psychedelic rock

Psychedelic rock is a subgenre of rock music that originally emerged during the mid-1960s, inspired by psychedelic culture and primarily centered around the influence of psychoactive and hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation. Many psychedelic groups differ in style, with the label often applied spuriously. Originating in the mid-1960s among British and American musicians, the sound of psychedelic rock invokes three core effects of LSD: depersonalization, dechronicization (the bending of time), and dynamization (when fixed, ordinary objects dissolve into moving, dancing structures), all of which detach the user from everyday reality. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, and extended instrumental segments. 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".¶

Etymology

The term "psychedelic" was coined in 1956 by psychiatrist Humphry Osmond in a letter to LSD exponent Aldous Huxley and used as an alternative descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. The New York-based folk group the Holy Modal Rounders would use the term "psychedelic" on their version of Lead Belly's "Hesitation Blues" in 1964. In May 1965, drummer John Densmore joined guitarist Robby Krieger in a band called the Psychedelic Rangers which was formed in Los Angeles, California. The duo took LSD legally and wrote only two songs, one of them called "Paranoia". The group was one of the earliest instances of a rock band referring to themselves as "psychedelic". However, John Townley and David Blue formed a short-lived group of the same name that same year in New York. Townley compared the band to the Holy Modal Rounders and had also been roommates with Steve Weber. Densmore and Krieger later joined the Doors in late 1965. In January 1966, Texan band the 13th Floor Elevators would coin the term "psychedelic rock" on business cards which contained an image of a third eye. That same year, the band released The Psychedelic Sounds of the 13th Floor Elevators in October, which was later recognized as the earliest known use of the term "psychedelic" in an album title. This was followed by New York acts the Deep and Blues Magoos releasing Psychedelic Moods and Psychedelic Lollipop in November. 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 and were being widely used by 1967.¶

Musical style

Psychedelic rock incorporated new electronic sound effects and recording effects, extended solos, and improvisation. Features mentioned in relation to the genre include:¶

electric guitars, often used with feedback, wah-wah and fuzzbox effects units; certain studio effects (principally in British psychedelia), such as backwards tapes, panning, flanging, tape loops, and extreme reverb; elements of Indian music and other Eastern music, including Middle Eastern modalities; non-Western instruments (especially in British psychedelia), specifically those originally used in Indian classical music, such as sitar, tambura and tabla; elements of free-form jazz; a strong keyboard presence, especially electronic organs, harpsichords, or the Mellotron (an early tape-driven sampler); extended instrumental segments, especially guitar solos, or jams; disjunctive song structures, occasional key and time signature changes, modal melodies and drones; droning quality in vocals; electronic instruments such as synthesizers and the theremin; lyrics that made direct or indirect reference to hallucinogenic drugs; surreal, whimsical, esoterically or literary-inspired lyrics with (especially in British psychedelia) references to childhood; Victorian-era antiquation (exclusive to British psychedelia), drawing on items such as music boxes, music hall nostalgia and circus sounds.¶

1960–1965: Precursors and influences

The first mention of LSD on a rock record was the Gamblers' 1960 surf instrumental "LSD 25". 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). 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. By 1964 fuzztone could be heard on singles by P.J. Proby, and the Beatles had employed feedback in "I Feel Fine", their sixth consecutive number 1 hit in the UK. 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". 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". 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. Virtuoso sitarist Ravi Shankar had begun in 1956 a mission to bring Indian classical music to the West, inspiring jazz, classical and folk musicians.¶

1965: Formative psychedelic scenes and sounds

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." 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.¶

1966: Growth and early popularity

Echard writes that in 1966, "the psychedelic implications" advanced by recent rock experiments "…¶

The text above is adapted from the Wikipedia article “Psychedelic rock”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

psychedelic rock is genre of rock music, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 26 external registers, which can be verified through the citation.¹¶