needed] helping to shift the focus of the respective bands of which they had been leading figures.[178] Some groups, such as the Jimi Hendrix Experience and Cream, broke up.[179] Hendrix died in London in September 1970, shortly after recording Band of Gypsys (1970), Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors, who died in Paris in July 1971.[180] By this point, many surviving acts had moved away from psychedelia into either more back-to-basics "roots rock", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-based heavy rock.[71]

Revivals and successors

Psychedelic soul

Main articles: Psychedelic soul and Psychedelic funk

Following the lead of Hendrix in rock, psychedelia began to influence African American musicians, particularly the stars of the Motown label.[181] This psychedelic soul was influenced by the civil rights movement, giving it a darker and more political edge than much psychedelic rock.[181] Building on the funk sound of James Brown, it was pioneered from about 1968 by Sly and the Family Stone and The Temptations. Acts that followed them into this territory included Edwin Starr and the Undisputed Truth.[181][verification needed] George Clinton's interdependent Funkadelic and Parliament ensembles and their various spin-offs took the genre to its most extreme lengths making funk almost a religion in the 1970s,[176] producing over forty singles, including three in the US top ten, and three platinum albums.[177]

While psychedelic rock began to waver at the end of the 1960s, psychedelic soul continued into the 1970s, peaking in popularity in the early years of the decade, and only disappearing in the late 1970s as tastes began to change.[181] Songwriter Norman Whitfield wrote psychedelic soul songs for The Temptations and Marvin Gaye.[182]

Prog, heavy metal, and krautrock

Main articles: Progressive rock, Heavy metal music, and Krautrock

Many of the British musicians and bands that had embraced psychedelia went on to create progressive rock in the 1970s, including Pink Floyd, Soft Machine and members of Yes. The Moody Blues album In Search of the Lost Chord (1968) which is steeped in psychedelia, including prominent use of Indian instruments, is noted as an early predecessor and influence on the emerging progressive movement.[183][184] King Crimson's album In the Court of the Crimson King (1969) has been seen as an important link between psychedelia and progressive rock.[185] While bands such as Hawkwind maintained an explicitly psychedelic course into the 1970s, most dropped the psychedelic elements in favour of wider experimentation.[186] The incorporation of jazz into the music of bands like Soft Machine and Can also contributed to the development of the jazz rock of bands like Colosseum.[187] As they moved away from their psychedelic roots and placed increasing emphasis on electronic experimentation, German bands like Kraftwerk, Tangerine Dream, Can, Neu! and Faust developed a distinctive brand of electronic rock, known as kosmische musik, or in the British press as "Kraut rock".[188] The adoption of electronic synthesisers, pioneered by Popol Vuh from 1970, together with the work of figures like Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock.[189]

Psychedelic rock, with its distorted guitar sound, extended solos and adventurous compositions, has been seen as an important bridge between blues-oriented rock and later heavy metal. American bands whose loud, repetitive psychedelic rock emerged as early heavy metal included the Amboy Dukes and Steppenwolf.[12] From England, two former guitarists with the Yardbirds, Jeff Beck and Jimmy Page, moved on to form key acts in the genre, The Jeff Beck Group and Led Zeppelin respectively.[190] Other major pioneers of the genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.[190][191] Psychedelic music also contributed to the origins of glam rock, with Marc Bolan changing his psychedelic folk duo into rock band T. Rex and becoming the first glam rock star from 1970.[192][verification needed] From 1971 David Bowie moved on from his early psychedelic work to develop his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.[193]

The jam band movement, which began in the late 1980s, was influenced by the Grateful Dead's improvisational and psychedelic musical style.[194][195] The Vermont band Phish developed a sizable and devoted fan following during the 1990s, and were described as "heirs" to the Grateful Dead after the death of Jerry Garcia in 1995.[196][197]

Emerging in the 1990s, stoner rock combined elements of psychedelic rock and doom metal. Typically using a slow-to-mid tempo and featuring low-tuned guitars in a bass-heavy sound,[198] with melodic vocals, and 'retro' production,[199] it was pioneered by the Californian bands Kyuss[200] and Sleep.[201] Modern festivals focusing on psychedelic music include Austin Psych Fest in Texas, founded in 2008,[202] Liverpool Psych Fest,[203] and Desert Daze in Southern California.[204]

Neo-psychedelia

There were occasional mainstream acts that dabbled in neo-psychedelia, a style of music which emerged in late 1970s post-punk circles. Although it has mainly been an influence on alternative and indie rock bands, neo-psychedelia sometimes updated the approach of 1960s psychedelic rock.[205] Neo-psychedelia may include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments.[205] Some of the scene's bands, including the Soft Boys, the Teardrop Explodes, Wah!, Echo & the Bunnymen, became major figures of neo-psychedelia. In the US in the early 1980s it was joined by the Paisley Underground movement, based in Los Angeles and fronted by acts such as Dream Syndicate, the Bangles and Rain Parade.[206]

 
Primal Scream performing live with the cover of their album Screamadelica in the back

In the late 80s in the UK the genre of Madchester emerged in the Manchester area, in which artists merged alternative rock with acid house and dance culture as well as other sources, including psychedelic music and 1960s pop.[207][208] The label was popularised by the British music press in the early 1990s.[209] Erchard talks about it as being part of a "thread of 80s psychedelic rock" and lists as main bands in it the Stone Roses, Happy Mondays and Inspiral Carpets. The rave-influenced scene is widely seen as heavily influenced by drugs, especially ecstasy (MDMA), and it is seen by Erchard as central to a wider phenomenon of what he calls a "rock rave crossover" in the late 80s and early 90s UK indie scene which also included the Screamadelica album by Scottish band Primal Scream.[207]

Later according to Treblezine's Jeff Telrich: "Primal Scream made [neo-psychedelia] dancefloor ready. The Flaming Lips and Spiritualized took it to orchestral realms. And Animal Collective—well, they kinda did their own thing."[210]

See also

Notes

  1. ^ Their keyboardist, Bruce Johnston, went on to join the Beach Boys in 1965. He would recall: "[LSD is] something I've never thought about and never done."[23]
  2. ^ According to Stewart Hope, Graham was "the key early figure ... Influential but without much commercial impact, Graham's mix of folk, blues, jazz, and eastern scales backed on his solo albums with bass and drums was a precursor to and ultimately an integral part of the folk rock movement of the later sixties. ... It would be difficult to underestimate Graham's influence on the growth of hard drug use in British counterculture."[34]
  3. ^ The growth of underground culture in Britain was facilitated by the emergence of alternative weekly publications like IT (International Times) and Oz which featured psychedelic and progressive music together with the counterculture lifestyle, which involved long hair, and the wearing of wild shirts from shops like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street (Soho) and King's Road (Chelsea) boutiques.[41]
  4. ^ In the song's lyric, the narrator requests: "Take me on a trip upon your magic swirling ship".[19] Whether this was intended as a drug reference was unclear, but the line would enter rock music when the song was a hit for the Byrds later in the year.[19]
  5. ^ While Beck's influence had been Ravi Shankar records,[59] the Kinks' Ray Davies was inspired during a trip to Bombay, where he heard the early morning chanting of Indian fisherman.[57][60] The Byrds were also delving into the raga sound by late 1965, their "music of choice" being Coltrane and Shankar records.[60] That summer they shared their enthusiasm for Shankar's music and its transcendental qualities with George Harrison and John Lennon during a group acid trip in Los Angeles.[61] The sitar and its attending spiritual philosophies became a lifelong pursuit for Harrison, as he and Shankar would "elevate Indian music and culture to mainstream consciousness".[62]
  6. ^ Previously, Indian instrumentation had been included in Ken Thorne's orchestral score for the band's Help! film soundtrack.[58]
  7. ^ Particularly prominent products of the scene were the Grateful Dead (who had effectively become the house band of the Acid Tests),[70] Country Joe and the Fish, the Great Society, Big Brother and the Holding Company, the Charlatans, Moby Grape, Quicksilver Messenger Service and Jefferson Airplane.[71]
  8. ^ When this proved too small he took over Winterland and then the Fillmore West (in San Francisco) and the Fillmore East (in New York City), where major rock artists from both the US and the UK came to play.[78]
  9. ^ Beatles' historian Ian MacDonald comments that Paul McCartney's guitar solo on "Taxman" from Revolver "goes far beyond anything in the Indian style Harrison had done on guitar, the probable inspiration being Jeff Beck's ground-breaking solo on the Yardbirds' astonishing 'Shapes of Things'".[88]
  10. ^ The result of this directness was limited airplay, and there was a similar reaction when Dylan released "Rainy Day Women ♯12 & 35" (April 1966), with its repeating chorus of "Everybody must get stoned!"[95]
  11. ^ Brian Boyd of The Irish Times credits the Byrds' Fifth Dimension (July 1966) with being the first psychedelic album.[101] Unterberger views it as "the first album by major early folk-rockers to break ... into folk-rock-psychedelia".[102]
  12. ^ Sam Andrew of Big Brother and the Holding Company recalled that the album resonated with musicians in San Francisco,[114] in that the Beatles "had definitely come 'on board'" with regard to the counterculture.[115] In the 1995 documentary series Rock & Roll, Phil Lesh of the Grateful Dead recalled thinking that with Revolver the Beatles had embraced the "psychedelic avant-garde".[116]
  13. ^ The term was used in an article about the band titled "Unique Elevators Shine with 'Psychedelic Rock'", in the 10 February 1966 edition of the Austin American-Statesman.[122]
  14. ^ Writing in 1969, Shaw said New York's Tompkins Square Park was the East Coast "center of hippiedom".[131] He cited the Blues Magoos as the main psychedelic act and as "a group that outdoes the west coasters ... in decibels".[132]
  15. ^ Prendergast cites Family's Music in a Doll's House (July 1968) as a "quintessential UK psychedelic album", combining a wealth of orchestral and rock instrumentation.[158]

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  210. ^ Terich, Jeff. "10 Essential Neo-Psychedelia Albums". Treblezine. {{cite magazine}}: Cite magazine requires |magazine= (help)

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Further reading

  • Belmo (1999). 20th Century Rock and Roll: Psychedelia. Burlington, ON: Collectors Guide Publishing. ISBN 978-1-89652240-1.
  • Bromell, Nick (2002). Tomorrow Never Knows: Rock and Psychedelics in the 1960s. Chicago, IL: University of Chicago Press. ISBN 0-226-07562-1.
  • Chapman, Rob (2015). Psychedelia and Other Colours. London: Faber & Faber. ISBN 978-0-57128-200-5.
  • Joynson, Vernon (2004) Fuzz, Acid and Flowers Revisited: A Comprehensive Guide to American Garage, Psychedelic and Hippie Rock (1964-1975). Borderline ISBN 978-1-89985-514-8.
  • Reynolds, Simon (1997). "Back to Eden: Innocence, Indolence and Pastoralism in Psychedelic Music, 1966–1996". In Melechi, Antonio (ed.). Psychedelia Britannica. London: Turnaround. pp. 143–65.

May 15, 2023
psychedelic, rock, rock, music, genre, that, inspired, influenced, representative, psychedelic, culture, which, centered, perception, altering, hallucinogenic, drugs, music, incorporated, electronic, sound, effects, recording, techniques, extended, instrumenta. Psychedelic rock is a rock music genre that is inspired influenced or representative of psychedelic culture which is centered on perception altering hallucinogenic drugs The music incorporated new electronic sound effects and recording techniques extended instrumental solos and improvisation 2 Many psychedelic groups differ in style and the label is often applied spuriously 3 Psychedelic rockHendrix on stage at Grona Lund in Stockholm Sweden in June 1967Stylistic originsRock psychedelia folk jazz blues electronic novelty music surf Indian Middle EasternCultural originsMid 1960s United States and United KingdomDerivative formsArt rock hard rock heavy metal industrial music jam band krautrock neo psychedelia glam rock occult rock progressive rock proto prog shoegazingSubgenresAcid rock a raga rock space rockFusion genresPsychedelic soul psychedelic funk psychedelic pop stoner rock zamrockRegional scenesTurkey Australia Latin America New Zealand ZambiaLocal scenesCanterbury scene San Francisco SoundOther topicsBritish underground experimental rock folk rock freak scene Haight Ashbury hippies jam band psychedelic folk Acid rock may also be a synonym 1 Originating in the mid 1960s among British and American musicians the sound of psychedelic rock invokes three core effects of LSD depersonalization dechronicization and dynamization all of which detach the user from everyday reality 3 Musically the effects may be represented via novelty studio tricks electronic or non Western instrumentation disjunctive song structures and extended instrumental segments 4 Some of the earlier 1960s psychedelic rock musicians were based in folk jazz and the blues while others showcased an explicit Indian classical influence called raga rock In the 1960s there existed two main variants of the genre the more whimsical surrealist British psychedelia and the harder American West Coast acid rock While acid rock is sometimes deployed interchangeably with the term psychedelic rock it also refers more specifically to the heavier harder and more extreme ends of the genre The peak years of psychedelic rock were between 1967 and 1969 with milestone events including the 1967 Summer of Love and the 1969 Woodstock Rock Festival becoming an international musical movement associated with a widespread counterculture before beginning a decline as changing attitudes the loss of some key individuals and a back to basics movement led surviving performers to move into new musical areas The genre bridged the transition from early blues and folk based rock to progressive rock and hard rock and as a result contributed to the development of sub genres such as heavy metal Since the late 1970s it has been revived in various forms of neo psychedelia Contents 1 Definition 2 Original psychedelic era 2 1 1960 65 Precursors and influences 2 2 1965 Formative psychedelic scenes and sounds 2 3 1966 Growth and early popularity 2 4 1967 69 Continued development 2 4 1 Peak era 2 4 2 International variants 2 5 1969 71 Decline 3 Revivals and successors 3 1 Psychedelic soul 3 2 Prog heavy metal and krautrock 3 3 Neo psychedelia 4 See also 5 Notes 6 References 7 Bibliography 8 Further readingDefinition EditFurther information Psychedelic music See also Acid rock As a musical style psychedelic rock incorporated new electronic sound effects and recording effects extended solos and improvisation 2 Features mentioned in relation to the genre include electric guitars often used with feedback wah wah and fuzzbox effects units 2 certain studio effects principally in British psychedelia 5 such as backwards tapes panning phasing long delay loops and extreme reverb 6 elements of Indian music and other Eastern music 7 including Middle Eastern modalities 8 non Western instruments especially in British psychedelia specifically those originally used in Indian classical music such as sitar tambura and tabla 5 elements of free form jazz 7 a strong keyboard presence especially electronic organs harpsichords or the Mellotron an early tape driven sampler 9 extended instrumental segments especially guitar solos or jams 10 disjunctive song structures occasional key and time signature changes modal melodies and drones 10 electronic instruments such as synthesizers and the theremin 11 verification needed lyrics that made direct or indirect reference to hallucinogenic drugs 12 surreal whimsical esoterically or literary inspired lyrics 13 14 with especially in British psychedelia references to childhood 15 Victorian era antiquation exclusive to British psychedelia drawing on items such as music boxes music hall nostalgia and circus sounds 5 The term psychedelic was coined in 1956 by psychiatrist Humphry Osmond in a letter to LSD exponent Aldous Huxley 16 and used as an alternative descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy 17 As the countercultural scene developed in San Francisco the terms acid rock and psychedelic rock were used in 1966 to describe the new drug influenced music 18 and were being widely used by 1967 19 The two terms are often used interchangeably 12 but acid rock may be distinguished as a more extreme variation that was heavier louder relied on long jams 20 focused more directly on LSD and made greater use of distortion 21 Original psychedelic era EditMain article Psychedelic era 1960 65 Precursors and influences Edit See also Psychedelic folk Music critic Richie Unterberger says that attempts to pin down the first psychedelic record are nearly as elusive as trying to name the first rock amp roll record Some of the far fetched claims include the instrumental Telstar produced by Joe Meek for the Tornados in 1962 and the Dave Clark Five s massively reverb laden Any Way You Want It 1964 22 The first mention of LSD on a rock record was the Gamblers 1960 surf instrumental LSD 25 23 nb 1 A 1962 single by the Ventures The 2000 Pound Bee issued forth the buzz of a distorted fuzztone guitar and the quest into the possibilities of heavy transistorised distortion and other effects like improved reverb and echo began in earnest on London s fertile rock n roll scene 24 By 1964 fuzztone could be heard on singles by P J Proby 24 and the Beatles had employed feedback in I Feel Fine 25 their sixth consecutive number 1 hit in the UK 26 According to AllMusic the emergence of psychedelic rock in the mid 1960s resulted from British groups who made up the British Invasion of the US market and folk rock bands seeking to broaden the sonic possibilities of their music 7 Writing in his 1969 book The Rock Revolution Arnold Shaw said the genre in its American form represented generational escapism which he identified as a development of youth culture s protest against the sexual taboos racism violence hypocrisy and materialism of adult life 27 American folk singer Bob Dylan s influence was central to the creation of the folk rock movement in 1965 and his lyrics remained a touchstone for the psychedelic songwriters of the late 1960s 28 Virtuoso sitarist Ravi Shankar had begun in 1956 a mission to bring Indian classical music to the West inspiring jazz classical and folk musicians 29 By the mid 1960s his influence extended to a generation of young rock musicians who soon made raga rock 30 part of the psychedelic rock aesthetic and one of the many intersecting cultural motifs of the era 31 In the British folk scene blues drugs jazz and Eastern influences blended in the early 1960s work of Davy Graham who adopted modal guitar tunings to transpose Indian ragas and Celtic reels Graham was highly influential on Scottish folk virtuoso Bert Jansch and other pioneering guitarists across a spectrum of styles and genres in the mid 1960s 32 33 nb 2 Jazz saxophonist and composer John Coltrane had a similar impact as the exotic sounds on his albums My Favorite Things 1960 and A Love Supreme 1965 the latter influenced by the ragas of Shankar were source material for guitar players and others looking to improvise or jam 35 One of the first musical uses of the term psychedelic in the folk scene was by the New York based folk group The Holy Modal Rounders on their version of Lead Belly s Hesitation Blues in 1964 36 Folk avant garde guitarist John Fahey recorded several songs in the early 1960s experimented with unusual recording techniques including backwards tapes and novel instrumental accompaniment including flute and sitar 37 His nineteen minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings 37 Similarly folk guitarist Sandy Bull s early work incorporated elements of folk jazz and Indian and Arabic influenced dronish modes 38 His 1963 album Fantasias for Guitar and Banjo explores various styles and could also be accurately described as one of the very first psychedelic records 39 1965 Formative psychedelic scenes and sounds Edit Main article Psychedelia See also Counterculture of the 1960s Folk rock and Raga rock Swinging London Carnaby Street circa 1966 Barry Miles a leading figure in the 1960s UK underground says that Hippies didn t just pop up overnight and that 1965 was the first year in which a discernible youth movement began to emerge in the US Many of the key psychedelic rock bands formed this year 40 On the US West Coast underground chemist Augustus Owsley Stanley III and Ken Kesey along with his followers known as the Merry Pranksters helped thousands of people take uncontrolled trips at Kesey s Acid Tests and in the new psychedelic dance halls In Britain Michael Hollingshead opened the World Psychedelic Centre and Beat Generation poets Allen Ginsberg Lawrence Ferlinghetti and Gregory Corso read at the Royal Albert Hall Miles adds The readings acted as a catalyst for underground activity in London as people suddenly realized just how many like minded people there were around This was also the year that London began to blossom into colour with the opening of the Granny Takes a Trip and Hung On You clothes shops 40 Thanks to media coverage use of LSD became widespread 40 nb 3 According to music critic Jim DeRogatis writing in his book on psychedelic rock Turn on Your Mind the Beatles are seen as the Acid Apostles of the New Age 42 Producer George Martin who was initially known as a specialist in comedy and novelty records 43 responded to the Beatles requests by providing a range of studio tricks that ensured the group played a leading role in the development of psychedelic effects 44 Anticipating their overtly psychedelic work 45 Ticket to Ride April 1965 introduced a subtle drug inspired drone suggestive of India played on rhythm guitar 46 Musicologist William Echard writes that the Beatles employed several techniques in the years up to 1965 that soon became elements of psychedelic music an approach he describes as cognate and reflective of how they like the Yardbirds were early pioneers in psychedelia 47 As important aspects the group brought to the genre Echard cites the Beatles rhythmic originality and unpredictability true tonal ambiguity leadership in incorporating elements from Indian music and studio techniques such as vari speed tape loops and reverse tape sounds and their embrace of the avant garde 48 Producer Terry Melcher in the studio with the Byrds Gene Clark and David Crosby 1965 In Unterberger s opinion the Byrds emerging from the Los Angeles folk rock scene and the Yardbirds from England s blues scene were more responsible than the Beatles for sounding the psychedelic siren 22 Drug use and attempts at psychedelic music moved out of acoustic folk based music towards rock soon after the Byrds inspired by the Beatles 1964 film A Hard Day s Night 49 50 adopted electric instruments to produce a chart topping version of Dylan s Mr Tambourine Man in the summer of 1965 51 nb 4 On the Yardbirds Unterberger identifies lead guitarist Jeff Beck as having laid the blueprint for psychedelic guitar and says that their ominous minor key melodies hyperactive instrumental breaks called rave ups unpredictable tempo changes and use of Gregorian chants helped to define the manic eclecticism typical of early psychedelic rock 22 The band s Heart Full of Soul June 1965 which includes a distorted guitar riff that replicates the sound of a sitar 52 peaked at number 2 in the UK and number 9 in the US 53 In Echard s description the song carried the energy of a new scene as the guitar hero phenomenon emerged in rock and it heralded the arrival of new Eastern sounds 54 The Kinks provided the first example of sustained Indian style drone in rock when they used open tuned guitars 55 to mimic the tambura on See My Friends July 1965 which became a top 10 hit in the UK 56 57 The Beatles on tour July 1965 The Beatles Norwegian Wood from the December 1965 album Rubber Soul marked the first released recording on which a member of a Western rock group played the sitar 58 nb 5 The song sparked a craze for the sitar and other Indian instrumentation 63 a trend that fueled the growth of raga rock as the India exotic became part of the essence of psychedelic rock 64 nb 6 Music historian George Case recognises Rubber Soul as the first of two Beatles albums that marked the authentic beginning of the psychedelic era 65 while music critic Robert Christgau similarly wrote that Psychedelia starts here 66 San Francisco historian Charles Perry recalled the album being the soundtrack of the Haight Ashbury Berkeley and the whole circuit as pre hippie youths suspected that the songs were inspired by drugs 67 The Fillmore San Francisco pictured in 2010 Although psychedelia was introduced in Los Angeles through the Byrds according to Shaw San Francisco emerged as the movement s capital on the West Coast 68 Several California based folk acts followed the Byrds into folk rock bringing their psychedelic influences with them to produce the San Francisco Sound 14 69 nb 7 Music historian Simon Philo writes that although some commentators would state that the centre of influence had moved from London to California by 1967 it was British acts like the Beatles and the Rolling Stones that helped inspire and nourish the new American music in the mid 1960s especially in the formative San Francisco scene 72 The music scene there developed in the city s Haight Ashbury neighborhood in 1965 at basement shows organised by Chet Helms of the Family Dog 73 and as Jefferson Airplane founder Marty Balin and investors opened The Matrix nightclub that summer and began booking his and other local bands such as the Grateful Dead the Steve Miller Band and Country Joe amp the Fish 74 Helms and San Francisco Mime Troupe manager Bill Graham in the fall of 1965 organised larger scale multi media community events benefits featuring the Airplane the Diggers and Allen Ginsberg By early 1966 Graham had secured booking at The Fillmore and Helms at the Avalon Ballroom where in house psychedelic themed light shows 75 replicated the visual effects of the psychedelic experience 76 Graham became a major figure in the growth of psychedelic rock attracting most of the major psychedelic rock bands of the day to The Fillmore 77 nb 8 According to author Kevin McEneaney the Grateful Dead invented acid rock in front of a crowd of concertgoers in San Jose California on 4 December 1965 the date of the second Acid Test held by novelist Ken Kesey and the Merry Pranksters Their stage performance involved the use of strobe lights to reproduce LSD s surrealistic fragmenting or vivid isolating of caught moments 76 The Acid Test experiments subsequently launched the entire psychedelic subculture 79 1966 Growth and early popularity Edit See also Psychedelic pop Psychedelia I know it s hard but make a note of that word because it s going to be scattered round the in clubs like punches at an Irish wedding It already rivals mom as a household word in New York and Los Angeles Melody Maker October 1966 80 Echard writes that in 1966 the psychedelic implications advanced by recent rock experiments became fully explicit and much more widely distributed and by the end of the year most of the key elements of psychedelic topicality had been at least broached 81 DeRogatis says the start of psychedelic or acid rock is best listed at 1966 82 Music journalists Pete Prown and Harvey P Newquist locate the peak years of psychedelic rock between 1966 and 1969 2 In 1966 media coverage of rock music changed considerably as the music became reevaluated as a new form of art in tandem with the growing psychedelic community 83 The Byrds Eight Miles High 1966 source source Excerpt of intro with guitar figure and part of first verse Problems playing this file See media help In February and March 84 two singles were released that later achieved recognition as the first psychedelic hits the Yardbirds Shapes of Things and the Byrds Eight Miles High 85 The former reached number 3 in the UK and number 11 in the US 86 and continued the Yardbirds exploration of guitar effects Eastern sounding scales and shifting rhythms 87 nb 9 By overdubbing guitar parts Beck layered multiple takes for his solo 89 which included extensive use of fuzz tone and harmonic feedback 90 The song s lyrics which Unterberger describes as stream of consciousness 91 have been interpreted as pro environmental or anti war 92 The Yardbirds became the first British band to have the term psychedelic applied to one of its songs 85 On Eight Miles High Roger McGuinn s 12 string Rickenbacker guitar 93 provided a psychedelic interpretation of free jazz and Indian raga channelling Coltrane and Shankar respectively 94 The song s lyrics were widely taken to refer to drug use although the Byrds denied it at the time 22 nb 10 Eight Miles High peaked at number 14 in the US 96 and reached the top 30 in the UK 97 Contributing to psychedelia s emergence into the pop mainstream was the release of the Beach Boys Pet Sounds May 1966 98 and the Beatles Revolver August 1966 99 Often considered one of the earliest albums in the canon of psychedelic rock 100 nb 11 Pet Sounds contained many elements that would be incorporated into psychedelia with its artful experiments psychedelic lyrics based on emotional longings and self doubts elaborate sound effects and new sounds on both conventional and unconventional instruments 103 104 The album track I Just Wasn t Made for These Times contained the first use of theremin sounds on a rock record 105 Scholar Philip Auslander says that even though psychedelic music is not normally associated with the Beach Boys the odd directions and experiments in Pet Sounds put it all on the map basically that sort of opened the door not for groups to be formed or to start to make music but certainly to become as visible as say Jefferson Airplane or somebody like that 106 The Beatles Rain 1966 source source track 23 second segment of chorus Problems playing this file See media help DeRogatis views Revolver as another of the first psychedelic rock masterpieces along with Pet Sounds 107 The Beatles May 1966 B side Rain recorded during the Revolver sessions was the first pop recording to contain reversed sounds 108 Together with further studio tricks such as varispeed the song includes a droning melody that reflected the band s growing interest in non Western musical form 109 and lyrics conveying the division between an enlightened psychedelic outlook and conformism 108 110 Philo cites Rain as the birth of British psychedelic rock and describes Revolver as the most sustained deployment of Indian instruments musical form and even religious philosophy heard in popular music up to that time 109 Author Steve Turner recognises the Beatles success in conveying an LSD inspired worldview on Revolver particularly with Tomorrow Never Knows as having opened the doors to psychedelic rock or acid rock 111 In author Shawn Levy s description it was the first true drug album not just a pop record with some druggy insinuations 112 while musicologists Russell Reising and Jim LeBlanc credit the Beatles with set ting the stage for an important subgenre of psychedelic music that of the messianic pronouncement 113 nb 12 Echard highlights early records by the 13th Floor Elevators and Love among the key psychedelic releases of 1966 along with Shapes of Things Eight Miles High Rain and Revolver 81 Originating from Austin Texas the first of these new bands came to the genre via the garage scene 117 before releasing their debut album The Psychedelic Sounds of the 13th Floor Elevators in October that year 118 It was one of the first rock albums to include the adjective in its title 119 although the LP was released on an independent label and was little noticed at the time 120 Two other bands also used the word in titles of LPs released in November 1966 The Blues Magoos Psychedelic Lollipop and the Deep s Psychedelic Moods Having formed in late 1965 with the aim of spreading LSD consciousness the Elevators commissioned business cards containing an image of the third eye and the caption Psychedelic rock 121 nb 13 Rolling Stone highlights the 13th Floor Elevators as arguably the most important early progenitors of psychedelic garage rock 8 Donovan s July 1966 single Sunshine Superman became one of the first psychedelic pop rock singles to top the Billboard charts in the US Influenced by Aldous Huxley s The Doors of Perception and with lyrics referencing LSD it contributed to bringing psychedelia to the mainstream 123 124 The Beach Boys October 1966 single Good Vibrations was another early pop song to incorporate psychedelic lyrics and sounds 125 The single s success prompted an unexpected revival in theremins and increased the awareness of analog synthesizers 126 As psychedelia gained prominence Beach Boys style harmonies would be ingrained into the newer psychedelic pop 99 1967 69 Continued development Edit Peak era Edit Poster for the Mantra Rock Dance event held at San Francisco s Avalon Ballroom in January 1967 The headline acts included the Grateful Dead Big Brother and the Holding Company and Moby Grape In 1967 psychedelic rock received widespread media attention and a larger audience beyond local psychedelic communities 83 From 1967 to 1968 it was the prevailing sound of rock music either in the more whimsical British variant or the harder American West Coast acid rock 127 Music historian David Simonelli says the genre s commercial peak lasted a brief year with San Francisco and London recognised as the two key cultural centres 85 Compared with the American form British psychedelic music was often more arty in its experimentation and it tended to stick within pop song structures 128 Music journalist Mark Prendergast writes that it was only in US garage band psychedelia that the often whimsical traits of UK psychedelic music were found 129 He says that aside from the work of the Byrds Love and the Doors there were three categories of US psychedelia the acid jams of the San Francisco bands who favoured albums over singles pop psychedelia typified by groups such as the Beach Boys and Buffalo Springfield and the wigged out music of bands following in the example of the Beatles and the Yardbirds such as the Electric Prunes the Nazz the Chocolate Watchband and the Seeds 130 nb 14 In February 1967 the Beatles released the double A side single Strawberry Fields Forever Penny Lane which Ian MacDonald says launched both the English pop pastoral mood typified by bands such as Pink Floyd Family Traffic and Fairport Convention and English psychedelia s LSD inspired preoccupation with nostalgia for the innocent vision of a child 133 The Mellotron parts on Strawberry Fields Forever remain the most celebrated example of the instrument on a pop or rock recording 134 135 According to Simonelli the two songs heralded the Beatles brand of Romanticism as a central tenet of psychedelic rock 136 Poster for Jefferson Airplane s song White Rabbit which describes the surreal world of Alice in Wonderland Jefferson Airplane s Surrealistic Pillow February 1967 was one of the first albums to come out of San Francisco that sold well enough to bring national attention to the city s music scene The LP tracks White Rabbit and Somebody to Love subsequently became top 10 hits in the US 137 The Hollies psychedelic B side All the World Is Love February 1967 was released as the flipside to the hit single On a Carousel 138 Pink Floyd s Arnold Layne March 1967 and See Emily Play June 1967 both written by Syd Barrett helped set the pattern for pop psychedelia in the UK 139 There underground venues like the UFO Club Middle Earth Club The Roundhouse the Country Club and the Art Lab drew capacity audiences with psychedelic rock and ground breaking liquid light shows 140 A major figure in the development of British psychedelia was the American promoter and record producer Joe Boyd who moved to London in 1966 He co founded venues including the UFO Club produced Pink Floyd s Arnold Layne and went on to manage folk and folk rock acts including Nick Drake the Incredible String Band and Fairport Convention 141 142 Psychedelic rock s popularity accelerated following the release of the Beatles album Sgt Pepper s Lonely Hearts Club Band May 1967 and the staging of the Monterey Pop Festival in June 83 Sgt Pepper was the first commercially successful work that critics recognised as a landmark aspect of psychedelia and the Beatles mass appeal meant that the record was played virtually everywhere 143 The album was highly influential on bands in the US psychedelic rock scene 12 and its elevation of the LP format benefited the San Francisco bands 144 Among many changes brought about by its success artists sought to imitate its psychedelic effects and devoted more time to creating their albums the counterculture was scrutinised by musicians and acts adopted its non conformist sentiments 145 The 1967 Summer of Love saw a huge number of young people from across America and the world travel to Haight Ashbury boosting the area s population from 15 000 to around 100 000 146 It was prefaced by the Human Be In event in March and reached its peak at the Monterey Pop Festival in June the latter helping to make major American stars of Janis Joplin lead singer of Big Brother and the Holding Company Jimi Hendrix and the Who 147 Several established British acts joined the psychedelic revolution including Eric Burdon previously of the Animals and the Who whose The Who Sell Out December 1967 included the psychedelic influenced I Can See for Miles and Armenia City in the Sky 148 Other major British Invasion acts who absorbed psychedelia in 1967 include the Hollies with the album Butterfly 149 and The Rolling Stones album Their Satanic Majesties Request 150 The Incredible String Band s The 5000 Spirits or the Layers of the Onion July 1967 developed their folk music into a pastoral form of psychedelia 151 Many famous established recording artists from the early rock era also fell under psychedelia and recorded psychedelic inspired tracks including Del Shannon s Color Flashing Hair Bobby Vee s I May Be Gone The Four Seasons Watch the Flowers Grow Roy Orbison s Southbound Jericho Parkway and The Everly Brothers Mary Jane 152 153 According to author Edward Macan there ultimately existed three distinct branches of British psychedelic music The first dominated by Cream the Yardbirds and Hendrix was founded on a heavy electric adaptation of the blues played by the Rolling Stones adding elements such as the Who s power chord style and feedback 154 The second considerably more complex form drew strongly from jazz sources and was typified by Traffic Colosseum If and Canterbury scene bands such as Soft Machine and Caravan 155 The third branch represented by the Moody Blues Pink Floyd Procol Harum and the Nice was influenced by the later music of the Beatles 155 Several of the post Sgt Pepper English psychedelic groups developed the Beatles classical influences further than either the Beatles or contemporaneous West Coast psychedelic bands 156 Among such groups the Pretty Things abandoned their R amp B roots to create S F Sorrow December 1968 the first example of a psychedelic rock opera 157 nb 15 International variants Edit See also Psychedelic rock in Australia and New Zealand and Psychedelic rock in Latin America The US and UK were the major centres of psychedelic music but in the late 1960s scenes began to develop across the world including continental Europe Australasia Asia and south and Central America 159 In the later 1960s psychedelic scenes developed in a large number of countries in continental Europe including the Netherlands with bands like The Outsiders 160 Denmark where it was pioneered by Steppeulvene 161 Yugoslavia with bands like Kameleoni 162 Dogovor iz 1804 163 Pop Masina 164 and Igra Staklenih Perli 165 and Germany where musicians began to fuse music of psychedelia and the electronic avant garde 1968 saw the first major German rock festival the Internationale Essener Songtage de in Essen 166 and the foundation of the Zodiak Free Arts Lab in Berlin by Hans Joachim Roedelius and Conrad Schnitzler which helped bands like Tangerine Dream and Amon Duul achieve cult status 167 A thriving psychedelic music scene in Cambodia influenced by psychedelic rock and soul broadcast by US forces radio in Vietnam 168 was pioneered by artists such as Sinn Sisamouth and Ros Serey Sothea 169 In South Korea Shin Jung Hyeon often considered the godfather of Korean rock played psychedelic influenced music for the American soldiers stationed in the country Following Shin Jung Hyeon the band San Ul Lim Mountain Echo often combined psychedelic rock with a more folk sound 170 In Turkey Anatolian rock artist Erkin Koray blended classic Turkish music and Middle Eastern themes into his psychedelic driven rock helping to found the Turkish rock scene with artists such as Cem Karaca Mogollar Baris Manco and Erkin Koray In Brazil the Tropicalia movement merged Brazilian and African rhythms with psychedelic rock Musicians who were part of the movement include Caetano Veloso Gilberto Gil Os Mutantes Gal Costa Tom Ze and the poet lyricist Torquato Neto all of whom participated in the 1968 album Tropicalia ou Panis et Circencis which served as a musical manifesto 1969 71 Decline Edit See also Progressive rock and Heavy metal music The stage at the Woodstock Festival in 1969 By the end of the 1960s psychedelic rock was in retreat Psychedelic trends climaxed in the 1969 Woodstock festival which saw performances by most of the major psychedelic acts including Jimi Hendrix Jefferson Airplane and the Grateful Dead 171 LSD had been made illegal in the UK in September 1966 and in California in October 172 by 1967 it was outlawed throughout the United States 173 In 1969 the murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his cult of followers claiming to have been inspired by Beatles songs such as Helter Skelter has been seen as contributing to an anti hippie backlash 174 At the end of the same year the Altamont Free Concert in California headlined by the Rolling Stones became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards 175 George Clinton s ensembles Funkadelic and Parliament and their various spin offs took psychedelia and funk to create their own unique style 176 producing over forty singles including three in the US top ten and three platinum albums 177 Brian Wilson of the Beach Boys 125 Brian Jones of the Rolling Stones Peter Green and Danny Kirwan of Fleetwood Mac and Syd Barrett of Pink Floyd were early acid casualties clarification needed helping to shift the focus of the respective bands of which they had been leading figures 178 Some groups such as the Jimi Hendrix Experience and Cream broke up 179 Hendrix died in London in September 1970 shortly after recording Band of Gypsys 1970 Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors who died in Paris in July 1971 180 By this point many surviving acts had moved away from psychedelia into either more back to basics roots rock traditional based pastoral or whimsical folk the wider experimentation of progressive rock or riff based heavy rock 71 Revivals and successors EditThis section possibly contains inappropriate or misinterpreted citations that do not verify the text Please help improve this article by checking for citation inaccuracies August 2016 Learn how and when to remove this template message Psychedelic soul Edit Main articles Psychedelic soul and Psychedelic funk Following the lead of Hendrix in rock psychedelia began to influence African American musicians particularly the stars of the Motown label 181 This psychedelic soul was influenced by the civil rights movement giving it a darker and more political edge than much psychedelic rock 181 Building on the funk sound of James Brown it was pioneered from about 1968 by Sly and the Family Stone and The Temptations Acts that followed them into this territory included Edwin Starr and the Undisputed Truth 181 verification needed George Clinton s interdependent Funkadelic and Parliament ensembles and their various spin offs took the genre to its most extreme lengths making funk almost a religion in the 1970s 176 producing over forty singles including three in the US top ten and three platinum albums 177 While psychedelic rock began to waver at the end of the 1960s psychedelic soul continued into the 1970s peaking in popularity in the early years of the decade and only disappearing in the late 1970s as tastes began to change 181 Songwriter Norman Whitfield wrote psychedelic soul songs for The Temptations and Marvin Gaye 182 Prog heavy metal and krautrock Edit Main articles Progressive rock Heavy metal music and Krautrock Many of the British musicians and bands that had embraced psychedelia went on to create progressive rock in the 1970s including Pink Floyd Soft Machine and members of Yes The Moody Blues album In Search of the Lost Chord 1968 which is steeped in psychedelia including prominent use of Indian instruments is noted as an early predecessor and influence on the emerging progressive movement 183 184 King Crimson s album In the Court of the Crimson King 1969 has been seen as an important link between psychedelia and progressive rock 185 While bands such as Hawkwind maintained an explicitly psychedelic course into the 1970s most dropped the psychedelic elements in favour of wider experimentation 186 The incorporation of jazz into the music of bands like Soft Machine and Can also contributed to the development of the jazz rock of bands like Colosseum 187 As they moved away from their psychedelic roots and placed increasing emphasis on electronic experimentation German bands like Kraftwerk Tangerine Dream Can Neu and Faust developed a distinctive brand of electronic rock known as kosmische musik or in the British press as Kraut rock 188 The adoption of electronic synthesisers pioneered by Popol Vuh from 1970 together with the work of figures like Brian Eno for a time the keyboard player with Roxy Music would be a major influence on subsequent electronic rock 189 Psychedelic rock with its distorted guitar sound extended solos and adventurous compositions has been seen as an important bridge between blues oriented rock and later heavy metal American bands whose loud repetitive psychedelic rock emerged as early heavy metal included the Amboy Dukes and Steppenwolf 12 From England two former guitarists with the Yardbirds Jeff Beck and Jimmy Page moved on to form key acts in the genre The Jeff Beck Group and Led Zeppelin respectively 190 Other major pioneers of the genre had begun as blues based psychedelic bands including Black Sabbath Deep Purple Judas Priest and UFO 190 191 Psychedelic music also contributed to the origins of glam rock with Marc Bolan changing his psychedelic folk duo into rock band T Rex and becoming the first glam rock star from 1970 192 verification needed From 1971 David Bowie moved on from his early psychedelic work to develop his Ziggy Stardust persona incorporating elements of professional make up mime and performance into his act 193 The jam band movement which began in the late 1980s was influenced by the Grateful Dead s improvisational and psychedelic musical style 194 195 The Vermont band Phish developed a sizable and devoted fan following during the 1990s and were described as heirs to the Grateful Dead after the death of Jerry Garcia in 1995 196 197 Emerging in the 1990s stoner rock combined elements of psychedelic rock and doom metal Typically using a slow to mid tempo and featuring low tuned guitars in a bass heavy sound 198 with melodic vocals and retro production 199 it was pioneered by the Californian bands Kyuss 200 and Sleep 201 Modern festivals focusing on psychedelic music include Austin Psych Fest in Texas founded in 2008 202 Liverpool Psych Fest 203 and Desert Daze in Southern California 204 Neo psychedelia Edit There were occasional mainstream acts that dabbled in neo psychedelia a style of music which emerged in late 1970s post punk circles Although it has mainly been an influence on alternative and indie rock bands neo psychedelia sometimes updated the approach of 1960s psychedelic rock 205 Neo psychedelia may include forays into psychedelic pop jangly guitar rock heavily distorted free form jams or recording experiments 205 Some of the scene s bands including the Soft Boys the Teardrop Explodes Wah Echo amp the Bunnymen became major figures of neo psychedelia In the US in the early 1980s it was joined by the Paisley Underground movement based in Los Angeles and fronted by acts such as Dream Syndicate the Bangles and Rain Parade 206 Primal Scream performing live with the cover of their album Screamadelica in the back In the late 80s in the UK the genre of Madchester emerged in the Manchester area in which artists merged alternative rock with acid house and dance culture as well as other sources including psychedelic music and 1960s pop 207 208 The label was popularised by the British music press in the early 1990s 209 Erchard talks about it as being part of a thread of 80s psychedelic rock and lists as main bands in it the Stone Roses Happy Mondays and Inspiral Carpets The rave influenced scene is widely seen as heavily influenced by drugs especially ecstasy MDMA and it is seen by Erchard as central to a wider phenomenon of what he calls a rock rave crossover in the late 80s and early 90s UK indie scene which also included the Screamadelica album by Scottish band Primal Scream 207 Later according to Treblezine s Jeff Telrich Primal Scream made neo psychedelia dancefloor ready The Flaming Lips and Spiritualized took it to orchestral realms And Animal Collective well they kinda did their own thing 210 See also Edit 1960s portal Rock music portalList of electric blues musicians List of psychedelic rock artistsNotes Edit Their keyboardist Bruce Johnston went on to join the Beach Boys in 1965 He would recall LSD is something I ve never thought about and never done 23 According to Stewart Hope Graham was the key early figure Influential but without much commercial impact Graham s mix of folk blues jazz and eastern scales backed on his solo albums with bass and drums was a precursor to and ultimately an integral part of the folk rock movement of the later sixties It would be difficult to underestimate Graham s influence on the growth of hard drug use in British counterculture 34 The growth of underground culture in Britain was facilitated by the emergence of alternative weekly publications like IT International Times and Oz which featured psychedelic and progressive music together with the counterculture lifestyle which involved long hair and the wearing of wild shirts from shops like Mr Fish Granny Takes a Trip and old military uniforms from Carnaby Street Soho and King s Road Chelsea boutiques 41 In the song s lyric the narrator requests Take me on a trip upon your magic swirling ship 19 Whether this was intended as a drug reference was unclear but the line would enter rock music when the song was a hit for the Byrds later in the year 19 While Beck s influence had been Ravi Shankar records 59 the Kinks Ray Davies was inspired during a trip to Bombay where he heard the early morning chanting of Indian fisherman 57 60 The Byrds were also delving into the raga sound by late 1965 their music of choice being Coltrane and Shankar records 60 That summer they shared their enthusiasm for Shankar s music and its transcendental qualities with George Harrison and John Lennon during a group acid trip in Los Angeles 61 The sitar and its attending spiritual philosophies became a lifelong pursuit for Harrison as he and Shankar would elevate Indian music and culture to mainstream consciousness 62 Previously Indian instrumentation had been included in Ken Thorne s orchestral score for the band s Help film soundtrack 58 Particularly prominent products of the scene were the Grateful Dead who had effectively become the house band of the Acid Tests 70 Country Joe and the Fish the Great Society Big Brother and the Holding Company the Charlatans Moby Grape Quicksilver Messenger Service and Jefferson Airplane 71 When this proved too small he took over Winterland and then the Fillmore West in San Francisco and the Fillmore East in New York City where major rock artists from both the US and the UK came to play 78 Beatles historian Ian MacDonald comments that Paul McCartney s guitar solo on Taxman from Revolver goes far beyond anything in the Indian style Harrison had done on guitar the probable inspiration being Jeff Beck s ground breaking solo on the Yardbirds astonishing Shapes of Things 88 The result of this directness was limited airplay and there was a similar reaction when Dylan released Rainy Day Women 12 amp 35 April 1966 with its repeating chorus of Everybody must get stoned 95 Brian Boyd of The Irish Times credits the Byrds Fifth Dimension July 1966 with being the first psychedelic album 101 Unterberger views it as the first album by major early folk rockers to break into folk rock psychedelia 102 Sam Andrew of Big Brother and the Holding Company recalled that the album resonated with musicians in San Francisco 114 in that the Beatles had definitely come on board with regard to the counterculture 115 In the 1995 documentary series Rock amp Roll Phil Lesh of the Grateful Dead recalled thinking that with Revolver the Beatles had embraced the psychedelic avant garde 116 The term was used in an article about the band titled Unique Elevators Shine with Psychedelic Rock in the 10 February 1966 edition of the Austin American Statesman 122 Writing in 1969 Shaw said New York s Tompkins Square Park was the East Coast center of hippiedom 131 He cited the Blues Magoos as the main psychedelic act and as a group that outdoes the west coasters in decibels 132 Prendergast cites Family s Music in a Doll s House July 1968 as a quintessential UK psychedelic album combining a wealth of orchestral and rock instrumentation 158 References Edit Hoffmann 2004 p 1725 Psychedelia was sometimes referred to as acid rock Nagelberg 2001 p 8 acid rock also known as psychedelic rock DeRogatis 2003 p 9 now regularly called psychedelic or acid rock Larson 2004 p 140 known as acid rock or psychedelic rock Romanowski amp George Warren 1995 p 797 Also known as acid rock or the San Francisco Sound a b c d Pete Prown Harvey P Newquist 1997 Legends of Rock Guitar The Essential Reference of Rock s Greatest Guitarists Hal Leonard Corporation p 48 ISBN 9780793540426 a b Hicks 2000 p 63 Hicks 2000 pp 63 66 a b c Prendergast 2003 pp 25 26 S Borthwick and R Moy Popular Music Genres An Introduction Edinburgh Edinburgh University Press 2004 ISBN 0 7486 1745 0 pp 52 4 a b c Pop Rock Psychedelic 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December 2016 Terich Jeff 10 Essential Neo Psychedelia Albums Treblezine a href Template Cite magazine html title Template Cite magazine cite magazine a Cite magazine requires magazine help Bibliography EditBellman Jonathan 1998 The Exotic in Western Music Lebanon NH University Press of New England ISBN 1 55553 319 1 Bennett Graham 2010 Soft Machine Out bloody rageous SAF ISBN 978 0946719846 Bogdanov Vladimir Woodstra Chris Erlewine Stephen Thomas eds 2002 All Music Guide to Rock The Definitive Guide to Rock Pop and Soul Backbeat Books ISBN 978 0 87930 653 3 Brend Mark 2005 Strange Sounds Offbeat Instruments and Sonic Experiments in Pop Hal Leonard Corporation ISBN 9780879308551 Butler Jan 2014 Album Art and Posters The Psychedelic Interplay of Rock Art and Art Rock In Shephard Tim Leonard Anne eds The Routledge Companion to Music and Visual Culture New York NY Routledge ISBN 978 0 415 62925 6 Carlin Peter Ames 2006 Catch a Wave The Rise Fall and Redemption of the Beach Boys Brian Wilson Rodale ISBN 978 1 59486 320 2 Case George 2010 Out of Our Heads Rock n Roll Before the Drugs Wore Off Milwaukee WI Backbeat Books ISBN 978 0 87930 967 1 DeRogatis Jim 2003 Turn on Your Mind Four Decades of Great Psychedelic Rock Milwaukee WI Hal Leonard ISBN 978 0 634 05548 5 Echard William 2017 Psychedelic Popular Music A History through Musical Topic Theory Bloomington IN Indiana University Press ISBN 978 0 253 02659 0 Gilliland John 1969 The Acid Test Psychedelics and a sub culture emerge in San Francisco audio Pop Chronicles University of North Texas Libraries Hall Mitchell K 2014 The Emergence of Rock and Roll Music and the Rise of American Youth Culture New York NY Routledge ISBN 978 1135053581 Hicks Michael 2000 Sixties Rock Garage Psychedelic and Other Satisfactions Urbana IL University of Illinois Press ISBN 978 0 252 06915 4 Hoffmann Frank 2004 Encyclopedia of Recorded Sound Routledge ISBN 978 1 135 94950 1 Hoffmann Frank 2016 Chronology of American Popular Music 1900 2000 Routledge ISBN 978 1 135 86886 4 Hoffmann Frank W Bailey William G 1990 Arts amp Entertainment Fads Binghamton NY The Haworth Press ISBN 0 86656 881 6 Jackson Andrew Grant 2015 1965 The Most Revolutionary Year in Music New York NY Thomas Dunne Books ISBN 978 1 250 05962 8 Lambert Philip 2007 Inside the Music of Brian Wilson The Songs Sounds and Influences of the Beach Boys Founding Genius Bloomsbury Publishing ISBN 978 1 4411 0748 0 Larson Tom 2004 History of Rock and Roll Kendall Hunt ISBN 9780787299699 Lavezzoli Peter 2006 The Dawn of Indian Music in the West New York NY Continuum ISBN 0 8264 2819 3 Levy Shawn 2002 Ready Steady Go Swinging London and the Invention of Cool London Fourth Estate ISBN 978 1 84115 226 4 Macan Edward 1997 Rocking the Classics English Progressive Rock and the Counterculture Oxford University Press ISBN 978 0 19 509887 7 MacDonald Ian 1998 Revolution in the Head The Beatles Records and the Sixties London Pimlico ISBN 978 0 7126 6697 8 McEneaney Kevin T 2009 Tom Wolfe s America Heroes Pranksters and Fools ABC CLIO ISBN 978 0 313 36545 4 Miles Barry 2005 Hippie Sterling ISBN 978 1 4027 2873 0 Nagelberg Kenneth M 2001 Acid Rock In Browne Ray B Browne Pat eds The Guide to United States Popular Culture Madison WI University of Wisconsin Press ISBN 978 0 87972821 2 Perry Charles 1984 The Haight Ashbury A History New York NY Random House Rolling Stone Press ISBN 978 0 39441098 2 Philo Simon 2015 British Invasion The Crosscurrents of Musical Influence Lanham MD Rowman amp Littlefield ISBN 978 0 8108 8627 8 Pinch Trevor Trocco Frank 2009 Analog Days The Invention and Impact of the Moog Synthesizer Cambridge MA Harvard University Press ISBN 978 0 674 04216 2 Power Martin 2011 Hot Hired Guitar The Life of Jeff Beck London Omnibus Press ISBN 978 1 84938 869 6 Prendergast Mark 2003 The Ambient Century From Mahler to Moby The Evolution of Sound in the Electronic Age New York NY Bloomsbury ISBN 1 58234 323 3 Prown Pete Newquist Harvey P 1997 Legends of Rock Guitar The Essential Reference of Rock s Greatest Guitarists Hal Leonard ISBN 978 0 7935 4042 6 Reising Russell 2002 Introduction Of the beginning In Reising Russell ed Every Sound There Is The Beatles Revolver and the Transformation of Rock and Roll Farnham UK Ashgate Publishing ISBN 978 0 7546 0557 7 Reising Russell LeBlanc Jim 2009 Magical Mystery Tours and Other Trips Yellow submarines newspaper taxis and the Beatles psychedelic years In Womack Kenneth ed The Cambridge Companion to the Beatles Cambridge UK Cambridge University Press ISBN 978 0 521 68976 2 Romanowski Patricia George Warren Holly eds 1995 The New Rolling Stone Encyclopedia of Rock amp Roll New York NY Fireside Rolling Stone Press ISBN 0 684 81044 1 Russo Greg 2016 Yardbirds The Ultimate Rave Up Floral Park NY Crossfire Publications ISBN 978 0 9791845 7 4 Savage Jon 2015 1966 The Year the Decade Exploded London Faber amp Faber ISBN 978 0 571 27763 6 Shaw Arnold 1969 The Rock Revolution New York NY Crowell Collier Press ISBN 9780027824001 Simonelli David 2013 Working Class Heroes Rock Music and British Society in the 1960s and 1970s Lanham MD Lexington Books ISBN 978 0739170519 Smith Chris 2009 101 Albums That Changed Popular Music New York NY Oxford University Press ISBN 978 0 19 537371 4 Turner Steve 2016 Beatles 66 The Revolutionary Year New York NY Ecco ISBN 978 0 06 247558 9 Unterberger Richie 2002 Psychedelic Rock In Bogdanov Vladimir Woodstra Chris Erlewine Stephen Thomas eds All Music Guide to Rock The Definitive Guide to Rock Pop and Soul 3rd ed San Francisco CA Backbeat Books ISBN 978 0879306533 Unterberger Richie 2003 Eight Miles High Folk Rock s Flight from Haight Ashbury to Woodstock San Francisco CA Backbeat Books ISBN 0 87930 743 9 Further reading EditBelmo 1999 20th Century Rock and Roll Psychedelia Burlington ON Collectors Guide Publishing ISBN 978 1 89652240 1 Bromell Nick 2002 Tomorrow Never Knows Rock and Psychedelics in the 1960s Chicago IL University of Chicago Press ISBN 0 226 07562 1 Chapman Rob 2015 Psychedelia and Other Colours London Faber amp Faber ISBN 978 0 57128 200 5 Joynson Vernon 2004 Fuzz Acid and Flowers Revisited A Comprehensive Guide to American Garage Psychedelic and Hippie Rock 1964 1975 Borderline ISBN 978 1 89985 514 8 Reynolds Simon 1997 Back to Eden Innocence Indolence and Pastoralism in Psychedelic Music 1966 1996 In Melechi Antonio ed Psychedelia Britannica London Turnaround pp 143 65 Retrieved from https en wikipedia org w index php title Psychedelic rock amp oldid 1153649910, wikipedia, wiki, book, books, library,

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