Psychedelic rock

Psychedelic rock is a style of rock music that is inspired or inuenced by psychedelic culture and attempts
to replicate and enhance the mind-altering experiences of
psychedelic drugs. It often uses new recording techniques
and eects and sometimes draws on sources such as the
ragas and drones of Indian music.
It was pioneered by musicians including the Beatles, the
Beach Boys, the Byrds, and the Yardbirds, emerging as a
genre during the mid-1960s among folk rock and blues
rock bands in the United Kingdom and United States,
such as Grateful Dead, Jeerson Airplane, the Jimi Hendrix Experience, Cream, the Doors and Pink Floyd. It
reached a peak in between 1967 and 1969 with the
Summer of Love and Woodstock Rock Festival, respectively, becoming an international musical movement and
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.
Psychedelic rock inuenced the creation of psychedelic
pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to
progressive rock, glam rock, hard rock and as a result
inuenced the development of subgenres such as heavy
metal. Since the late 1970s it has been revived in various
forms of neo-psychedelia.

Characteristics

As a musical style, psychedelic rock attempted to replicate the eects of and enhance the mind-altering experiences of hallucinogenic drugs, incorporating new electronic and recording eects, extended solos, and improvisation, and it was particularly inuenced by eastern mys- A sitar, much used on early records of the genre.
ticism, reected in use of exotic instrumentation, particularly from Indian music or the incorporation of elements
a strong keyboard presence, especially organs,
of eastern music. Major features include:
harpsichords, or the Mellotron (an early tape-driven
'sampler');[4]
electric guitars, often used with feedback, wah wah
and fuzzboxes;[1]
extended instrumental solos or jams;[5]
elaborate studio eects, such as backwards tapes,
panning, phasing, long delay loops, and extreme
reverb;[2]

complex song structures, key and time signature

changes, modal melodies and drones;[5]
electronic instruments such as synthesizers and the
theremin;[6][7]

non-Western instruments, specically those originally used in Indian classical music such as the sitar
and tabla ;[3]

lyrics that made direct or indirect reference to drugs,

1

HISTORY

as in Jeerson Airplane's "White Rabbit" or Jimi

Hendrix's "Purple Haze";[8]
surreal, whimsical, esoterically or literary-inspired,
lyrics.[9][10]

Etymology

The term psychedelic was rst coined in 1956 by

psychiatrist Humphry Osmond as an alternative descriptor for hallucinogenic drugs in the context of psychedelic
psychotherapy.[11] The rst musical use of the term
psychedelic is thought to have been by the New Yorkbased folk group The Holy Modal Rounders on their version of Lead Belly's "Hesitation Blues" in 1964.[12] The
rst group to advertise themselves as psychedelic rock
were the 13th Floor Elevators from Texas, at the end of
1965. The term was rst used in print in the Austin American Statesman in an article about the band titled Unique
Elevators shine with psychedelic rock, dated 10 February 1966, and theirs was the rst album to use the term
as part of its title, in The Psychedelic Sounds of the 13th
Floor Elevators, released in August that year.[5]
As the countercultural scene developed in San Francisco the terms acid rock and psychedelic rock were
used in 1966 to describe the new drug-inuenced
music[13] and were being widely used by 1967.[14] The
terms psychedelic rock and acid rock are often used
interchangeably,[8] but some commentators have distinguished the former, which generally evoked the eects
of psychedelic drugs, and acid rock, which can be seen
as a more extreme subgenre that focused more directly
on LSD, was often louder, made greater use of distortion
and often consisted of long, improvised jams.[15][16]

3
3.1

History
Origins

Main articles: Psychedelia and Psychedelic music

From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and
Allen Ginsberg[17] wrote about and took drugs, including
cannabis and Benzedrine, raising awareness and helping
to popularise their use.[18] In the same period Lysergic
acid diethylamide, better known as LSD, or acid (at
the time a legal drug), began to be used in the US and
UK as an experimental treatment, initially promoted as a
potential cure for mental illness.[19]

Bob Dylan and Allen Ginsberg in 1975

among jazz and blues musicians, and, in the early 1960s,

use of drugs (including cannabis, peyote, mescaline and
LSD[23] ) had begun to grow among folk and rock musicians, who also began to include drug references in their
songs.[24]
Two of the most successful and inuential acts of the era,
Bob Dylan and the Beatles, were among the rst to experiment with such references. Dylans song "Subterranean
Homesick Blues" (1965), which may have taken its title from a Kerouac novel,[25] included the line, Johnnys
in the basement, mixing up the medicine, and his "Mr.
Tambourine Man" (1965) requested Take me on a trip
upon your magic swirling ship. 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.[14] Dylan indicated that he had smoked
cannabis, but has denied using hard drugs. Nevertheless, his lyrics would continue to contain apparent drug
references.[26]
After being introduced to cannabis by Dylan, members
of The Beatles began using LSD in 1965. The Beatles introduced audiences to many of the major elements
of the psychedelic sound during this period, with guitar
feedback in "I Feel Fine" (1964), "Norwegian Wood
(This Bird Has Flown)" from their 1965 Rubber Soul album using a sitar, and the employment of reversed audio tapes on their 1966 B-side "Rain".[10] Drug references
began to appear in their songs, in "Day Tripper" (1965),
and more explicitly in "Tomorrow Never Knows" (1966),
from their album Revolver.[27]

The Beach Boys' Pet Sounds (1966) also 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 uncon[28][29][30]
In the early 1960s the use of LSD and other hallucino- ventional instruments.
gens was advocated by proponents of the new conscious- By the mid-1960s, the psychedelic life-style had already
ness expansion, such as Timothy Leary, Alan Watts, developed in California. This was particularly true in
Aldous Huxley and Arthur Koestler,[20][21] their writings San Francisco, due in part to the rst major underprofoundly inuenced the thinking of the new generation ground LSD factory, established there by Owsley Stanof youth.[22] There had long been a culture of drug use ley.[14] There was also an emerging music scene of folk

3.2

Development in the USA

3
who had also electried to produce his own brand of folk
rock, released "Rainy Day Women 12 & 35", with its
repeating chorus of Everybody must get stoned!".[37]
In Britain, the Yardbirds, with Je Beck as their guitarist,
increasingly moved into psychedelic territory, adding uptempo improvised rave ups, Gregorian chant and world
music (in particular Indian) inuences to their songs, including Still I'm Sad (1965) and "Over Under Sideways
Down" (1966), and singles such as "Heart Full of Soul"
(1965), "Shapes of Things" (1966) and "Happenings Ten
Years Time Ago" (1966).[28][38][39] They were soon followed by bands such as Procol Harum, The Moody Blues
and The Nice.[40]

Big Brother and the Holding Company, c. 1966-67: Janis Joplin

is seated in the foreground.

3.2 Development in the USA

clubs, coee houses and independent radio stations catering to a population of students at nearby Berkeley, and
to free thinkers that had gravitated to the city.[31] From
1964, the Merry Pranksters, a loose group that developed
around novelist Ken Kesey, sponsored the Acid Tests, a
series of events based around the taking of LSD (supplied by Stanley), accompanied by light shows, lm projection and discordant, improvised music known as the
psychedelic symphony.[32][33] The Pranksters helped popularize LSD use through their road trips across America
in a psychedelically-decorated school bus, which involved
distributing the drug and meeting with major gures of
the beat movement, and through publications about their
activities such as Tom Wolfe's The Electric Kool-Aid Acid
Test (1968).[26]
The Byrds, emerging from the Californian folk scene,
and the Yardbirds from the British blues scene, have
been seen as particularly inuential on the development
of the genre.[10] Drug use and attempts at psychedelic
music moved out of acoustic folk-based music towards
rock soon after The Byrds plugged in to produce a
chart topping version of Dylans Mr. Tambourine Man
in the summer of 1965, which became a folk rock
standard.[34][35][36]
A number of Californian-based folk acts followed them
into folk-rock, bringing their psychedelic inuences with
them, to produce the "San Francisco Sound".[10][32] Particularly prominent products of the scene were The
Grateful Dead (who had eectively become the house
band of the Acid Tests),[33] Country Joe and the Fish,
The Great Society, Big Brother and the Holding Company, The Charlatans, Moby Grape, Quicksilver Messenger Service and Jeerson Airplane.[10] In 1966, The
Byrds moved rapidly away from folk rock with their single "Eight Miles High", which made use of free jazz and
Indian ragas, and the lyrics of which were widely taken to
refer to drug use.[10] The result of this directness was limited airplay, and there was a similar reaction when Dylan,

Typical psychedelic style poster. Iron Buttery at the Carousel

Ballroom.

The San Francisco music scene continued to develop

as The Fillmore, the Avalon Ballroom, and The Matrix began booking local rock bands on a nightly basis. The rst Trips Festival, sponsored by the Merry
Pranksters and held at the Longshoremens Hall in January 1966, saw The Grateful Dead and Big Brother and
the Holding Company play to an audience of 10,000, giving many their rst encounter with both acid rock, with its
long instrumentals and unstructured jams, and LSD.[41]
Also from San Francisco, Blue Cheer played psychedelicinuenced rock in a blues-rock style.[42][43]
A major gure in the expansion of the genre was promoter Bill Graham, whose rst rock concert in 1965 was
a benet that included Allen Ginsberg and the then unknown Jeerson Airplane on the bill. He produced shows
attracting most of the major psychedelic rock bands and
operated The Fillmore. 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),

HISTORY

where the major rock artists, from both the US and the wild shirts from shops like Mr Fish, Granny Takes a Trip
UK, came to play.[44]
and old military uniforms from Carnaby Street (Soho)
[55]
Although San Francisco was the centre of American and Kings Road (Chelsea) boutiques.
psychedelic music scene, many other American cities
contributed signicantly to the new genre. The rst
psychedelic single to reach the US top 10 was "Psychotic
Reaction" by San Jose garage band Count Five in
July 1966.[8] Los Angeles boasted dozens of important psychedelic bands. Besides The Byrds, these included Iron Buttery, Love, Spirit, Captain Beefheart
and his Magic Band, The United States of America, The
West Coast Pop Art Experimental Band, and the Electric
Prunes;[45] perhaps the most commercially successful
were The Doors.[46] Frank Zappa and his group The
Mothers of Invention began to incorporate psychedelic
inuences in their rst two albums Freak Out! (1966)
and Absolutely Free (1967).[47]
New York City produced its share of psychedelic bands,
such as folk pioneers The Fugs, The Godz, and Pearls
Before Swine, besides the Blues Magoos, the Blues
Project,[48] Lothar and the Hand People[49] and the bluesinuenced Vanilla Fudge.[50] The Detroit area gave rise
to psychedelic bands the Amboy Dukes, and the SRC,[51]
and Chicago produced H. P. Lovecraft.[52] Texas (particularly Austin) is often cited for its contributions to
psychedelic music: besides the 13th Floor Elevators it
produced acts including Bubble Puppy, Lost and Found,
The Golden Dawn, The Zakary Thaks, and Red Crayola.[53]

3.3

Development in the UK

Soon psychedelic rock clubs like the UFO Club in

Tottenham Court Road, Middle Earth Club in Covent
Garden, The Roundhouse in Chalk Farm, the Country Club (Swiss Cottage) and the Art Lab (also
in Covent Garden) were drawing capacity audiences
with psychedelic rock and ground-breaking liquid light
shows.[56] A major gure in the development of British
psychedelia was the American promoter and record producer Joe Boyd, who moved to London in 1966. He cofounded venues including the UFO Club, produced Pink
Floyd's rst single, "Arnold Layne", and went on to manage folk and folk rock acts including Nick Drake, the
Incredible String Band and Fairport Convention.[57][58]
British psychedelic rock, like its American counterpart,
had roots in the folk scene. Blues, drugs, jazz and eastern inuences had featured since 1964 in the work of
Davy Graham and Bert Jansch.[59] However, the largest
strand was a series of bands that emerged from 1966
from the British blues scene, but inuenced by folk, jazz
and psychedelia, including Pink Floyd, Trac, Soft Machine, Cream, and The Jimi Hendrix Experience (led
by an American, but initially produced and managed
in Britain by Chas Chandler of The Animals).[40] The
Rolling Stones had drug references and psychedelic hints
in their 1966 singles "19th Nervous Breakdown" and
"Paint It, Black", the latter featuring drones and sitar.[10]
The Small Faces managed to get drug references past
the censors with their rst single "Here Come the Nice"
(1967)[60] and introduced phasing on "Itchycoo Park"
(1967).[61]

Cream, one of the psychedelic inuenced bands of the British

blues movement, c. 1966

In the UK before 1967 media outlets for psychedelic

culture were limited to stations like Radio Luxembourg
and pirate radio like Radio London, particularly the programmes hosted by DJ John Peel.[54] The growth of
underground culture was facilitated by the emergence
of alternative weekly publications like IT (International The Small Faces in 1965
Times) and OZ magazine which featured psychedelic
and progressive music together with the counterculture The Crazy World of Arthur Brown added surreal theatrilifestyle, which involved long hair, and the wearing of cal touches to its dark psychedelic sounds, such as the

3.5

International expansion

singers aming headdress.[62] Existing "British Invasion"

acts now joined the psychedelic revolution, including
Eric Burdon (previously of The Animals) and The Who,
whose The Who Sell Out (1967) included psychedelic inuenced tracks "I Can See for Miles" and Armenia City
in the Sky.[63]

3.4

Peak years

5
In America the Summer of Love of 1967 saw a huge
number of young people from across America and the
world travel to the Haight-Ashbury district of San Francisco, boosting the population from 15,000 to around
100,000.[75] 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.[76] Key
recordings included Jeerson Airplanes Surrealistic Pillow, the rst album to come out of San Francisco during
this era, which sold well enough to bring the citys music
scene to the attention of the record industry: from it they
took two of the earliest psychedelic hit singles: "White
Rabbit" (1967) and "Somebody to Love" (1967).[77] The
Doors' rst hit single "Light My Fire" (1967), running for
over seven minutes, became one of the dening records
of the genre, although their follow up album Strange Days
only enjoyed moderate success.[78] Santana, led by guitarist Carlos Santana, used Latin rhythms as the basis for
their psychedelic music.[8]

Psychedelic rock reached its apogee in the last years of

the decade. 1967 saw the Beatles release the double
A-side "Strawberry Fields Forever" and "Penny Lane",
opening a strain of British pastoral[64] or nostalgic[10]
psychedelia, followed by the release of what is often
seen as their denitive psychedelic statement in Sgt. Peppers Lonely Hearts Club Band, including the controversial
track "Lucy in the Sky with Diamonds".[65] They continued the psychedelic theme later in the year with the double EP Magical Mystery Tour and the number one single
"Hello, Goodbye" with its B-side "I Am the Walrus".[66]
Also enigmatic and surreal was one of the most inuenThese trends climaxed in the 1969 Woodstock festitial records of 1967, "A Whiter Shade of Pale" by Procol
val, which saw performances by most of the major
Harum, which reached number one in the UK Singles
psychedelic acts, including Jimi Hendrix, Jeerson AirChart on 8 June 1967, and stayed there for six weeks.[67]
plane, and the Grateful Dead.[79] Psychedelic rock was
The Rolling Stones responded to Sgt Pepper later in the glamorized on screen in Easy Rider (1969), which used
year with Their Satanic Majesties Request, and Pink Floyd songs including Steppenwolf's "Born to be Wild" as part
produced what is usually seen as their best psychedelic of its soundtrack.[8]
work The Piper at the Gates of Dawn.[10][68] In 1967
the Incredible String Bands The 5000 Spirits or the Layers of the Onion developed their folk music into full 3.5 International expansion
blown psychedelia, which would be a major inuence on
psychedelic rock.[69] From 1967 Fairport Convention be- The US and UK were the major centres of psychedelic
came a mainstay of the London Underground scene, pro- music, but in the late 1960s scenes began to develop
ducing their eponymous rst album of American-inspired across the world, including continental Europe, Australafolk rock the following year.[70] The Pretty Things' rock sia, Asia and south and Central America.[80]
opera S.F. Sorrow, released in December 1968, featured
both heavy psychedelic songs such as Old Man Going
and I See You and poppy numbers like S.F.Sorrow Is
Born and Baron Saturday.[71][72][73] The Small Faces
Ogdens Nut Gone Flake (1968), released soon after, also
pioneered the concept album, with the tracks on LP
telling a single story.[74]

The Redmond Stage at the Woodstock Festival in 1969

The Bee Gees, one of the most commercially successful survivors

of the psychedelic era, performing on Dutch television in 1968

HISTORY

In the later 1960s psychedelic scenes developed in a

large number of countries in continental Europe, including the Netherlands with bands like The Outsiders,[81]
Denmark where it was pioneered by Steppeulvene,[82]
and Germany, where musicians began to fuse music of
psychedelia and the electronic avant-garde. 1968 saw
the rst major German rock festival in Essen,[83] 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 Dl
achieve cult status.[84]
The edgling Australian and New Zealand rock scenes
that formed in wake of Beatlemania were most inuenced
by British psychedelia, often with bands of rst generation immigrants, who returned to further their musical
careers.[85] Among the most successful were The Easybeats, formed in Sydney but who recorded their international hit "Friday on My Mind" (1966) in London and remained there for their forays into psychedelic-tinged pop
until they disbanded in 1970.[86] A similar path was pursued by the Bee Gees, formed in Brisbane, but whose
rst album Bee Gees 1st (1967), recorded in London,
gave them three major hit singles and contained folk,
rock and psychedelic elements, heavily inuenced by the
Beatles.[87] The Twilights, formed in Adelaide, also made
the trip to London, recording a series of minor hits, absorbing the psychedelic scene, to return home to produce
covers of Beatles songs, complete with sitar, and the concept album Once upon a Twilight (1968).[88] The most
successful New Zealand band, The La De Das, produced
the psychedelic pop concept album The Happy Prince
(1968), based on the Oscar Wilde childrens classic, but
failed to break through in Britain and the wider world.[89]
A thriving psychedelic music scene in Cambodia, inuenced by psychedelic rock and soul broadcast by US
forces radio in Vietnam,[90] was pioneered by artists such
as Sinn Sisamouth and Ros Sereysothea.[91] In South Korea, Shin Jung-Hyeon, often considered the godfather
of Korean rock, played psychedelic-inuenced 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.[92] 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 and Baris Manco.[93]
Latin America proved a particularly fertile ground for
psychedelic rock. The Brazilian psychedelic rock group
Os Mutantes formed in 1966, although little known outside Brazil at the time, have since accrued a substantial international cult following.[94] In the late 1960s, a
wave of Mexican rock, heavily inuenced by psychedelia
and funk emerged, especially in northern border Mexican
states, in particular, Tijuana, Baja California. Among
the most recognized bands from this "Chicano Wave"
(Onda Chicana in Spanish) were Three Souls in my Mind,

Los Gatos in 1967

Love Army, El Ritual[95] and Los Dug Dugs.[96] In Chile

from 1967 to 1973, between the ending of the government of President Frei Montalva and the government of
President Allende, a cultural movement was born from
a few Chilean bands that emerged playing a unique fusion of folkloric music with heavy psychedelic inuences.
The 1967 release of Los Macs album Kaleidoscope Men
(1967) inspired bands such as Los Jaivas and Los Blops,
the latter going on to collaborate with the iconic Chilean
singer-songwriter Victor Jara on his 1971 album El derecho de vivir en paz.[97] Meanwhile, in the Argentinian
capital Buenos Aires, a burgeoning psychedelic scene
gave birth to three of the most important bands in Argentine rock: Los Gatos, Manal and Almendra.[98]

3.6 Decline
By the end of the 1960s, psychedelic rock was in retreat. LSD had been made illegal in the US and UK
in 1966.[99] In 1969, the murders of Sharon Tate and
Leno and Rosemary LaBianca by Charles Manson and
his family of followers, claiming to have been inspired
by Beatles songs such as "Helter Skelter", has been seen
as contributing to an anti-hippie backlash.[100] 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.[101] Brian Wilson
of the Beach Boys (whose much anticipated Smile project
would not emerge until 2004),[102][103] Brian Jones of the
Rolling Stones, Peter Green of Fleetwood Mac and Syd
Barrett of Pink Floyd were early acid casualties, helping to shift the focus of the respective bands of which they
had been leading gures.[104] Some groups, such as the
Jimi Hendrix Experience and Cream, broke up.[105] Jimi
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.[106] Many surviving acts moved away from
psychedelia into either more back-to-basics "roots rock",

7
traditional-based, pastoral or whimsical folk, the wider turning away from American-inuenced folk rock toward
experimentation of progressive rock, or ri-based heavy a sound based on traditional British music and founding
rock.[10]
the subgenre of electric folk, to be followed by bands
like Steeleye Span and Fotheringay.[113] The psychedelicinuenced and whimsical strand of British folk continued
into the 1970s with acts including Comus, Mellow Candle, Nick Drake, The Incredible String Band, Forest and
Trees and with Syd Barretts two solo albums.[114]

4 Inuence
4.1 Other genres
Main articles: Psychedelic pop and Psychedelic soul
As psychedelia emerged as a mainstream and commer-

Jody Grinds One Step On gatefold record sleeve features

UV/stroboscopic photography.

In 1966, even while psychedelic rock was becoming dominant, Bob Dylan spearheaded the back-to-basics roots
revival when he went to Nashville to record the album
Blonde on Blonde.[107][108] This, and the subsequent more
clearly country-inuenced albums, John Wesley Harding
(1967) and Nashville Skyline (1969), have been seen as
creating the genre of country folk.[108] Dylans lead was
also followed by The Byrds, joined by Gram Parsons to
record Sweetheart of the Rodeo (1968), helping to dene
the genre of country rock,[109] which became a particularly popular style in the California music scene of the
late 1960s, and was adopted by former folk rock artists including Hearts and Flowers, Poco and New Riders of the
Purple Sage.[109] Other acts that followed the back to basics trend in dierent ways were the Canadian group The
Band and the Californian-based Creedence Clearwater
Revival.[110] The Grateful Dead also had major successes
with the more reective and stripped back Workingmans
Dead and American Beauty in 1970.[111] The super-group
Crosby, Stills and Nash, formed in 1968 from members of The Byrds, Bualo Springeld, and The Hollies,
were joined by Neil Young for Deja Vu in 1970, which
moved away from many of what had become the clichs
of psychedelic rock and placed an emphasis on political
commentary and vocal harmonies.[112]

The Monkees, one of the most successful acts to delve into

psychedelic pop, pictured in 1967

cial force, particularly through the work of the Beatles,

it began to inuence pop music, which incorporated hippie fashions, as well as the sounds of sitars, fuzz guitars,
and tape eects.[115] The Beach Boys hit single "Good
Vibrations" was one of the rst pop songs to incorporate psychedelic lyrics and sounds.[103][116] Scottish folk
singer Donovan's transformation to 'electric' music gave
him a series of pop hits, beginning with "Sunshine Superman", which reached number one in both Britain and
the US, to be followed by "Mellow Yellow" (1966) and
"Atlantis" (1968).[10][117] American pop-oriented bands
that followed in this vein included the Electric Prunes,
the Blues Magoos and the Strawberry Alarm Clock.[118]
International acts such as the Bee Gees and the Easybeats
were also prominent in the development of psychedelic
pop.[86][119] Psychedelic sounds were also incorporated
into the output of early bubblegum pop acts like The
[120]
After the death of their manager Brian Epstein and the Monkees and The Lemon Pipers.
unpopular surreal television lm, Magical Mystery Tour, Following the lead of Hendrix in rock, psychedelia began
the Beatles returned to a raw style with The Beatles to have an impact on African American musicians, partic(1968), Abbey Road (1969) and Let It Be (1970), before ularly the stars of the Motown label.[121] This psychedelic
their eventual break up.[10] The back to basics trend was soul was inuenced by the civil rights movement, givalso evident in The Rolling Stones albums starting from ing it a darker and more political edge than much acid
Beggars Banquet (1968) to Exile on Main St. (1972).[10] rock.[121] Building on the funk sound of James Brown,
Fairport Convention released Liege and Lief in 1969, it was pioneered from about 1968 by Sly and the Fam-

5 NEO-PSYCHEDELIA

ily Stone and The Temptations. Acts that followed them

into this territory included the Supremes, The Chambers
Brothers, The 5th Dimension,[122] Edwin Starr and the
Undisputed Truth.[121] George Clinton's interdependent
Funkadelic and Parliament ensembles and their various
spin-os took the genre to its most extreme lengths making funk almost a religion in the 1970s,[123] producing
over forty singles, including three in the US top ten, and
three platinum albums.[124] 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.[121] Acts like Earth,
Wind and Fire, Kool and the Gang and Ohio Players, who
began as psychedelic soul artists, incorporated its sounds
into funk music and eventually the disco which partly replaced it.[125]

4.2

Rock music

or in the British press as "Kraut rock.[129] The adoption

of electronic synthesisers, pioneered by Popol Vuh from
1970, together with the work of gures like Brian Eno
(for a time the keyboard player with Roxy Music), would
be a major inuence on subsequent electronic rock.[130]
In Japan, Osamu Kitajima's 1974 psychedelic rock album Benzaiten utilized electronic equipment such as a
synthesizer and drum machine, and one of the records
contributors was Haruomi Hosono,[131] who later started
the electronic music band Yellow Magic Orchestra (as
Yellow Magic Band) in 1977.[132]
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.[8] From
England, two former guitarists with the Yardbirds, Je
Beck and Jimmy Page, moved on to form key acts
in the genre, The Je Beck Group and Led Zeppelin
respectively.[133] Other major pioneers of the genre had
begun as blues-based psychedelic bands, including Black
Sabbath, Deep Purple, Judas Priest and UFO.[133][134]
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 rst glam rock
star from 1970.[135] 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.[136]

5 Neo-psychedelia
Main article: Neo-psychedelia

5.1 1970s and 1980s

Roxy Music in 1973

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. King Crimson's album In the
Court of the Crimson King (1969) has been seen as
an important link between psychedelia and progressive
rock.[126] While bands such as Hawkwind maintained
an explicitly psychedelic course into the 1970s, most
dropped the psychedelic elements in favour of wider
experimentation.[127] 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.[128] As they moved away from their
psychedelic roots and placed increasing emphasis on electronic experimentation, German bands like Kraftwerk,
Tangerine Dream, Can and Faust developed a distinctive brand of electronic rock, known as kosmische musik,

My Bloody Valentine performing in 2013

There were occasional mainstream acts that dabbled

in neo-psychedelia, including Prince's mid-1980s work
and some of Lenny Kravitz's 1990s output, but it has
mainly been an inuence on alternative and indie-rock

9
bands.[137] Psychedelic rock began to be revived in the
late 1970s/early 1980s by bands of the post-punk scene,
including the work of The Teardrop Explodes, Echo
and the Bunnymen, The Church, the Soft Boys,[137]
Siouxsie and the Banshees,[138][139] The Cure,[140] The
Glove,[141] and The Legendary Pink Dots.[142] In the
US in the early 1980s these bands were joined by the
Paisley Underground movement, based in Los Angeles, with acts like Dream Syndicate, The Bangles and
Rain Parade.[143] New wave band XTC published records
under the pseudonym The Dukes of Stratosphear from
1985.[144] Even Gothic rock band The Damned incorporated psychedelic music into their sound.[145] The
late 1980s saw the birth of shoegazing in the UK,
which, among other inuences, took inspiration from
1960s psychedelia.[146] Critic Simon Reynolds described
this movement as a rash of blurry, neo-psychedelic
bands.[146] With loud walls of sound, where individual
instruments and even vocals were often indistinguishable,
they followed the lead of noise pop and dream pop bands
such as My Bloody Valentine (often considered as the earliest shoegaze act),[147] The Jesus and Mary Chain, and
the Cocteau Twins.[148] Major acts included Ride, Lush,
Chapterhouse, and The Boo Radleys, who enjoyed considerable attention in the UK, but largely failed to break
through in the US.[149]

5.2

1990s to the present

inuenced the early sound of 1990s Britpop bands like

Blur.[155] The Verve mixed on 1960s psychedelia with
the shoegazing aesthetic.[156] Oasis also drew on 1960s
psychedelic pop and rock, particularly on the album
Standing on the Shoulder of Giants (2000).[157] In the
immediate post-Britpop era Kula Shaker incorporated
swirling, guitar-heavy sounds of late-'60s psychedelia
with Indian mysticism and spirituality.[158] In the new
millennium neo-psychedelia was continued by bands directly emulating the sounds of the 60s such as The Black
Angels,[159] Tame Impala,[160] Pond,[161] and The Essex
Green,[162] while bands like Animal Collective applied
an experimental approach that combined genres from the
1960s and the present.[163] Modern festivals focusing on
psychedelic music include Austin Psych Fest in Texas,
founded in 2008[164] and Liverpool Psych Fest.[165]

6 See also
List of electric blues musicians
List of psychedelic rock artists

7 Notes
[1] P. Prown, H. P. Newquist and J. F. Eiche, Legends of Rock
Guitar: the Essential Reference of Rocks Greatest Guitarists (London: Hal Leonard Corporation, 1997), ISBN
0-7935-4042-9, p. 48.
[2] S. Borthwick and R. Moy, Popular Music Genres: an
Introduction (Edinburgh: Edinburgh University Press,
2004), ISBN 0-7486-1745-0, pp. 52-4.
[3] R. Rubin and J. P. Melnick, Immigration and American
Popular Culture: an Introduction (New York, NY: New
York University Press, 2007), ISBN 0-8147-7552-7, pp.
162-4.
[4] D. W. Marshall, Mass Market Medieval: Essays on the
Middle Ages in Popular Culture (Jeerson NC: McFarland, 2007), ISBN 0-7864-2922-4, p. 32.

Blur playing at the Roskilde Festival, Denmark in 1999.

In the 1990s the Elephant 6 collective, including acts

like The Apples in Stereo, The Olivia Tremor Control, Neutral Milk Hotel, Elf Power and of Montreal, produced eclectic psychedelic rock and folk.[150]
Other alternative acts to pursue psychedelia from the
1990s included The Brian Jonestown Massacre, Porno
For Pyros and Super Furry Animals.[137] Stoner rock
also emerged, combining elements of psychedelic rock,
blues-rock and doom metal. Typically using a slowto-mid tempo and featuring low-tuned guitars in a
bass-heavy sound,[151] with melodic vocals, and 'retro'
production,[152] it was pioneered by the Californian bands
Kyuss[153] and Sleep.[154] In the UK the Madchester scene

[5] M. Hicks, Sixties Rock: Garage, Psychedelic, and Other

Satisfactions Music in American Life (Chicago, IL: University of Illinois Press, 2000), ISBN 0-252-06915-3, pp.
64-6.
[6] J. DeRogatis, Turn On Your Mind: Four Decades of Great
Psychedelic Rock (Milwaukie, Michigan: Hal Leonard,
2003), ISBN 0-634-05548-8, p. 230.
[7] R. Unterberger, Samb Hicks, Jennifer Dempsey, Music
USA: the Rough Guide, (Rough Guides, 1999), ISBN 185828-421-X, p. 391.
[8] R. B. Browne and P. Browne, The Guide to United States
Popular Culture (Popular Press, 2001), ISBN 0-87972821-3, p. 8.

10

7 NOTES

[9] G. Thompson, Please Please Me: Sixties British Pop, Inside

Out (Oxford: Oxford University Press, 2008), ISBN 0-19533318-7, p. 197.

[26] J. Mann, Turn on and Tune in: Psychedelics, Narcotics and

Euphoriants (Royal Society of Chemistry, 2009), ISBN 184755-909-3, p. 87.

[10] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music

Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
0-87930-653-X, pp. 1322-3.

[27] Though Lennon had yet to launch himself into his

fullscale LSD period, he evidently felt suciently versed
in the counterculture associated with the drug to poke
fun at those who took it without changing their outlook.
The lyric of Day Tripper, he later explained, was an attack
on weekend hippies - those who donned oral shirts and
headbands to listen to acid rock between 9-to-5 ocejobs, in I. MacDonald, Revolution in the Head: The Beatles Records and the Sixties (London: Vintage, 3rd edn.,
2008), ISBN 978-0-09-952679-7, pp. 167-8.

[11] N. Murray, Aldous Huxley: A Biography (Hachette,

2009), ISBN 0-7481-1231-6, p. 419.
[12] M. Hicks, Sixties Rock: Garage, Psychedelic, and Other
Satisfactions (University of Illinois Press, 2000), ISBN
978-0-252-06915-4, pp 5960.
[13] Logical Outcome of fty years of art, LIFE, 9 September 1966, p. 68.
[14] J. DeRogatis, Turn On Your Mind: Four Decades of Great
Psychedelic Rock (Milwaukie, Michigan: Hal Leonard,
2003), ISBN 0-634-05548-8, pp. 8-9.
[15] Acid rock, Allmusic. Retrieved 20 March 2012.
[16] Eric V. d. Luft, Die at the Right Time!: A Subjective
Cultural History of the American Sixties (Gegensatz Press,
2009), ISBN 0-9655179-2-6, p. 173.
[17] J. Campbell, This is the Beat Generation: New York, San
Francisco, Paris (Berkeley, CA: University of California
Press, 2001), ISBN 0-520-23033-7.
[18] R. Worth, Illegal Drugs: Condone Or Incarcerate? (Marshall Cavendish, 2009), ISBN 0-7614-4234-0, p. 30.
[19] D. Farber, The Psychologists Psychology:The Intoxicated State/Illegal Nation - Drugs in the Sixties Counterculture, in P. Braunstein and M. W. Doyle (eds), Imagine
Nation: The Counterculture of the 1960s and '70s (New
York: Routledge, 2002), ISBN 0-415-93040-5, p. 21.
[20] Anne Applebaum, Did The Death Of Communism Take
Koestler And Other Literary Figures With It?", The Huington Post, 26 January 2010.
[21] "Out-Of-Sight! SMiLE Timeline. Archived from the
original on 3 November 2008. Retrieved 30 October
2011.
[22] L. R. Veysey, The Communal Experience: Anarchist
and Mystical Communities in Twentieth-Century America
(Chicago IL, University of Chicago Press, 1978), ISBN
0-226-85458-2, p. 437.
[23] T. Albright, Art in the San Francisco Bay area, 19451980: an Illustrated History (University of California
Press, 1985), ISBN 0-520-05193-9, p. 166.
[24] J. Shepherd, Continuum Encyclopedia of Popular Music of
the World: Media, Industry and Society (New York, NY:
Continuum, 2003), ISBN 0-8264-6321-5, p. 211.
[25] M. Gray, Song & Dance Man III: The Art of Bob Dylan
(New York, NY: Continuum, 1999, 2000), ISBN 0-82645150-0, p. 83.

[28] R. Unterberger, British Psychedelic, Allmusic.

trieved 7 June 2011.

Re-

[29] J. DeRogatis, Turn On Your Mind: Four Decades of Great

Psychedelic Rock (Milwaukie, Michigan: Hal Leonard,
2003), ISBN 0-634-05548-8, pp. 35-40.
[30] Pet Sounds, Revolver and The Piper at the Gates of
Dawn, relics of the rst era of psychedelic rock and shining testaments to what can be accomplished in the recording studio when folks are fueled on the potent drug of rampant imagination J. DeRogatis, Milk it!: collected musings on the alternative music explosion of the 90s, ISBN
0-306-81271-1, p. 352.
[31] R. Unterberger, Eight Miles High: Folk-Rocks Flight from
Haight-Ashbury to Woodstock (London: Backbeat Books,
2003), ISBN 0-87930-743-9, pp. 11-13.
[32] Gilliland, John (1969). Show 41 - The Acid Test:
Psychedelics and a sub-culture emerge in San Francisco.
[Part 1] : UNT Digital Library (audio). Pop Chronicles.
Digital.library.unt.edu. Retrieved 6 May 2011.
[33] M. Hicks, Sixties Rock: Garage, Psychedelic, and Other
Satisfactions Music in American Life (Chicago, IL: University of Illinois Press, 2000), ISBN 0-252-06915-3, p.
60.
[34] R. Unterberger, Eight Miles High: Folk-Rocks Flight from
Haight-Ashbury to Woodstock (London: Backbeat Books,
2003), ISBN 0-87930-743-9, p. 1.
[35] W. Ruhlmann, Mr. Tambourine Man: review, Allmusic.
Retrieved 15 March 2010.
[36] R. Unterberger. Folk Rock: An Overview. Richieunterberger.com. Retrieved 15 March 2010.
[37] R. Unterberger, Eight Miles High: Folk-Rocks Flight from
Haight-Ashbury to Woodstock (London: Backbeat Books,
2003), ISBN 0-87930-743-9, p. 4.
[38] Peter Lavezzoli, The Dawn of Indian Music in the West:
Bhairavi (New York, NY: Continuum, 2006), ISBN 08264-1815-5, p. 154.
[39] P. Buckley, The Rough Guide to Rock (London: Rough
Guides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 1144.
[40] E. Macan, Rocking the Classics: English Progressive Rock
and the Counterculture (Oxford: Oxford University Press,
1997), ISBN 0-19-509888-9, p. 20.

11

[41] B. Jackson, Garcia: An American Life (London: Penguin,

2nd edn., 2000), ISBN 0-14-029199-7, pp. 94-5.

[60] B. Eder, Small Faces: Biography, Allmusic, retrieved 15

August 2013.

[42] P. Alexander. Blue Cheer - Disc of the day - Mojo.

Mojo4music.com. Retrieved 21 October 2010.

[61] D. N. Howard, Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (Hal Leonard, 2004),
ISBN 0634055607, p. 132.

[43] Psychedelic rock. Allmusic. Retrieved 7 June 2011.

[44] N. Talevski, Knocking on Heavens Door: Rock Obituaries
(Omnibus Press, 2006), ISBN 1-84609-091-1, p. 218.
[45] P. Buckley, The Rough Guide to Rock (London: Rough
Guides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 65.
[46] J. E. Perone, Music of the Counterculture Era (London: Greenwood Publishing Group, 2004), ISBN 0-31332689-4, p. 120.
[47] U. Adelt, Black, white and blue: Racial politics of blues
music in the 1960s (ProQuest, 2007), ISBN 0-549-34196X, p. 69.
[48] J. S. Harrington, Sonic Cool: the Life & Death of Rock 'n'
Roll (Milwaukee, WI: Hal Leonard Corporation, 2002),
ISBN 0-634-02861-8, pp. 171-3.

[62] The Crazy World of Arthur Brown, Psychedelic Sight.

Retrieved 9 February 2010.
[63] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
0-87930-653-X, pp. 29, 1027 and 1220.
[64] I. MacDonald, Revolution in the Head: The Beatles
Records and the Sixties (London: Vintage, 3rd edn., 2008),
ISBN 978-0-09-952679-7, p. 216.
[65] I. MacDonald, Revolution in the Head: The Beatles
Records and the Sixties (London: Vintage, 3rd edn., 2008),
ISBN 978-0-09-952679-7, pp. 241-2.
[66] I. MacDonald, Revolution in the Head: The Beatles
Records and the Sixties (London: Vintage, 3rd edn., 2008),
ISBN 978-0-09-952679-7, pp. 263-73.

[49] A. M. Ashby, The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (Woodbridge: Boydell
& Brewer, 2004), ISBN 1-58046-143-3, p. 228.

[67] S. Whiteley, The Space Between the Notes: Rock and

the Counter-Culture (London: Routledge, 1992), ISBN 0415-06816-9, p. 61.

[50] S. Huey, Vanilla Fudge, Allmusic. Retrieved 11 February 2012.

[68] R. Unterberger, Their Satanic Majesties Request: review, Allmusic. Retrieved 19 November 2007.

[51] D. A. Carson, Grit, Noise, and Revolution: The Birth of

Detroit Rock 'n' Roll (University of Michigan Press, 2006),
ISBN 0-472-03190-2, pp. 5 and 173.

[69] J. DeRogatis, Turn on Your Mind: Four Decades of Great

Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),
ISBN 0-634-05548-8, p. 120.

[52] P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of
Michigan Press, 2006), ISBN 0-472-06868-7, p. 76.

[70] Unhalfbricking, Fairport Convention, Observer Music

Monthly, 20 June 2004, retrieved on 14 January 2009.

[53] J. DeRogatis, Turn On Your Mind: Four Decades of Great

Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),
ISBN 0-634-05548-8, p. 71.
[54] Pirate Radio, Ministry of Rock.co.uk. Retrieved 9 February 2010.
[55] P. Gorman, The Look: Adventures in Pop & Rock Fashion
(Sanctuary, 2001), ISBN 1-86074-302-1.
[56] C. Grunenberg and J. Harris, Summer of Love:
Psychedelic Art, Social Crisis and Counterculture in the
1960s (Liverpool: Liverpool University Press, 2005),
ISBN 0-85323-919-3, pp. 83-4.
[57] R. Unterberger, Nick Drake: biography, Allmusic. Retrieved 7 May 2011.
[58] B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press,
2005), ISBN 0-19-515878-4, p. 86.
[59] C. Grunenberg and J. Harris, Summer of Love:
Psychedelic Art, Social Crisis and Counterculture in the
1960s (Liverpool: Liverpool University Press, 2005),
ISBN 0-85323-919-3, p. 137.

[71] N. Strauss, The Pop Life: The First Rock Opera (No, Not
Tommy)", New York Times, 9 March 1998. Retrieved
18 March 2012.
[72] S. Mason, Pretty Things: I See You: Review, Allmusic.
Retrieved 18 March 2012.
[73] S. Mason, Pretty Things: S.F.Sorrow Is Born: Review,
Allmusic. Retrieved 18 March 2012.
[74] S. Johnstone, Psychedelic rock in P. Childs and M.
Storry, Encyclopaedia of Contemporary British Culture
(London: Routledge, 2013), ISBN 1134755554, p. 434.
[75] G. Falk and U. A. Falk, Youth Culture and the Generation
Gap (New York, NY: Algora, 2005), ISBN 0-87586-368X, p. 186.
[76] W. E. Studwell and D. F. Lonergan, The Classic Rock and
Roll Reader: Rock Music from its Beginnings to the mid1970s (London: Routledge, 1999), ISBN 0-7890-0151-9,
p. 223.
[77] P. Frame, Rock Family Trees (London: Omnibus Press,
1980), ISBN 0-86001-414-2, p. 9.
[78] J. E. Perone, Music of the Counterculture Era (London:
Greenwood, 2004), ISBN 0-313-32689-4, p. 24.

12

7 NOTES

[79] A. Bennett, Remembering Woodstock (Aldershot: Ashgate, 2004), ISBN 0-7546-0714-3.

[80] S. Borthwick and R. Moy, Popular Music Genres: an
Introduction (Edinburgh: Edinburgh University Press,
2004), ISBN 0-7486-1745-0, p. 44.

[97] B. Keen and K. Haynes, A History of Latin America (Andover: Cengage Learning, 8th ed., 2008), ISBN 0-61878318-0, p. 592.
[98] S. Bao, Buenos Aires (Footscray, Victoria: Lonely Planet,
5th ed., 2008), ISBN 1-74104-699-8, p. 248.

[81] R. Unterberger, Unknown Legends of Rock 'n' Roll:

Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo Mavericks & More (Miller Freeman, 1998), ISBN 087930-534-7, p. 411.

[99] I. Inglis, The Beatles, Popular Music and Society: a Thousand Voices (London: Palgrave Macmillan, 2000), ISBN
0-312-22236-X, p. 46.

[82] P. Houe and S. H. Rossel, Images of America in Scandinavia (Amsterdam: Rodopi, 1998), ISBN 90-420-06110, p. 77.

[100] D. A. Nielsen, Horrible Workers: Max Stirner, Arthur Rimbaud, Robert Johnson, and the Charles Manson Circle:
Studies in Moral Experience and Cultural Expression (Lanham MD: Lexington Books, 2005), ISBN 0-7391-1200-7,
p. 84.

[83] P. Buckley, The Rough Guide to Rock, (Rough Guides ,

1999), ISBN 1858284570, p.26
[84]

[85]

[86]

[87]

[88]

[89]

[101] J. Wiener, Come Together: John Lennon in his Time

(Chicago IL: University of Illinois Press, 1991), ISBN 0P. Stump, Digital Gothic: a Critical Discography of Tan252-06131-4, pp. 124-6.
gerine Dream (Wembley, Middlesex: SAF, 1997), ISBN
0-946719-18-7, p. 33.
[102] R. Unterberger, SMiLE The Beach Boys: review, Allmusic. Retrieved 15 March 2012.
V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN [103] J. DeRogatis, Turn On Your Mind: Four Decades of Great
Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),
0-87930-653-X, pp. 1341-3.
ISBN 0-634-05548-8, pp. 35-9.
V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul [104] Garage rock, Billboard, 29 July 2006, 118 (30), p. 11.
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
[105] D. Gomery, Media in America: the Wilson Quarterly
0-87930-653-X, pp. 349-50.
Reader, (Washington DC: Woodrow Wilson Center Press,
2nd edn., 1998), ISBN 0-943875-87-0, pp. 181-2.
V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN [106] S. Whiteley, Too Much Too Young: Popular Music, Age
and Gender (London: Routledge, 2005), ISBN 0-4150-87930-653-X, pp. 85-6.
31029-6, p. 147.
T. Rawlings, Then, Now and Rare British Beat 1960-1969
(London: Omnibus Press, 2002), ISBN 0-7119-9094-8, [107] R. Unterberger, S. Hicks and J. Dempsey, Music USA: the
Rough Guide (London: Rough Guides, 1999), ISBN 1p. 191.
85828-421-X, p. 31.
V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul [108] K. Wol and O. Duane, Country Music: The Rough Guide
(London: Rough Guides, 2000), ISBN 1-85828-534-8, p.
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
392.
0-87930-653-X, pp. 635-6.

[90] M. Wood, Dengue Fever: Multiclti Angelanos craft [109] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
border-bluring grooves Spin, January 2008, p. 46.
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
[91] R. Unterberger, Various Artists: Cambodian Rocks Vol.
0-87930-653-X, p. 1327.
1: review, Allmusic retrieved 1 April 2012.
[110] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
[92] KOREAN PSYCH & ACID FOLK, part 1. ProgresGuide to Rock: the Denitive Guide to Rock, Pop, and Soul
sive.homestead.com. Retrieved 2013-02-03.
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
0-87930-653-X,
pp. 61 and 265.
[93] V. Karaege, Erkin Koray Allmusic. Retrieved 1 April
2012.
[94] John Bush, Os Mutantes, Allmusic. Retrieved 2 February 2010.
[95] G. M. Joseph and T. J. Henderson, ed., The Mexico
Reader: History, Culture, Politics (Durham, NC: Duke
University Press, 2002), ISBN 0-8223-3042-3, p. 605.
[96] J. Ankeny, Dug Dug: Biography, Allmusic, retrieved 6
December 2013.

[111] B. Jackson, Garcia: An American Life (London: Penguin,

2000), ISBN 0-14-029199-7, pp. 196-200.
[112] F. W. Homann, Encyclopedia of Recorded Sound, Volume 1 (London: CRC Press, 2nd edn., 2005), ISBN 0415-93835-X, p. 253.
[113] B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press,
2005), ISBN 0-19-515878-4, pp. 45-9.

13

[114] J. DeRogatis, Turn on Your Mind: Four Decades of Great [132] Harry Hosono And The Yellow Magic Band: Paraiso,
Psychedelic Rock (Milwaukie MI, Hal Leonard, 2003),
Discogs. Retrieved 24 February 2012.
ISBN 0-634-05548-8, p. 120.
[133] B. A. Cook, Europe Since 1945: an Encyclopedia, Volume
[115] Psychedelic pop, Allmusic. Retrieved 27 June 2010.
2 (London: Taylor & Francis, 2001), ISBN 0-8153-13365, p. 1324.
[116] T. Holmes, Electronic and Experimental Music: Technology, Music, and Culture (London: Taylor & Francis, 3rd [134] J. DeRogatis, Turn on Your Mind: Four Decades of Great
edn., 2008), ISBN 0-415-95781-8.
Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),
ISBN 0-634-05548-8, p. 212.
[117] C. Grunenberg and J. Harris, Summer of Love:
Psychedelic Art, Social Crisis and Counterculture in the [135] P. Auslander, Performing Glam Rock: Gender and The1960 (Liverpool: Liverpool University Press, 2005),
atricality in Popular Music (Ann Arbor, MI: University of
ISBN 0-85323-919-3, p. 140.
Michigan Press, 2006), ISBN 0-472-06868-7, p. 196.
[118] Bruce Eder. Strawberry Alarm Clock - biography. allmu- [136] P. Auslander, Watch that man David Bowie: Hammersic. retrieved 16-2-2014
smith Odeon, London, July 3, 1973 in I. Inglis, ed., Performance and Popular Music: History, Place and Time
[119] Eder, Bruce. Bee Gees 1st. Allmusic. Retrieved 16
(Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 72.
March 2012.
[120] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music [137] Neo-psychedelia, Allmusic. Retrieved 2 July 2010.
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul [138] J. Marszalek, Siouxsie & the Banshees reissues, Thequi(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
etus.com, 10 April 2009. Retrieved 19 July 2011.
0-87930-653-X, pp. 646 and 754-5.
[139] S. Reynolds, Rip It Up and Start Again: Postpunk 1978[121] Psychedelic soul, Allmusic. Retrieved 27 June 2010.
1984 (London: Faber and Faber, 2005), p. 428.
[122] G. Case, Out of Our Heads: Rock 'n' Roll Before the
[140] C. True, The Cure: The Top: review, Allmusic. ReDrugs Wore O (Milwaukie, MI: Hal Leonard Corporatrieved 23 March 2012.
tion, 2010), ISBN 0-87930-967-9, pp. 70-1.
[141] B. Swift, The Glove: Blue Sunshine: review, Allmusic.
[123] J. S. Harrington, Sonic Cool: the Life & Death of Rock
Retrieved 23 March 2012.
'n' Roll (Milwaukie, MI: Hal Leonard Corporation, 2002),
ISBN 0-634-02861-8, pp. 249-50.
[142] S. Huey, The Legendary Pink Dots: Biography, Allmusic. Retrieved 23 March 2012.
[124] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul [143] R. Unterberger, S. Hicks and J. Dempsey, Music USA: the
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
Rough Guide (London: Rough Guides, 1999), ISBN 10-87930-653-X, p. 226.
85828-421-X, p. 401.
[125] A. Bennett, Rock and Popular Music: Politics, Policies, [144] J. Leckie, Producer John Leckie On The Ten Essential
Institutions (Abingdon: Routledge, 1993), ISBN 0-203Records Hes Worked On Thequietus.com. Retrieved 19
99196-6, p. 239.
July 2011
[126] J. DeRogatis, Turn on Your Mind: Four Decades of Great
[145] N. Raggett, Phantasmagoria Allmusic. Retrieved 22
Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),
March 2012.
ISBN 0-634-05548-8, p. 169.
[146] P. Sisson, "Vapour Trails: Revisiting Shoegaze", XLR8R
[127] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music
no. 123, December 2008.
Guide to Rock: the Denitive Guide to Rock, Pop, and Soul
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN [147] S. Reynolds, "Its the Opposite of Rock 'n' Roll", SPIN,
0-87930-653-X, p. 515.
August 2008, pp. 78-84.
[128] A. Blake, The Land Without Music: Music, Culture [148] N. Raggett, Cocteau Twins: Echoes in a Shallow Bay:
and Society in Twentieth-Century Britain (Manchester:
review, Allmusic. Retrieved 23 March 2012.
Manchester University Press, 1997), ISBN 0-7190-42992, pp. 154-5.
[149] Shoegaze, Allmusic. Retrieved 26 January 2011.
[129] P. Bussy, Kraftwerk: Man, Machine and Music (London: [150] D. Walk, The Apples in Stereo: Smiley Smile, CMJ New
SAF, 3rd end., 2004), ISBN 0-946719-70-5, pp. 15-17.
Music, Sep 1995 (25), p. 10.
[130] V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music [151] G. Sharpe-Young, Kyuss biography, MusicMight. ReGuide to Rock: the Denitive Guide to Rock, Pop, and Soul
trieved 10 December 2007.
(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN
[152] Stoner Metal, Allmusic. Retrieved 22 May 2009.
0-87930-653-X, pp. 1330-1.
[131] Osamu Kitajima: Benzaiten, Discogs. Retrieved 24 [153] E. Rivadavia Kyuss, Allmusic. Retrieved 10 December
February 2012.
2007.

14

[154] E. Rivadavia, Sleep, Allmusic. Retrieved 22 May 2009.

[155] S. Erlewine, Blur Allmusic. Retrieved 6 July 2011.
[156] J. Ankeny, The Verve: biography, retrieved 30 November 2013.
[157] S. Erlewine, Standing on the Shoulder of Giants, Allmusic.
Retrieved 7 July 2010.
[158] S. Erlewine, Kula Shaker Allmusic. Retrieved 6 July
2011.
[159] J. Macgregor, The Black Angels, Allmusic. Retrieved
26 January 2011.
[160] J. Macgregor, Tame Impala, Allmusic. Retrieved 26
January 2011.
[161] J. Lymangrover, Pond, Allmusic. Retrieved 15 April
2013.
[162] J. Ankeny, The Green Essex, Allmusic. Retrieved 26
January 2011.
[163] J. C. Monger, Animal Collective: biography, Allmusic.
Retrieved 13 March 2012.
[164] E. Gossett, Austin Psych Fest announces 2014 lineup,
Paste, 4 December 2013, retrieved 7 December 2013.
[165] Liverpool Psych Fest, NME, 30 September 2013, retrieved 7 December 2013.

7 NOTES

15

Text and image sources, contributors, and licenses

8.1

Text

Psychedelic rock Source: https://en.wikipedia.org/wiki/Psychedelic_rock?oldid=675023545 Contributors: Sodium, Mav, The Anome,

Sjc, Gareth Owen, JeLuF, Modemac, Hephaestos, Soulpatch, Jazz77, Kwertii, Llywrch, Lexor, Bobby D. Bryant, GTBacchus, Paul A,
Ihcoyc, Ronz, TUF-KAT, Andrewa, , Glueball, EdH, Etaoin, Mulad, Htaccess, RodC, Philb, Tpbradbury, Furrykef, Hyacinth,
Jph, Robbot, Dale Arnett, Josh Cherry, Dirgela, Nurg, Modulatum, Texture, CdaMVvWgS, Rebrane, Cyrius, Carnildo, Decumanus,
DocWatson42, Erics, Bobblewik, Wmahan, Andycjp, Knutux, MistToys, Dunks58, Bodnotbod, Beginning, Auricfuzz, MattKingston,
Bornintheguz, Guanabot, Vague Rant, Cnwb, Ld, Florian Blaschke, Dave souza, Exabyte, Goochelaar, Mcpusc, Evand, Jpgordon, 96T,
Benfergy, B Touch, Ral315, Dyaimz, Ricky81682, Thoric, Muugokszhiion, Benna, Gdavidp, Saga City, Laciefae, Alfvaen, SteinbDJ, Alai,
Archagon, Galaxiaad, Japanese Searobin, Megan1967, Woohookitty, Elmarco, Chochopk, Damicatz, Roda~enwiki, SeventyThree, Xiong
Chiamiov, Gimboid13, Rlw, Bujudude, Kvladiko, SqueakBox, Graham87, Dwarf Kirlston, Kane5187, Sdornan, SMC, Heah, Balys~enwiki,
FuriousFreddy, CAPS LOCK, Teppei Aita, Margosbot~enwiki, Gurch, Redwolf24, Gareth E Kegg, DVdm, AllyD, Shomat, YurikBot,
Quentin X, RussBot, Quinlan Vos~enwiki, Gaius Cornelius, Theelf29, Friday, Dissolve, Private Butcher, CLW, Tanet, Demonburrito,
CincinnatiWiki, Chairman smith, Jogers, Afrank, Hurakan, GraemeL, JoanneB, Red Jay, Alias Flood, Drenei, Captain Cornake, WesleyDodds, Sardanaphalus, SmackBot, Down10, Cubs Fan, Simon Beavis, Zazaban, Reedy, Hydrogen Iodide, Jagged 85, Chairman S.,
Eaglizard, RockRockOn, Jas168, Doc Strange, Evanreyes, Commander Keane bot, Hmains, Audacity, SchftyThree, Reko, Enrique.haro,
Raistuumum, Mladilozof, Chlewbot, Circuitrider, Bububu~enwiki, Strawberryre, Krich, SteveHopson, Aboyall, Kendrick7, Bijun, Er
Komandante, Alcuin, Ceoil, Byelf2007, AThing, J 1982, SilkTork, Ishmaelblues, IronGargoyle, ZincOrbie, Drinky Crow, MTN~enwiki,
SQGibbon, Joey Q. McCartney, E-Kartoel, Lenn0r, Condem, Robertstjames, StanfordProgrammer, MTSbot~enwiki, Rkelley65, Sifaka,
Keahapana, DabMachine, OnBeyondZebrax, Iridescent, JoeBot, Skapur, Panicoce, BaronZemo, Dave420, Aeternus, DougHill, Buckyboy314, Anger22, Daniel5127, Fdssdf, LessHeard vanU, Greg Fasolino, Mostly Zen, Tankstillton, Aoecean, CmdrObot, Geremia, Harej
bot, ShelfSkewed, Andrew Kirschner, Equendil, R4x, Pwr.max, Mcgillionaire, Steel, Michaelas10, Gogo Dodo, Bridgecross, A Softer
Answer, Ss112, Ikcyzrteip, Tawkerbot4, Torc2, RottweilerCS, Chris Henniker, TrevorRC, John R Murray, JamesAM, CrazyChatHomme,
PEJL, Sry85, IXIA, Atechi, DanTD, Stoshmaster, All systems go, Bruce Tetlow, PaulVIF, Chubbles, Red157, Jhsounds, Ghmyrtle, Andrzejbanas, JAnDbot, Dogru144, Kurrgo master of planet x, Matthew Fennell, Dan.mcnabb, MegX, Snowynight, Y2kcrazyjoker4, .anacondabot, Geniac, Wildhartlivie, Magioladitis, 75pickup, VoABot II, Mclay1, ***Ria777, Twsx, Hifrommike65, JaGa, Jaywhitten, TorbenFrost,
Gjd001, Dennis Kussinich 08, Kodoryu, Bruin69, CommonsDelinker, FMAFan1990, Lhynard, FruitMonkey, Petmas1985, Elwood17,
Weadmttothetruth, Allreet, Nikhil 1988007, Terraleone, Jampilot, Regenspaziergang, Dwaink, ACSE, CRouleau, Mentzabides, SorrowD,
Magnol~enwiki, Chopdawg, Philip Trueman, Mojo78, Butseriouslyfolks, EuTuga, Mercurywoodrose, Davehi1, Asarla, Ridernyc, Saber
girl08, JeBongi, Slysplace, ^demonBot2, Leighu, Enigmaman, IL7Soulhunter, MWielage, Altermike, TMMATT, Lou72JG, Thisismyro,
Qworty, Pjoef, Klippa, Munci, Traxinet, Ethylenediamine, Peter Fleet, Strangest1, PlanetStar, Darrell Wheeler, CircafuciX, Saltywood,
Windywendy, Carliertwo, Astronurse, The very model of a minor general, Lemonhouse, Nite-Sirk, Wizard909, Aruton, Paul Drummond,
LanshinnFrodi, Aspects, Lightmouse, Fratrep, Svick, AlanUS, Glassbreaker5791, MarkinBoston, Fritz Fassbender, ImageRemovalBot,
Martarius, ClueBot, Tearaway, Kcl0801, The Thing That Should Not Be, Vacio, Alecsdaniel, Jimpatnmatt, Therey11, CounterVandalismBot, Jmn100, InterstellarPsyche, DragonBot, Tarsie, Ktr101, Jusdafax, Jharmer95, Wikiscribe, Wiki libs, Ianjones600, Yonskii,
BoxerBrown, Versus22, JTSomers, Berean Hunter, Editor2020, DumZiBoT, Mr. killcool, UltraCaution, XLinkBot, WikHead, Addbot,
Nirvanafreak95, Sard112, RandySavageFTW, AVand, Aimulti, Luke Davis, Rank11, Tim atus, Fieldday-sunday, Ironholds, Dyadron,
Baz3333, Download, The Shadow-Fighter, 61x62x61, ChenzwBot, Tomtheeditor, RetroS1mone, Doniago, Albertrocker, Tassedethe, EastGhost, Angrysockhop, Yobot, 2D, Chipthief00, TaBOT-zerem, Ninjacke, Wailer, YHYH, NaidNdeso, Hinio, Eduen, Marshall Williams2,
AnomieBOT, 1exec1, Kingpin13, Citation bot, Rvd4life, ArthurBot, LilHelpa, Wikaholic, MauritsBot, Capricorn42, Xx1994xx, Armbrust,
Alumnum, RibotBOT, Sabrebd, Scratchy7929, Learner001, Superastig, GripTheHusk, Kohoutek1138, FrescoBot, Rockreport, Sky Attacker, Petersykes, Forteansta, Ssspam, Pique76, Pekayer11, Adlerbot, Gabriet, Tomcat7, BRUTE, SilverleafandIronwings08, Evanaeus,
NeoRetro, Stratosmacker, Mago266, Utility Monster, NerdyMcNerdstein, Violarulez, Augieopfell, Mac9641, Target Jackson, Stroppolo, Meganstewart, Bossanoven, Talon Foot, Woovee, Elitropia, GabeMc, EmausBot, Darknessandwater, Domesticenginerd, Ahbi0302,
Mashaunix, Tommy2010, RigbyEleanor, Yeepsi, Aquatarkus90125, NoremacDaGangsta, Chicory Speckled, SporkBot, Justinbowsher,
Richardavenger, MusicMan101Float, Mayur, Therewillbehotcake, Drewchas, Grahamhgreen, ClueBot NG, Ric381, SovereignStates, CactusBot, SgtPetsounds, TheBloodrocker666, Loginnigol, Globalform, U.Steele, The blurry world, Zentoad, Bstephens393, Helpful Pixie
Bot, Camborio~enwiki, DBigXray, Lennart97, Murry1975, Ceradon, Northamerica1000, Rockerdude101, Mark Arsten, DeadCute20,
Mercurymouth, Snow Blizzard, Summer of Love"67, McLennonSon, Thomas Westermann, Rokysaustin2011, Kavy32, Silk666, Rn,
Khazar2, Richabuck, 23mjbulls, Depakin, Immamuso, Immagoner, Garagepunk66, Epicgenius, Epping232, Yamaha5, Samuelpoginavera,
Sdhoma, Srich48, BTobelman, Ilovetopaint, Valetude, Ginsuloft, Synthwave.94, Insegrievious, Meteor sandwich yum, BittersweetLucidity, Filedelinkerbot, Man010sallow, Improving Articles, Cphwb556, SurabhitheCow, Leominsterresident, Quezerque, Sciophobiaranger,
Tango Cash, Ladygaga328, TheCorporalClegg, Emilynatalia, Jagking1967, Danwhitaker7, GeorgeRyanRossTheThird, ZLevesque92, BillyLShears and Anonymous: 732

8.2

Images

File:Audio_a.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/2b/Audio_a.svg License: Public domain Contributors:

'A'_(PSF).png Original artist: 'A'_(PSF).png: Pearson Scott Foresman
File:Blur_at_Roskilde_Festival_1999.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a0/Blur_at_Roskilde_Festival_
1999.jpg License: CC BY 2.0 Contributors: Blur (Roskilde Festival 1999) Original artist: Hunter Desportes
File:CAROUSEL_BALLROOM_MASTER.jpg
Source:
https://upload.wikimedia.org/wikipedia/en/4/40/CAROUSEL_
BALLROOM_MASTER.jpg License: CC-BY-SA-3.0 Contributors:
Own work
Original artist:
Aimulti (talk) (Uploads)
File:Cream_Clapton_Bruce_Baker_1960s.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/5/58/Cream_Clapton_
Bruce_Baker_1960s.jpg License: Public domain Contributors: eBay item photo Original artist: General Artists Corporation (management)
/Atco Records (the bands record label at one time).

16

8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

File:Folder_Hexagonal_Icon.svg Source: https://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-bysa-3.0 Contributors: ? Original artist: ?

File:Ginsberg-dylan.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c3/Allen_Ginsberg_and_Bob_Dylan_by_Elsa_
Dorfman.jpg License: CC-BY-SA-3.0 Contributors: Transferred from en.wikipedia Original artist: Elsa Dorfman
File:Janis_Joplin_Big_Brother_and_the_Holding_Company.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/79/
Janis_Joplin_Big_Brother_and_the_Holding_Company.jpg License: Public domain Contributors: eBay item Original artist: Albert B.
Grossman. His management information is shown on the identical, autographed copy of the image.
File:Los_Gatos.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e4/Los_Gatos.jpg License: Public domain Contributors:
Via http://www.rock.com.ar/fotos/0/128.shtml Original artist: ?
File:My_Bloody_Valentine_-_Manchester_2013.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/ad/My_Bloody_
Valentine_-_Manchester_2013.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Martie Donohoe
File:One_Step_On_(Jody_Grind_album_-_cover_art).jpg Source: https://upload.wikimedia.org/wikipedia/en/2/24/One_Step_On_
%28Jody_Grind_album_-_cover_art%29.jpg License: CC-BY-3.0 Contributors: ? Original artist: ?
File:Portal-puzzle.svg Source: https://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ?
Original artist: ?
File:Roxy_Music_-_TopPop_1973_06.png Source: https://upload.wikimedia.org/wikipedia/commons/3/31/Roxy_Music_-_TopPop_
1973_06.png License: CC BY-SA 3.0 Contributors: Beeld En Geluid Wiki - Gallerie: Toppop 1973 Original artist: AVRO
File:Sitar_full.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/ba/Sitar_full.jpg License: Public domain Contributors:
Own work Original artist: Jan Kraus
File:Small_Faces_1965.JPG Source: https://upload.wikimedia.org/wikipedia/commons/0/0b/Small_Faces_1965.JPG License: Public
domain Contributors: Billboard page 35 Original artist: Press Records
File:Symbol_book_class2.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC
BY-SA 2.5 Contributors: Mad by Lokal_Prol by combining: Original artist: Lokal_Prol
File:The_Bee_Gees.png Source: https://upload.wikimedia.org/wikipedia/commons/d/d0/The_Bee_Gees.png License: CC BY-SA 3.0 nl
Contributors: Beeld en Geluidwiki - Gallery: Twien
Original artist: NCRV
File:The_Monkees_May_1967.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8f/The_Monkees_May_1967.jpg License: Public domain Contributors: Billboard page 2 Original artist: Colgems Records
File:Woodstock_redmond_stage.JPG Source: https://upload.wikimedia.org/wikipedia/commons/b/b8/Woodstock_redmond_stage.
JPG License: CC-BY-SA-3.0 Contributors: Own work Original artist: Derek Redmond and Paul Campbell

8.3

Content license

Creative Commons Attribution-Share Alike 3.0