Editing Psychedelic rock (section)

==Revivals and successors==
{{cite-check|section|date=August 2016}}

===Psychedelic soul===
{{Main|Psychedelic soul|Psychedelic funk}}

Following the lead of Hendrix in rock, psychedelia influenced African American musicians, particularly the stars of the [[Motown]] label.<ref name=AllmusicPsychedelicSoul>[{{AllMusic|class=explore|id=style/d12959|pure_url=yes}} "Psychedelic soul"], ''AllMusic''. Retrieved 27 June 2010.</ref> This [[psychedelic soul]] was influenced by the [[civil rights movement]], giving it a darker and more political edge than much psychedelic rock.<ref name=AllmusicPsychedelicSoul/> Building on the [[funk]] sound of [[James Brown]], it was pioneered from about 1968 by [[Sly and the Family Stone]] and [[Temptations|The Temptations]]. Acts that followed them into this territory included [[Edwin Starr]] and the [[Undisputed Truth]].<ref name="AllmusicPsychedelicSoul" />{{verification needed|date=February 2017}} [[George Clinton (funk musician)|George Clinton]]'s interdependent [[Funkadelic]] and [[Parliament (band)|Parliament]] ensembles and their various spin-offs took the genre to its most extreme lengths, making funk almost a religion in the 1970s,<ref name="S. Harrington, 2002"/> producing over forty singles, including three in the US top ten, and three platinum albums.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=226}}

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.<ref name=AllmusicPsychedelicSoul/> Songwriter [[Norman Whitfield]] wrote psychedelic soul songs for [[Temptations|The Temptations]] and [[Marvin Gaye]].<ref>Edmondson, Jacqueline (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture [4 volumes]: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture. ABC-CLIO. p. 474.</ref>

===Prog, heavy metal, and krautrock===
{{Main|Progressive rock|Heavy metal music|Krautrock}}

Many of the British musicians and bands that had embraced psychedelia went on to create [[progressive rock]] in the 1970s, including Pink Floyd, Soft Machine and members of [[Yes (band)|Yes]]. [[The Moody Blues]] album ''[[In Search of the Lost Chord]]'' (1968), which is steeped in psychedelia, including prominent use of Indian instruments, is noted as an early predecessor to and influence on the emerging progressive movement.<ref>{{cite web|author=Anon|title=In Search of the Lost Chord The Moody Blues|url=https://www.allmusic.com/album/in-search-of-the-lost-chord-mw0000650513#:~:text=In%20Search%20of%20the%20Lost%20Chord%20is%20the%20album%20on,and%20other%20psychedelic%2Dera%20concerns.|website=[[AllMusic]]}}</ref><ref>{{cite web|author=Anon|title=In Search of the Lost Chord The Moody Blues|url=https://www.sputnikmusic.com/review/62291/The-Moody-Blues-In-Search-of-the-Lost-Chord/|website=Sputnikmusic}}</ref> [[King Crimson]]'s album ''[[In the Court of the Crimson King]]'' (1969) has been seen as an important link between psychedelia and progressive rock.{{sfn|DeRogatis|2003|p=169}} While bands such as [[Hawkwind]] maintained an explicitly psychedelic course into the 1970s, most dropped the psychedelic elements in favour of wider experimentation.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=515}} 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 (band)|Colosseum]].<ref>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.&nbsp;154–155.</ref> As they moved away from their psychedelic roots and placed increasing emphasis on electronic experimentation, German bands like [[Kraftwerk]], [[Tangerine Dream]], [[Can (band)|Can]], [[Neu!]] and [[Faust (band)|Faust]] developed a distinctive brand of [[electronic rock]], known as [[kosmische musik]], or in the British press as "[[Kraut]] rock".<ref>P. Bussy, ''Kraftwerk: Man, Machine and Music'' (London: SAF, 3rd end., 2004), {{ISBN|0-946719-70-5}}, pp.&nbsp;15–17.</ref> The adoption of electronic [[synthesiser]]s, pioneered by [[Popol Vuh (German band)|Popol Vuh]] from 1970, together with the work of figures like [[Brian Eno]] (for a time the keyboard player with [[Roxy Music]]), would be a major influence on subsequent electronic rock.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1330–1331}}

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 music|heavy metal]]. American bands whose loud, repetitive psychedelic rock emerged as early heavy metal included the [[The Amboy Dukes (band)|Amboy Dukes]] and [[Steppenwolf (band)|Steppenwolf]].{{sfn|Nagelberg|2001|p=8}} 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.<ref name=Cook2001>B. A. Cook, ''Europe Since 1945: an Encyclopedia, Volume 2'' (London: Taylor & Francis, 2001), {{ISBN|0-8153-1336-5}}, p. 1324.</ref> Other major pioneers of the genre had begun as blues-based psychedelic bands, including [[Black Sabbath]], [[Deep Purple]], [[Judas Priest]] and [[UFO (band)|UFO]].<ref name=Cook2001/>{{sfn|DeRogatis|2003|p=212}} Psychedelic music also contributed to the origins of [[glam rock]], with [[Marc Bolan]] changing his [[psychedelic folk]] duo into rock band [[T. Rex (band)|T. Rex]] and becoming the first glam rock star from 1970.<ref>P. Auslander, ''Performing Glam Rock: Gender and Theatricality in Popular Music'' (Ann Arbor, Michigan: University of Michigan Press, 2006), {{ISBN|0-472-06868-7}}, p. 196.</ref>{{verification needed|date=February 2017}} From 1971 [[David Bowie]] moved on from his early psychedelic work to develop his [[The Rise and Fall of Ziggy Stardust and the Spiders from Mars|Ziggy Stardust]] persona, incorporating elements of professional make up, mime and performance into his act.<ref name=Auslander2006p72>P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, 3 July 1973" in I. Inglis, ed., ''Performance and Popular Music: History, Place and Time'' (Aldershot: Ashgate, 2006), {{ISBN|0-7546-4057-4}}, p. 72.</ref>

The [[jam band]] movement, which began in the late 1980s, was influenced by the [[Grateful Dead]]'s improvisational and psychedelic musical style.<ref>{{cite web |title=The Return of the Jamband |url=http://www.gratefulweb.com/articles/return-jamband |website=Grateful Web |access-date=12 January 2019 |language=en}}</ref><ref>{{cite web |last1=Ellis |first1=Iain |title=Dead But Not Buried or, When the '90s Took a '60s Turn |url=https://www.popmatters.com/dead-but-not-buried-or-when-the-90s-took-a-60s-turn-2496152334.html |website=Popmatters |date=22 May 2008 |access-date=12 January 2019}}</ref> 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.<ref name="allmusic phish">{{cite web |title=Phish {{!}} Biography & History |url=https://www.allmusic.com/artist/phish-mn0000333464/biography |website=AllMusic |access-date=12 January 2019 |language=en-us}}</ref><ref>{{cite web |title=Phish Shreds America: How the Jam Band Anticipated Modern Festival Culture |url=https://pitchfork.com/features/from-the-pitchfork-review/9929-phish-shreds-america-how-the-jam-band-anticipated-modern-festival-culture/ |website=Pitchfork |date=15 August 2016 |access-date=12 January 2019 |language=en}}</ref>

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 guitar|bass]]-heavy sound,<ref>G. Sharpe-Young, [https://web.archive.org/web/20100526120607/http://www.musicmight.com/artist/united+states/california/palm+springs/kyuss "Kyuss biography"], ''MusicMight''. Retrieved 10 December 2007.</ref> with melodic vocals, and 'retro' production,<ref name="allmusicStonerMetal">[{{AllMusic|class=explore|id=style/d11953|pure_url=yes}} "Stoner Metal"], ''AllMusic''. Retrieved 22 May 2009.</ref> it was pioneered by the Californian bands [[Kyuss]]<ref>E. Rivadavia [{{AllMusic|class=artist|id=p39911|pure_url=yes}} "Kyuss"], ''AllMusic''. Retrieved 10 December 2007.</ref> and [[Sleep (band)|Sleep]].<ref name="allmusic sleep">E. Rivadavia, [{{AllMusic|class=artist|id=p5456|pure_url=yes}} "Sleep"], ''AllMusic''. Retrieved 22 May 2009.</ref> Modern festivals focusing on psychedelic music include [[Levitation (festival)|Austin Psych Fest]] in Texas, founded in 2008,<ref>E. Gossett, [https://www.pastemagazine.com/articles/2013/12/austin-psych-fest-announces-2014-lineup-primal-scr.html "Austin Psych Fest announces 2014 lineup"] {{Webarchive|url=https://web.archive.org/web/20191017213447/https://www.pastemagazine.com/articles/2013/12/austin-psych-fest-announces-2014-lineup-primal-scr.html |date=17 October 2019 }}, Paste, 4 December 2013, retrieved 7 December 2013.</ref> Liverpool Psych Fest,<ref>[https://www.nme.com/news/various-artists/72937 "Liverpool Psych Fest"], NME, 30 September 2013, retrieved 7 December 2013.</ref> and Desert Daze in Southern California.<ref>[https://consequence.net/2018/08/desert-daze-completes-its-sensational-2018-lineup/ "Desert Daze completes its sensational 2018 lineup"] by Alex Young, ConsequenceOfSound, 28 August 2018, retrieved 3 March 2020.</ref>

===Neo-psychedelia===
There were occasional mainstream acts that dabbled in [[neo-psychedelia]], a style of music which emerged in late 1970s [[post-punk]] circles. Although it has mainly been an influence on [[alternative rock|alternative]] and [[indie rock]] bands, neo-psychedelia sometimes updated the approach of 1960s psychedelic rock.<ref name="AllMusicNeoP">{{cite web|website=[[AllMusic]]|date=n.d.|url=http://www.allmusic.com/style/neo-psychedelia-ma0000012252|title=Neo-Psychedelia}}</ref> Neo-psychedelia may include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments.<ref name="AllMusicNeoP"/> Some of the scene's bands, including [[the Soft Boys]], [[the Teardrop Explodes]], Wah!,  [[Echo & the Bunnymen]], became major figures of neo-psychedelia.  In the US in the early 1980s it was joined by the [[Paisley Underground]] movement, based in Los Angeles and fronted by acts such as [[Dream Syndicate]], [[the Bangles]] and [[Rain Parade]].<ref>R. Unterberger, S. Hicks and J. Dempsey, ''Music USA: the Rough Guide'' (London: Rough Guides, 1999), {{ISBN|1-85828-421-X}}, p. 401.</ref> 
[[File:Primal Scream performing Screamadelica live in Paradiso, Amsterdam Screamadelica's iconic cover image (6127942325).jpg|thumb|[[Primal Scream]] performing live with the cover of their album ''[[Screamadelica]]'' in the back]]
In the late '80s in the UK the genre of [[Madchester]] emerged in the [[Manchester]] area, in which artists merged [[alternative rock]] with [[acid house]] and [[rave culture|dance culture]] as well as other sources, including psychedelic music and 1960s pop.<ref name="Echard, William 2017 pp. 244">Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Indiana University Press. pp. 244–246</ref><ref name="all">{{cite web|title=Madchester – Genre Overview|url=https://www.allmusic.com/style/madchester-ma0000005017|website=[[AllMusic]]|access-date=25 March 2017}}</ref> The label was popularised by the British music press in the early 1990s.<ref>{{cite book|last=Shuker|first=Roy|page=157|chapter=Madchester|chapter-url=https://books.google.com/books?id=2sAReL71VsUC&pg=PA157|title=Popular Music: The Key Concepts|publisher=[[Psychology Press]]|year=2005|access-date=26 December 2016|isbn=978-0-415-34769-3}}</ref> Erchard talks about it as being part of a "thread of 80s psychedelic rock" and lists as main bands in it [[the Stone Roses]], [[Happy Mondays]] and [[Inspiral Carpets]]. The [[rave]]-influenced scene is widely seen as heavily influenced by drugs, especially ecstasy ([[MDMA]]), and it is seen by Erchard as central to a wider phenomenon of what he calls a "rock [[rave]] crossover" in the late '80s and early '90s UK indie scene, which also included the ''[[Screamadelica]]'' album by Scottish band [[Primal Scream]].<ref name="Echard, William 2017 pp. 244"/>

In the 1990s, [[Elephant 6]] collective bands such as [[The Olivia Tremor Control]] and [[The Apples in Stereo]] mixed the genre with [[Lo-fi music|lo-fi]] influences.<ref>{{Cite news |date=2023-08-25 |title=A Crash Course in the Elephant 6 Recording Co. |url=https://www.nytimes.com/2023/08/25/arts/music/amplifier-newsletter-elephant-6.html |access-date=2024-08-19 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

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."<ref name="Treble2015">{{cite web|last=Terich|first=Jeff|title=10 Essential Neo-Psychedelia Albums|url=http://www.treblezine.com/24002-10-best-neo-psychedelic-albums/|website=Treblezine|date=2 July 2015 }}</ref>