Psychedelic music (sometimes psychedelia[1] derived from the Ancient Greek word: ψυχή "psyche", mind; soul; breath; spirit[2]) covers a range of popular music styles and genres, which are inspired by or influenced by psychedelic culture and which attempt to replicate and enhance the mind-altering experiences of psychedelic drugs. It emerged during the mid 1960s among folk rock and blues rock bands in the United States and Britain. It often used new recording techniques and effects and drew on non-Western sources such as the ragas and drones of Indian music. It spread into psychedelic folk, psychedelic rock, psychedelic pop and psychedelic soul in the 1960s before declining in the early 1970s. It helped create many new musical genres including progressive rock, kosmische musik, synth rock, jazz rock, heavy metal, glam rock, funk, electro and bubblegum pop. It was revived in forms of neopsychedelia from the 1980s and re-emerged in electronic music in genres including acid house, trance music (see psychedelic trance) and new rave.
Psychedelic music often contains some of the following features:
- exotic instrumentation, with a particular fondness for the sitar and tabla;[3]
- more complex song structures, key and time signature changes, modal melodies and drones;[4]
- surreal, whimsical, esoterically or literary-inspired, lyrics;[5][6]
- a strong emphasis on extended instrumental solos or jams;[4]
- electric guitars, often used with feedback, wah wah and fuzzboxes;[7]
- a strong keyboard presence, especially organs, harpsichords, or the Mellotron (an early tape-driven 'sampler');[8]
- elaborate studio effects, such as backwards tapes, panning, phasing, long delay loops, and extreme reverb;[9]
- primitive electronic instruments such as synthesizers and the theremin;[10][11]
- later forms of electronic psychedelia also employed repetitive computer generated beats;[12]
Timothy Leary, a major advocate of the use of LSD in the 1960s, photographed in 1989
From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and Allen Ginsberg[13] wrote about and took drugs, including cannabis and Benzedrine, raising awareness and helping to popularise their use.[14] In the same period Lysergic acid diethylamide, better known as LSD or acid, which was at this point a legal drug, began to be used in the US and UK as an experimental treatment and was advertised in the media as a cure for mental illness.[15] In the early 1960s the use of LSD and other hallucinogens was advocated by new proponents of consciousness expansion such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler,[16][17] and they profoundly influenced the thinking of the new generation of youth.[18]
The psychedelic life style had already developed in California, particularly in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley.[19] 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, film projection and discordant, improvised music known as the psychedelic symphony.[20][21] The Pranksters helped popularise LSD use, through their road trips across America in a psychedelically-decorated converted school bus, which involved distributing the drug and meeting with major figures of the beat movement, and through publications about their activities such as Tom Wolf's The Electric Kool-Aid Acid Test (1968).[22]
San Francisco also had an emerging music scene of folk clubs, coffee houses and independent radio stations, that catered for the population of students at nearby Berkeley and free thinkers that had gravitated to the city.[23] There was already a culture of drug use among jazz and blues musicians, and in the early 1960s use of drugs including cannabis, peyote, mescaline and LSD[24] began to grow among folk and rock musicians.[25] Soon musicians began to refer (at first indirectly, and later explicitly) to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art, psychedelic literature and film.[26]
The first musical use of the term psychedelic is thought to have been by the New York-based folk group The Holy Modal Rounders on their version of Lead Belly's 'Hesitation Blues' in 1964.[27] Psychedelic music spread rapidly in the beat folk scenes of both the east and west coast of the mid-1960s.[28] San Francisco produced bands such as Kaleidoscope, It's a Beautiful Day, Peanut Butter Conspiracy and H. P. Lovecraft.[28] From New York city's Greenwich Village came groups such as Jake and the Family Jewels and Cat Mother & the All Night Newsboys[28] and from Florida Pearls Before Swine. Many of these psychedelic folk groups followed the Byrds into folk rock from 1965, and are, as a result, more widely remembered, including the Grateful Dead, Jefferson Airplane, Captain Beefheart, Country Joe and the Fish, The Great Society and Quicksilver Messenger Service.[29]
From the mid-sixties, partly as a result of the British Invasion, this trend ran in parallel in both America and Britain and as part of the inter-related folk, folk rock and rock scenes. Blues, drugs, jazz and eastern influences had featured since 1964 in the work of Davy Graham and Bert Jansch.[30] Folk artists who were particularly significant included the Scottish performers Donovan, who combined influences of American artists like Bob Dylan with references to flower power, and the Incredible String Band, who from 1967 incorporated a range of influences into their acoustic based music, including medieval and eastern instruments.[31][32]
The Beatles introduced many of the major elements of the psychedelic sound to main-stream audiences in the mid-1960s, with "I Feel Fine" (1964) using guitar feedback; in late 1965 the Rubber Soul album included the use of a sitar on "Norwegian Wood"; they employed backmasking on their 1966 single B-side "Rain" and other tracks that appeared on their Revolver album later that year.[6] However, the first use of the term psychedelic rock is generally attributed to Austin, Texas band The 13th Floor Elevators, whose early tours would inspire San Francisco's still incubating scene.[4] The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken to be a reference to drug use.[6]
In Britain arguably the most influential band in the genre were The Yardbirds,[6] who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised "rave ups", Gregorian chant and world music influences to songs including "Still I'm Sad" (1965) and "Over Under Sideways Down" (1966).[33] Their "Happenings Ten Years Time Ago" was one of the first psychedelic rock singles.[34] From 1966 the UK underground scene based in North London, supported new acts including Pink Floyd, Traffic and Soft Machine.[35] The same year saw the débuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia.[6]
Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in Sgt. Pepper's Lonely Hearts Club Band, including the controversial track "Lucy in the Sky with Diamonds" and the Rolling Stones responded later that year with Their Satanic Majesties Request.[6] Pink Floyd produced what is usually seen as their best psychedelic work, The Piper at the Gates of Dawn.[6] In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and The Who, whose single "I Can See for Miles" delved into psychedelic territory.[36] Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors' Strange Days.[37] These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, including Jimi Hendrix, Janis Joplin and Santana.[38]
Donovan, Britain's first psychedelic pop star, shown in 2007
As psychedelia emerged as a mainstream and commercial force, particularly through the work of the Beatles, it began to influence pop music, which incorporated hippie fashions, as well as the sounds of sitars, fuzz guitars, and tape effects.[39] The Beach Boys' hit single "Good Vibrations" was one of the first pop songs to incorporate psychedelic lyrics and sounds, making use of a Tannerin (an easier to manipulate version of a Theremin).[40][41] American pop-oriented bands that followed in this vein included Electric Prunes, Strawberry Alarm Clock and Blues Magoos.[42] Psychedelic sounds were also incorporated into the output of early bubblegum pop acts like The Monkees and The Lemon Pipers.[43] Scottish folk singer Donovan's transformation to 'electric' music gave him a 1966 pop hit with "Sunshine Superman", one of the earliest overtly psychedelic pop records.[6]
More pop oriented psychedelia was popular among the emerging bands in Australia and New Zealand, including 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.[44] A similar path was pursued by the Bee Gees, formed in Brisbane, but whose first album Bee Gees 1st (1967), recorded in London, gave them three major hit singles and contained folk, rock and psychedelic elements, heavy influenced by the Beatles.[45] The Twilights, formed in Adelaide, also made to 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).[46] 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 children's classic, but failed to break through in Britain and the wider world.[47]
Following the lead of Hendrix in rock, psychedelia also began to have an impact on African American musicians, particularly the stars of the Motown label.[48] Influenced by the civil rights movement, it had a darker and more political edge than much acid rock.[48] Building on the funk sound of James Brown, it was pioneered by Sly and the Family Stone with songs like "Dance to the Music" (1968), "Everyday People" (1968) and "I Want to Take You Higher" (1969) and The Temptations with "Cloud Nine" (1968), "Runaway Child, Running Wild" (1969) and "Psychedelic Shack" (1969). Others soon followed like the Supremes with "Love Child" (1968) and "Stoned Love" (1970), The Chambers Brothers with "Time has come today" (1966, but charting in 1968), The 5th Dimension with a cover of Laura Nyro's "Stoned Soul Picnic" (1968),[49] Edwin Starr's "War" (1970) and the Undisputed Truth's "Smiling Faces Sometimes" (1971).[48] 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,[50] producing over forty singles, including three in the US top ten, and three platinum albums.[51]
By the end of the decade psychedelia was in retreat. LSD had been declared illegal in the US and UK in 1966.[52] 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.[53] The Altamont Free Concert in California, headlined by The Rolling Stones on December 6, 1969, became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards.[54] Brian Wilson of the Beach Boys,[41] 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 figures.[55] Some bands like the Jimi Hendrix Experience and Cream broke up.[56] Jimi Hendrix died in London in September 1970, shortly after recording Band of Gypsies (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.[57] Many surviving acts 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-laden heavy rock.[6] By 1970s psychedelic-soul influenced records were losing their grip on the charts and most of the major artists began to look for inspiration elsewhere.[48]
After the death of Brian Epstein and the unpopular surreal television film, Magical Mystery Tour (1967), the Beatles returned to a raw style with The Beatles (1968), Abbey Road (1969) and Let It Be (1970), before their eventual break up.[6] The back to basics trend was also evident in the Rolling Stones' albums, from Beggar's Banquet (1968) to Exile on Main St. (1972).[6] English folk rock outfit Fairport Convention released Liege and Lief in 1969, turning away from American-influenced folk rock toward a sound based on traditional British music and founding the sub-genre of electric folk, to be followed by bands like Steeleye Span and Fotheringay.[58] The psychedelic-influenced 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 Barrett's two solo albums.[59][60]
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.[61] While bands such as Hawkwind maintained an explicitly psychedelic course into the 1970s, most dropped the psychedelic elements in favour of wider experimentation.[62] As they moved away from their psychedelic roots and placed increasing emphasis on electronic instrumentation, German bands like Kraftwerk, Tangerine Dream, Can and Faust developed a distinctive brand of electronic rock, known as kosmische musik, or in the British press as "Kraut rock".[63] 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 synth rock.[64] 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.[65]
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. 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.[66] Other major pioneers of the genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.[66][67]
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.[68] 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.[69]
Psychedelic influences lasted a little longer in pop music, stretching into the early 1970s and playing a major part in the creation of Bubblegum pop.[39] Similarly, psychedelic soul continued into the 1970s and its sounds were incorporated into funk music and eventually disco music.[48]
Psychedelic rock began to be revived in the later 1970s by bands of the post-punk scene, including Siouxsie and the Banshees,[70] the Teardrop Explodes, Echo and the Bunnymen, The Church, and the Soft Boys.[71] 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.[72] 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 influence on alternative and indie-rock bands.[71] 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.[73] Other alternative rock acts that delved into psychedelic territory included Australian band The Church, Nick Saloman's Bevis Frond, the space rock of Spacemen 3 and diverse acts like Mercury Rev, the Flaming Lips and Super Furry Animals.[71] In the early 1990s stoner rock emerged, combining elements of psychedelic rock, blues-rock and doom metal. Typically using slow-to-mid tempo and featuring low-tuned guitars in a bass-heavy sound,[74] with melodic vocals, and 'retro' production,[75] it was pioneered by the Californian bands Kyuss[76] and Sleep.[77] In the UK The Stone Roses[78] debut single in 1988 set out a catchy neo-psychedelic guitar pop, helping to create the Madchester scene, and influencing the early sound of 1990s Britpop bands like Blur,[79] and Oasis who drew on 1960s psychedelic pop and rock, particularly on the album Standing on the Shoulder of Giants.[80] In the immediate post-Britpop era Kula Shaker incorporated swirling, guitar-heavy sounds of late-1960s psychedelia and with Indian mysticism and spirituality.[81] In the new millennium neo-psychedelia was continued by bands directly emulating the sounds of the 1960s like Tame Impala[82] and The Essex Green.[83]
From the 1980s psychedelic music began to be revived within forms of electronic music, often connected to the rave subculture, and leading to a host of sub-genres, including acid house, trance and new rave.
A smiley face, often used as a symbol of
acid house
Acid house originated in the mid-1980s in the house music style of Chicago DJs like DJ Pierre, Adonis, Farley Jackmaster Funk and Phuture, the last of which coined the term on his "Acid Trax" (1987). It mixed elements of house with the "squelchy" sounds and deep basslines produced by the Roland TB-303 synthesizer. As singles began to reach the UK the sound was re-created, beginning in small warehouse parties held in London in 1986-87. During 1988 in the Second Summer of Love it hit the mainstream as thousands of clubgoers travelled to mass raves. The genre then began to penetrate the British pop charts with hits for M/A/R/R/S, S'Express, and Technotronic by the early 1990s, before giving way to the popularity of trance music.[84]
Main article:
Trance musicTrance music originated in the German techno and hardcore scenes of the early 1990s. It emphasized brief and repeated synthesizer lines with minimal rhythmic changes and occasional synthesizer atmospherics, with the aim of putting listeners into a trance-like state. Derived from acid house and techno music it developed in Germany and the Netherlands with singles including "Energy Flash" by Joey Beltram and "The Ravesignal" by CJ Bolland. This was followed by releases by Robert Leiner, Sun Electric, Aphex Twin and most influentially the techno-trance released by the Harthouse label, including the much emulated "Acperience 1" (1992) by duo Hardfloor. Having gained some popularity in the UK in the early 1990s it was eclipsed by the appearance of new genres of electronic music such as trip-hop and jungle, before taking off again towards the end of the decade and beginning to dominate the clubs, with DJs including Paul Oakenfold, Pete Tong, Tony De Vit, Danny Rampling, Sasha, Judge Jules and in the US Christopher Lawrence and Kimball Collins. It soon began to fragment into a number of subgenres, including progressive trance, acid trance, euro trance, goa trance, psychedelic trance, hard trance and uplifting trance.[85]
In Britain in the 2000s (decade) the combination of indie rock with dance-punk was dubbed new rave in publicity for The Klaxons and the term was picked up and applied by the NME to a number of bands,[86] including Trash Fashion,[87] New Young Pony Club,[88] Hadouken!, Late of the Pier, Test Icicles,[89] and Shitdisco.[86] It formed a scene with a similar visual aesthetic to earlier rave music, centred around visual effects: glowsticks, neon and other lights were common, and followers of the scene often dressed in extremely bright and fluorescent coloured clothing.[86][90]
- ^ C. Heylin, The Act You've Known For All These Years: the Life, and Afterlife, of Sgt. Pepper (London: Canongate Books, 2007), ISBN 1-84195-955-3, p. 85
- ^ http://www.myetymology.com, psychedelic
- ^ 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.
- ^ a b c 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.
- ^ G. Thompson, Please Please Me: Sixties British Pop, Inside Out (Oxford: Oxford University Press, 2008), ISBN 0-19-533318-7, p. 197.
- ^ a b c d e f g h i j k V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1322-3.
- ^ P. Prown, H. P. Newquist and J. F. Eiche, Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists (London: Hal Leonard Corporation, 1997), ISBN 0-7935-4042-9, p. 48.
- ^ D. W. Marshall, Mass Market Medieval: Essays on the Middle Ages in Popular Culture (Jefferson NC: McFarland, 2007), ISBN 0-7864-2922-4, p. 32.
- ^ S. Borthwick and R. Moy, Popular Music Genres: an Introduction (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, pp. 52-4.
- ^ J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, Michigan: Hal Leonard, 2003), ISBN 0-634-05548-8, p. 230.
- ^ Richie Unterberger, Samb Hicks, Jennifer Dempsey, "Music USA: the rough guide" (Rough Guides, 1999), ISBN 1-85828-421-X, p. 391.
- ^ G. St. John, Rave Culture and Religion (Abingdon: Routledge, 2004), ISBN 0-415-31449-6, p. 52.
- ^ J. Campbell, This is the Beat Generation: New York, San Francisco, Paris (Berkeley, CA: University of California Press, 2001), ISBN 0-520-23033-7.
- ^ R. Worth, Illegal Drugs: Condone Or Incarcerate? (Marshall Cavendish, 2009), ISBN 0-7614-4234-0, p. 30.
- ^ 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.
- ^ Anne Applebaum, "Did The Death Of Communism Take Koestler And Other Literary Figures With It?", The Huffington Post, 26 January 2010.
- ^ "Out-Of-Sight! SMiLE Timeline". Archived from the original on 3 November 2008. http://web.archive.org/web/20100201234435/http://pages.cthome.net/tobelman/The_Out-Of-Sight_SMiLE_Site.html. Retrieved 30 October 2011.
- ^ 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.
- ^ 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.
- ^ 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. http://digital.library.unt.edu/ark:/67531/metadc19800/m1/. Retrieved 6 May 2011.
- ^ 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.
- ^ J. Mann, Turn on and Tune in: Psychedelics, Narcotics and Euphoriants (Royal Society of Chemistry, 2009), ISBN 1-84755-909-3, p. 87.
- ^ R. Unterberger, Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock (London: Backbeat Books, 2003), ISBN 0-87930-743-9, pp. 11-13.
- ^ T. Albright, Art in the San Francisco Bay area, 1945-1980: an Illustrated History (University of California Press, 1985), ISBN 0-520-05193-9, p. 166.
- ^ 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.
- ^ M. Campbell, Popular Music in America: And the Beat Goes on (Boston, MA: Cengage Learning, 3rd edn., 2008), ISBN 0-495-50530-7, pp. 212-3.
- ^ M. Hicks, Sixties Rock: Garage, Psychedelic, and Other Satisfactions (University of Illinois Press, 2000), ISBN 978-0-252-06915-4, pp 59–60.
- ^ a b c P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor: University of Michigan Press, 2005), ISBN 978-0-472-06868-5, pp. 76.
- ^ R. Unterberger, Turn! Turn! Turn!: The '60s Folk-rock Revolution (San Francisco, CA: Backbeat Books, 2002), ISBN 978-0-87930-703-5, pp. 183–230.
- ^ 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.
- ^ P. Scaruffi, A History of Rock Music, 1951-2000 (iUniverse, 2003) ISBN 978-0-595-29565-4, pp. 54.
- ^ J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukee, WI: Hal Leonard, 2003), ISBN 978-0-634-05548-5, pp. 120.
- ^ P. Buckley, The Rough Guide to Rock (London: Rough Guides, 2003), ISBN 1-84353-105-4, p. 1144.
- ^ "Happenings Ten Years Time Ago", Psychedelic Sight 23 August 2009, retrieved 21 January 2012.
- ^ E. Macan, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997), ISBN 0-19-509887-0, p. 20.
- ^ W. E. Studwell and D. F. Lonergan, The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s (Abingdon: Routledge, 1999), ISBN 0-7890-0151-9, p. 223.
- ^ J. E. Perone, Music of the Counterculture Era American History Through Music (Westwood, CT: Greenwood, 2004), ISBN 0-313-32689-4, p. 24.
- ^ A. Bennett, Remembering Woodstock (Aldershot: Ashgate, 2004), ISBN 0-7546-0714-3.
- ^ a b "Psychedelic pop", Allmusic, retrieved 27 June 2010
- ^ T. Holmes, Electronic and Experimental Music: Technology, Music, and Culture (London: Taylor & Francis, 3rd edn., 2008), ISBN 0-415-95781-8.
- ^ a b J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003), ISBN 0-634-05548-8, pp. 35-9.
- ^ P. Scaruffi, A History of Rock Music: 1951-2000 (iUniverse, 2003), ISBN 0-595-29565-7, p. 369.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 646 and 754-5.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 349-50.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 85-6.
- ^ T. Rawlings, Then, Now and Rare British Beat 1960-1969 (London: Omnibus Press, 2002), ISBN 0-7119-9094-8, p. 191.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 635-6.
- ^ a b c d e "Psychedelic soul", Allmusic, retrieved 27 June 2010.
- ^ G. Case, Out of Our Heads: Rock 'n' Roll Before the Drugs Wore Off (Milwaukie, MI: Hal Leonard Corporation, 2010), ISBN 0-87930-967-9, pp. 70-1.
- ^ J. S. Harrington, Sonic Cool: the Life & Death of Rock 'n' Roll (Milwaukie, MI: Hal Leonard Corporation, 2002), ISBN 0-634-02861-8, pp. 249-50.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, p. 226.
- ^ I. Inglis, The Beatles, Popular Music and Society: a Thousand Voices (London: Palgrave Macmillan, 2000), ISBN 0-312-22236-X, p. 46.
- ^ 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.
- ^ J. Wiener, Come Together: John Lennon in his Time (Chicago IL: University of Illinois Press, 1991), ISBN 0-252-06131-4, pp. 124-6.
- ^ "Garage rock", Billboard, Jul 29, 2006, 118 (30), p. 11.
- ^ D. Gomery, Media in America: the Wilson Quarterly Reader, (Washington DC: Woodrow Wilson Center Press, 2nd edn., 1998), ISBN 0-943875-87-0, pp. 181-2.
- ^ S. Whiteley, Too Much Too Young: Popular Music, Age and Gender (London: Routledge, 2005), ISBN 0-415-31029-6, p. 147.
- ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), ISBN 0-19-515878-4, pp. 45-9.
- ^ P. Scaruffi, A History of Rock Music 1951-2000 (iUniverse, 2003), ISBN 0-595-29565-7, pp. 54, 71 and 81-2.
- ^ J. DeRogatis, Turn on Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie MI, Hal Leonard, 2003), ISBN 0-634-05548-8, p. 120.
- ^ J. DeRogatis, Turn on Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003), ISBN 0-634-05548-8, p. 169.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, p. 515.
- ^ P. Bussy, Kraftwerk: Man, Machine and Music (London: SAF, 3rd end., 2004), ISBN 0-946719-70-5, pp. 15-17.
- ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1330-1.
- ^ A. Blake, The Land Without Music: Music, Culture and Society in Twentieth-Century Britain (Manchester: Manchester University Press, 1997), ISBN 0-7190-4299-2, pp. 154-5.
- ^ a b B. A. Cook, Europe Since 1945: an Encyclopedia, Volume 2 (London: Taylor & Francis, 2001), ISBN 0-8153-1336-5, p. 1324.
- ^ J. DeRogatis, Turn on Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003), ISBN 0-634-05548-8, p. 212.
- ^ 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. 196.
- ^ P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 72.
- ^ Marszalek, Julian.Siouxsie & the Banshees reissues. Thequietus.com. retrieved 19 July 2011
- ^ a b c "Neo-psychedelia", Allmusic, retrieved 2 July 2010.
- ^ R. Unterberger, S. Hicks and J. Dempsey, Music USA: the Rough Guide (London: Rough Guides, 1999), ISBN 1-85828-421-X, p. 401.
- ^ D. Walk, "The Apples in Stereo: Smiley Smile", CMJ New Music, Sep 1995 (25), p. 10.
- ^ G. Sharpe-Young, "Kyuss biography", MusicMight, retrieved 10 December 2007.
- ^ "Stoner Metal", Allmusic, retrieved 22 May 2009.
- ^ E. Rivadavia "Kyuss", Allmusic, retrieved 10 December 2007.
- ^ E. Rivadavia, "Sleep", Allmusic, retrieved 22 May 2009.
- ^ S. Erlewine, "The Stone Roses" Allmusic, retrieved 6 July 2011.
- ^ S. Erlewine, "Blur" Allmusic, retrieved 6 July 2011.
- ^ S. T. Erlewine, Standing on the Shoulder of Giants, Allmusic, retrieved 7 July 2010.
- ^ S. Erlewine, "Kula Shaker" Allmusic, retrieved 06 July 2011.
- ^ J. Macgregor, "Tame Impala", Allmusic, retrieved 26 January 2011.
- ^ J. Ankeny, "The Green Essex", Allmusic, retrieved 26 January 2011.
- ^ "Acid house", Allmusic, retrieved 27 June 2010.
- ^ "Trance", Allmusic, retrieved 27 June 2010.
- ^ a b c K. Empire, "Rousing rave from the grave" The Observer, 5 October 2006, retrieved 9 January 2008.
- ^ P. Flynn, "Here We Glo Again", Times Online, 12 November 2006, retrieved 13 February 2009.
- ^ J. Harris, "New Rave? Old Rubbish", The Guardian, 13 October 2006, retrieved 31 March 2007.
- ^ O. Adams, "Music: Rave On, Just Don't Call It 'New Rave'", The Guardian, 5 January 2007, retrieved 2 September 2008.
- ^ The Guardian, 3 February 2007. "The Future's Bright...", retrieved 31 March 2007.
|
|
|
| Major recreational drugs |
|
|
|
| Drug culture |
|
|
| Problems with drug use |
|
|
| Legality of drug use |
|
International
|
|
|
|
State level
|
|
|
|
Drug policy
by country
|
|
|
|
Other
|
|
|
|
| Lists of countries by... |
|
|
|
Psychedelic music
|
|
| Genres |
|
|
| Subcultures |
|
|
| See also |
|
|
|
|
|
|
|
|
| History |
|
|
| People and groups |
|
|
| Politics and ethics |
|
|
| Culture and fashion |
|
|
| Music |
|
|
| Related subjects |
|
|
![Blockhead - The Music Scene - Official Video [HD]](http://web.archive.org./web/20130317084147im_/http://i.ytimg.com/vi/CEYRBTZWu8U/default.jpg "Blockhead - The Music Scene - Official Video [HD]")
.jpg)
