Psychedelic rock
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Cultural origins | Mid 1960s, United States and United Kingdom |
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Psychedelia |
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Psychedelic rock is a rock music genre that is inspired, influenced, or representative of psychedelic culture, which is centered on perception-altering hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation.[2] Many psychedelic groups differ in style, and the label is often applied spuriously.[3]
Originating in the mid-1960s among British and American musicians, the sound of psychedelic rock invokes three core effects of LSD:
The peak years of psychedelic rock were between 1967 and 1969, with milestone events including the 1967
Definition
As a musical style, psychedelic rock incorporated new electronic sound effects and recording effects, extended solos, and improvisation.[2] Features mentioned in relation to the genre include:
- electric guitars, often used with feedback, wah-wah and fuzzbox effects units;[2]
- certain studio effects (principally in British psychedelia),reverb;[6]
- elements of
- non-Western instruments (especially in British psychedelia), specifically those originally used in Indian classical music, such as sitar, tambura and tabla;[5]
- elements of free-form jazz;[7]
- a strong keyboard presence, especially
- extended instrumental segments, especially guitar solos, or jams;[10]
- disjunctive song structures, occasional drones;[10]
- droning quality in vocals;[11]
- ]
- lyrics that made direct or indirect reference to hallucinogenic drugs;[13]
- surreal, whimsical, esoterically or literary-inspired lyrics[14][15] with (especially in British psychedelia) references to childhood;[16]
- Victorian-era antiquation (exclusive to British psychedelia), drawing on items such as music boxes, music hall nostalgia and circus sounds.[5]
The term "psychedelic" was coined in 1956 by psychiatrist
Original psychedelic era
1960–65: Precursors and influences
Music critic
According to
American folk singer
One of the first musical uses of the term "psychedelic" in the folk scene was by the New York-based folk group
1965: Formative psychedelic scenes and sounds
According to music critic
In Unterberger's opinion, the Byrds, emerging from the Los Angeles folk rock scene, and the Yardbirds, from England's blues scene, were more responsible than the Beatles for "sounding the psychedelic siren".[23] Drug use and attempts at psychedelic music moved out of acoustic folk-based music towards rock soon after the Byrds, inspired by the Beatles' 1964 film A Hard Day's Night,[49][50] adopted electric instruments to produce a chart-topping version of Dylan's "Mr. Tambourine Man" in the summer of 1965.[51][nb 4] On the Yardbirds, Unterberger identifies lead guitarist Jeff Beck as having "laid the blueprint for psychedelic guitar", and says that their "ominous minor key melodies, hyperactive instrumental breaks (called rave-ups), unpredictable tempo changes, and use of Gregorian chants" helped to define the "manic eclecticism" typical of early psychedelic rock.[23] The band's "Heart Full of Soul" (June 1965), which includes a distorted guitar riff that replicates the sound of a sitar,[52] peaked at number 2 in the UK and number 9 in the US.[53] In Echard's description, the song "carried the energy of a new scene" as the guitar-hero phenomenon emerged in rock, and it heralded the arrival of new Eastern sounds.[54] The Kinks provided the first example of sustained Indian-style drone in rock when they used open-tuned guitars[55] to mimic the tambura on "See My Friends" (July 1965), which became a top 10 hit in the UK.[56][57]
The Beatles' "Norwegian Wood" from the December 1965 album Rubber Soul marked the first released recording on which a member of a Western rock group played the sitar.[58][nb 5] The song sparked a craze for the sitar and other Indian instrumentation[63] – a trend that fueled the growth of raga rock as the India exotic became part of the essence of psychedelic rock.[64][nb 6] Music historian George Case recognises Rubber Soul as the first of two Beatles albums that "marked the authentic beginning of the psychedelic era",[65] while music critic Robert Christgau similarly wrote that "Psychedelia starts here".[66] San Francisco historian Charles Perry recalled the album being "the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit", as pre-hippie youths suspected that the songs were inspired by drugs.[67]
Although psychedelia was introduced in Los Angeles through the Byrds, according to Shaw, San Francisco emerged as the movement's capital on the West Coast.
According to author Kevin McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on 4 December 1965, the date of the second Acid Test held by novelist Ken Kesey and the Merry Pranksters. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments".[76] The Acid Test experiments subsequently launched the entire psychedelic subculture.[78]
1966: Growth and early popularity
Psychedelia. I know it's hard, but make a note of that word because it's going to be scattered round the in-clubs like punches at an Irish wedding. It already rivals "mom" as a household word in New York and Los Angeles ...
—Melody Maker, October 1966[79]
Echard writes that in 1966, "the psychedelic implications" advanced by recent rock experiments "became fully explicit and much more widely distributed", and by the end of the year, "most of the key elements of psychedelic topicality had been at least broached."[80] DeRogatis says the start of psychedelic (or acid) rock is "best listed at 1966".[81] Music journalists Pete Prown and Harvey P. Newquist locate the "peak years" of psychedelic rock between 1966 and 1969.[2] In 1966, media coverage of rock music changed considerably as the music became reevaluated as a new form of art in tandem with the growing psychedelic community.[82]
In February and March,[83] two singles were released that later achieved recognition as the first psychedelic hits: the Yardbirds' "Shapes of Things" and the Byrds' "Eight Miles High".[84] The former reached number 3 in the UK and number 11 in the US,[85] and continued the Yardbirds' exploration of guitar effects, Eastern-sounding scales, and shifting rhythms.[86][nb 9] By overdubbing guitar parts, Beck layered multiple takes for his solo,[88] which included extensive use of fuzz tone and harmonic feedback.[89] The song's lyrics, which Unterberger describes as "stream-of-consciousness",[90] have been interpreted as pro-environmental or anti-war.[91] The Yardbirds became the first British band to have the term "psychedelic" applied to one of its songs.[84] On "Eight Miles High", Roger McGuinn's 12-string Rickenbacker guitar[92] provided a psychedelic interpretation of free jazz and Indian raga, channelling Coltrane and Shankar, respectively.[93] The song's lyrics were widely taken to refer to drug use, although the Byrds denied it at the time.[23][nb 10] "Eight Miles High" peaked at number 14 in the US[95] and reached the top 30 in the UK.[96]
Contributing to psychedelia's emergence into the pop mainstream was the release of the Beach Boys' Pet Sounds (May 1966)[97] and the Beatles' Revolver (August 1966).[98] Often considered one of the earliest albums in the canon of psychedelic rock,[99][nb 11] Pet Sounds contained many elements that would be incorporated into psychedelia, with its artful experiments, psychedelic lyrics based on emotional longings and self-doubts, elaborate sound effects and new sounds on both conventional and unconventional instruments.[102][103] The album track "I Just Wasn't Made for These Times" contained the first use of theremin sounds on a rock record.[104] Scholar Philip Auslander says that even though psychedelic music is not normally associated with the Beach Boys, the "odd directions" and experiments in Pet Sounds "put it all on the map. ... basically that sort of opened the door – not for groups to be formed or to start to make music, but certainly to become as visible as say Jefferson Airplane or somebody like that."[105]
DeRogatis views Revolver as another of "the first psychedelic rock masterpieces", along with Pet Sounds.
Echard highlights early records by the 13th Floor Elevators and Love among the key psychedelic releases of 1966, along with "Shapes of Things", "Eight Miles High", "Rain" and Revolver.[80] Originating from Austin, Texas, the first of these new bands came to the genre via the garage scene[116] before releasing their debut album, The Psychedelic Sounds of the 13th Floor Elevators in October that year.[117] It was one of the first rock albums to include the adjective in its title,[118] although the LP was released on an independent label and was little noticed at the time.[119] Two other bands also used the word in titles of LPs released in November 1966: The Blues Magoos' Psychedelic Lollipop, and the Deep's Psychedelic Moods. Having formed in late 1965 with the aim of spreading LSD consciousness, the Elevators commissioned business cards containing an image of the third eye and the caption "Psychedelic rock".[120][nb 13] Rolling Stone highlights the 13th Floor Elevators as arguably "the most important early progenitors of psychedelic garage rock".[8]
Donovan's July 1966 single "Sunshine Superman" became one of the first psychedelic pop/rock singles to top the Billboard charts in the US. Influenced by Aldous Huxley’s The Doors of Perception, and with lyrics referencing LSD, it contributed to bringing psychedelia to the mainstream.[122][123]
The Beach Boys' October 1966 single "Good Vibrations" was another early pop song to incorporate psychedelic lyrics and sounds.[124] The single's success prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.[125] As psychedelia gained prominence, Beach Boys-style harmonies would be ingrained into the newer psychedelic pop.[98]
1967–69: Continued development
Peak era
In 1967, psychedelic rock received widespread media attention and a larger audience beyond local psychedelic communities.
The Doors' self-titled debut album (January 1967) is notable for possessing a darker sound and subject matter than many contemporary psychedelic albums,[132] which would become very influential to the later Gothic rock movement.[133] Aided by the No. 1 single, "Light My Fire", the album became very successful, reaching number 2 on the Billboard chart.[134]
In February 1967, the Beatles released the double A-side single "Strawberry Fields Forever" / "Penny Lane", which Ian MacDonald says launched both the "English pop-pastoral mood" typified by bands such as Pink Floyd, Family, Traffic and Fairport Convention, and English psychedelia's LSD-inspired preoccupation with "nostalgia for the innocent vision of a child".[135] The Mellotron parts on "Strawberry Fields Forever" remain the most celebrated example of the instrument on a pop or rock recording.[136][137] According to Simonelli, the two songs heralded the Beatles' brand of Romanticism as a central tenet of psychedelic rock.[138]
Jefferson Airplane's Surrealistic Pillow (February 1967) was one of the first albums to come out of San Francisco that sold well enough to bring national attention to the city's music scene. The LP tracks "White Rabbit" and "Somebody to Love" subsequently became top 10 hits in the US.[139]
The Hollies psychedelic B-side "All the World Is Love" (February 1967) was released as the flipside to the hit single "On a Carousel".[140]
Pink Floyd's "
Psychedelic rock's popularity accelerated following the release of the Beatles' album
The 1967 Summer of Love saw a huge number of young people from across America and the world travel to Haight-Ashbury, boosting the area's population from 15,000 to around 100,000.[148] It was prefaced by the Human Be-In event in January 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.[149] Several established British acts joined the psychedelic revolution, including Eric Burdon (previously of the Animals) and the Who, whose The Who Sell Out (December 1967) included the psychedelic-influenced "I Can See for Miles" and "Armenia City in the Sky".[150] Other major British Invasion acts who absorbed psychedelia in 1967 include the Hollies with the album Butterfly,[151] and The Rolling Stones album Their Satanic Majesties Request.[152] The Incredible String Band's The 5000 Spirits or the Layers of the Onion (July 1967) developed their folk music into a pastoral form of psychedelia.[153]
Many famous established recording artists from the early rock era also fell under psychedelia and recorded psychedelic-inspired tracks, including Del Shannon's "Color Flashing Hair", Bobby Vee's "I May Be Gone", The Four Seasons' "Watch the Flowers Grow", Roy Orbison's "Southbound Jericho Parkway" and The Everly Brothers' "Mary Jane".[154][155]
According to author Edward Macan, there ultimately existed three distinct branches of British psychedelic music. The first, dominated by
International variants
The US and UK were the major centres of psychedelic music, but in the late 1960s scenes developed across the world, including continental Europe, Australasia, Asia and south and Central America.
A thriving psychedelic music scene in
1969–71: Decline
By the end of the 1960s, psychedelic rock was in retreat. Psychedelic trends climaxed in the 1969
George Clinton's ensembles Funkadelic and Parliament and their various spin-offs took psychedelia and funk to create their own unique style,[176] producing over forty singles, including three in the US top ten, and three platinum albums.[177]
Brian Wilson of the Beach Boys,[124] Brian Jones of the Rolling Stones, Peter Green and Danny Kirwan of Fleetwood Mac and Syd Barrett of Pink Floyd were early "acid casualties",[clarification needed] helping to shift the focus of the respective bands of which they had been leading figures.[178] Some groups, such as the Jimi Hendrix Experience and Cream, broke up.[179] Hendrix died in London in September 1970, shortly after recording Band of Gypsys (1970), Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors, who died in Paris in July 1971.[180] By this point, many surviving acts had moved away from psychedelia into either more back-to-basics "roots rock", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-based heavy rock.[71]
Revivals and successors
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Psychedelic soul
Following the lead of Hendrix in rock, psychedelia influenced African American musicians, particularly the stars of the
While psychedelic rock wavered 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 changed.
Prog, heavy metal, and krautrock
Many of the British musicians and bands that had embraced psychedelia went on to create
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.[13] From England, two former guitarists with the Yardbirds, Jeff Beck and Jimmy Page, moved on to form key acts in the genre, The Jeff Beck Group and Led Zeppelin respectively.[190] Other major pioneers of the genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.[190][191] Psychedelic music also contributed to the origins of glam rock, with Marc Bolan changing his psychedelic folk duo into rock band T. Rex and becoming the first glam rock star from 1970.[192][verification needed] From 1971 David Bowie moved on from his early psychedelic work to develop his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.[193]
The jam band movement, which began in the late 1980s, was influenced by the Grateful Dead's improvisational and psychedelic musical style.[194][195] The Vermont band Phish developed a sizable and devoted fan following during the 1990s, and were described as "heirs" to the Grateful Dead after the death of Jerry Garcia in 1995.[196][197]
Emerging in the 1990s, stoner rock combined elements of psychedelic rock and doom metal. Typically using a slow-to-mid tempo and featuring low-tuned guitars in a bass-heavy sound,[198] with melodic vocals, and 'retro' production,[199] it was pioneered by the Californian bands Kyuss[200] and Sleep.[201] Modern festivals focusing on psychedelic music include Austin Psych Fest in Texas, founded in 2008,[202] Liverpool Psych Fest,[203] and Desert Daze in Southern California.[204]
Neo-psychedelia
There were occasional mainstream acts that dabbled in
In the late '80s in the UK the genre of
Later according to Treblezine's Jeff Telrich: "Primal Scream made [neo-psychedelia] dancefloor ready. The Flaming Lips and Spiritualized took it to orchestral realms. And Animal Collective—well, they kinda did their own thing."[210]
See also
Notes, references, sources
Notes
- ^ Their keyboardist, Bruce Johnston, went on to join the Beach Boys in 1965. He would recall: "[LSD is] something I've never thought about and never done."[24]
- ^ According to Stewart Home, Graham was "the key early figure ... Influential but without much commercial impact, Graham's mix of folk, blues, jazz, and eastern scales backed on his solo albums with bass and drums was a precursor to and ultimately an integral part of the folk rock movement of the later sixties. ... It would be difficult to underestimate Graham's influence on the growth of hard drug use in British counterculture."[34]
- ^ The growth of underground culture in Britain was facilitated by the emergence of alternative weekly publications like IT (International Times) and Oz which featured psychedelic and progressive music together with the counterculture lifestyle, which involved long hair, and the wearing of wild shirts from shops like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street (Soho) and King's Road (Chelsea) boutiques.[41]
- ^ In the song's lyric, the narrator requests: "Take me on a trip upon your magic swirling ship".[20] 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.[20]
- ^ While Beck's influence had been Ravi Shankar records,[59] the Kinks' Ray Davies was inspired during a trip to Bombay, where he heard the early morning chanting of Indian fisherman.[57][60] The Byrds were also delving into the raga sound by late 1965, their "music of choice" being Coltrane and Shankar records.[60] That summer they shared their enthusiasm for Shankar's music and its transcendental qualities with George Harrison and John Lennon during a group acid trip in Los Angeles.[61] The sitar and its attending spiritual philosophies became a lifelong pursuit for Harrison, as he and Shankar would "elevate Indian music and culture to mainstream consciousness".[62]
- ^ Previously, Indian instrumentation had been included in Ken Thorne's orchestral score for the band's Help! film soundtrack.[58]
- Winterland and then the Fillmore West (in San Francisco) and the Fillmore East (in New York City), where major rock artists from both the US and the UK came to play.[77]
- ^ Beatles' historian Ian MacDonald comments that Paul McCartney's guitar solo on "Taxman" from Revolver "goes far beyond anything in the Indian style Harrison had done on guitar, the probable inspiration being Jeff Beck's ground-breaking solo on the Yardbirds' astonishing 'Shapes of Things'".[87]
- ^ The result of this directness was limited airplay, and there was a similar reaction when Dylan released "Rainy Day Women ♯12 & 35" (April 1966), with its repeating chorus of "Everybody must get stoned!"[94]
- ^ Brian Boyd of The Irish Times credits the Byrds' Fifth Dimension (July 1966) with being the first psychedelic album.[100] Unterberger views it as "the first album by major early folk-rockers to break ... into folk-rock-psychedelia".[101]
- ^ Sam Andrew of Big Brother and the Holding Company recalled that the album resonated with musicians in San Francisco,[113] in that the Beatles "had definitely come 'on board'" with regard to the counterculture.[114] In the 1995 documentary series Rock & Roll, Phil Lesh of the Grateful Dead recalled thinking that with Revolver the Beatles had embraced the "psychedelic avant-garde".[115]
- ^ The term was used in an article about the band titled "Unique Elevators Shine with 'Psychedelic Rock'", in the 10 February 1966 edition of the Austin American-Statesman.[121]
- the Blues Magoos as the main psychedelic act and as "a group that outdoes the west coasters ... in decibels".[131]
- ^ Prendergast cites Family's Music in a Doll's House (July 1968) as a "quintessential UK psychedelic album", combining a wealth of orchestral and rock instrumentation.[160]
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Further reading
- Belmo (1999). 20th Century Rock and Roll: Psychedelia. Burlington, Ontario: Collectors Guide Publishing. ISBN 978-1-896522-40-1.
- ISBN 0-226-07562-1.
- ISBN 978-1-59486-320-2.
- ISBN 978-0-571-28200-5.
- ISBN 978-1-135-05358-1.
- Joynson, Vernon (2004) Fuzz, Acid and Flowers Revisited: A Comprehensive Guide to American Garage, Psychedelic and Hippie Rock (1964-1975). Borderline ISBN 978-1-899855-14-8.
- Reynolds, Simon (1997). "Back to Eden: Innocence, Indolence and Pastoralism in Psychedelic Music, 1966–1996". In Melechi, Antonio (ed.). Psychedelia Britannica. London: Turnaround. pp. 143–165.