Editing Garage rock (section)

===Integration with psychedelia and counterculture===
====Historical and cultural associations====

{{See also|Counterculture of the 1960s|Psychedelia}}

Increasingly throughout 1966, partly due to the growing influence of drugs such as [[marijuana]] and [[LSD]],<ref>{{cite web|last1=Stieb|first1=Matt|title=Trippin' Out in TX: A journey through Texas' psychedelic music scene|url=http://www.sacurrent.com/sanantonio/trippin-out-in-tx-a-journey-through-texas-psychedelic-music-scene/Content?oid=2249547|website=San Antonio Current|access-date=December 24, 2015|url-status=live|archive-url=https://web.archive.org/web/20160201095910/http://www.sacurrent.com/sanantonio/trippin-out-in-tx-a-journey-through-texas-psychedelic-music-scene/Content?oid=2249547|archive-date=February 1, 2016}}<br />– {{cite web|title=The 60's Drug Culture|url=http://crescentok.com/staff/jaskew/TAH/US/drugs.htm|website=Crescent Tok|access-date=December 24, 2015|archive-url=https://web.archive.org/web/20160316150808/http://crescentok.com/staff/jaskew/TAH/US/drugs.htm|archive-date=March 16, 2016|url-status=dead}}</ref> numerous bands began to expand their sound, sometimes employing eastern scales and various sonic effects to achieve exotic and hypnotic soundscapes in their music.{{sfnm|1a1=Schinder|1a2=Schwartz|1y=2008|1pp=266–267|2a1=Rubin|2a2=Melnick|2y=2007|2pp=162–164}}  The development was nonetheless the result of a longer musical evolution growing out of folk rock and other forms, and prefigured even in certain surf rock recordings.{{sfn|Hicks|1999|p=59}}{{sfn|Gress|2014}}{{efn|The title of [[the Gamblers (American band)|the Gamblers']] 1960 instrumental "LSD-25" mentions LSD,{{sfn|Hicks|1999|p=59}}<ref>{{cite web|last1=Chadbourne|first1=Eugene|title=The Gamblers|website=AllMusic|url=http://www.allmusic.com/artist/the-gamblers-mn0000063768|access-date=December 23, 2015|archive-url=https://web.archive.org/web/20160308190526/http://www.allmusic.com/artist/the-gamblers-mn0000063768|archive-date=March 8, 2016|url-status=live}}</ref> and in "[[Miserlou]]" (1962), [[Dick Dale]] used a [[Phrygian mode|Phrygian]] scale.{{sfn|Gress|2014}}  The first musical act to use the term "psychedelic was the New York-based folk group [[the Holy Modal Rounders]] on their version of [[Lead Belly]]'s "[[Hesitation Blues]]" (there pronounced as "psycho-delic") in 1964.{{sfnm|1a1=Hicks|1y=1999|1pp=59–60|2a1=Hall|2y=2014|2pp=116–117}} }}  As the decade progressed, psychedelic influences became pervasive in much garage rock.{{sfn|Stiernberg|2014}}<ref>{{cite web|title=Psychedelic/Garage|url=http://www.allmusic.com/subgenre/psychedelic-garage-ma0000002800|website=AllMusic|access-date=February 5, 2017|archive-url=https://web.archive.org/web/20170506113343/http://www.allmusic.com/subgenre/psychedelic-garage-ma0000002800|archive-date=May 6, 2017|url-status=live}}</ref>

{{listen|pos=right
|filename=Psychotic Reaction - Count Five.ogg|title=Count Five – "Psychotic Reaction" (1966)
|description="[[Psychotic Reaction]]" by [[Count Five|the Count Five]] contains characteristics that came to typify much [[psychedelic rock|psychedelic]] and [[acid rock]], such as the use of fuzz and feedback, as opposed to the clean guitar sounds prevalent in early rock.{{sfn|Browne|Browne|2001|p=8}}}}
By the mid-1960s, numerous garage bands began to employ tone-altering devices such as [[fuzzbox#1960s: fuzz, distortion, and introduction of commercial devices|fuzzboxes]] on guitars often for the purpose of enhancing the music's sonic palate, adding an aggressive edge with loudly amplified instruments to create a barrage of "clanging" sounds, in many cases expressing anger, defiance, and sexual frustration.{{sfnm|1a1=Hicks|1y=1999|1pp=18–22|2a1=Kauppila|2y=2006|2pp=7–8}}  The genre came into its peak of popularity at a time when a collective sense of discontent and alienation crept into the psyche of the youth in the United States and elsewhere—even in the largely conservative suburban communities which produced so many garage bands.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=97–105|2a1=Kauppila|2y=2006|2pp=7–8}}  Garage bands, though generally apolitical, nonetheless reflected the attitudes and tenor of the times.{{sfn|Berger|Coston|2014|p=101}}  Nightly news reports had a cumulative effect on the mass consciousness, including musicians.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=97|2a1=Markesich|2y=2012|p=36}}  Detectable in much of the music from this era is a disparate array of raw sounds and emotions, coinciding with surrounding events, such as the [[assassinations]] of major political figures and the ongoing escalation of troops sent to [[Vietnam War|Vietnam]],{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=101|2a1=Kauppila|2y=2006|2pp=7–8}} yet certain commentators have also noted an apparent bygone innocence as part of the style's appeal to later generations.{{sfnm|1a1=Shaw|1y=1998|1p=21|2a1=Palao|2y=1998|2p=27}}

In 1965, the influence of artists such as [[Bob Dylan]], who moved beyond political [[Protest song|protest]] by experimenting with abstract and surreal lyrical imagery{{sfn|Wilentz|2014}} and [[Electric Dylan controversy|switched to electric guitar]], became increasingly pervasive across the musical landscape, affecting a number of genres, including garage rock.{{sfnm|1a1=Shaw|1y=1998|1pp=18–19|2a1=Philo|2y=2015|2p=95}} The members of garage bands, like so many musicians of the 1960s, were part of a generation that was largely born into the paradigm and customs of an older time, but grew up confronting a new set of issues facing a more advanced and technological age.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1p=97|2a1=Kauppila|2y=2006|2pp=7–8|3a1=Gilmore|3y=1990}}  Postwar prosperity brought the advantages of better education, as well as more spare time for recreation, which along with the new technology, made it possible for an increasing number of young people to play music.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1p=1|2a1=Kauppila|2y=2006|2p=10}}  With the advent of television, [[nuclear weapons]], [[civil rights]], the [[Cold War]], and [[space exploration]], the new generation was more global in its mindset and began to conceive of a higher order of human relations, attempting to reach for a set of [[Transcendence (philosophy)|transcendent]] ideals, often expressed through rock music.{{sfnm|1a1=Gilmore|1y=1990|2a1=Berger|2a2=Coston|2y=2014|2pp=1, 97}}  Though set to a backdrop of tragic events that proved increasingly disillusioning,{{sfn|Berger|Coston|2014|pp=97–105}} various forms of personal and musical experimentation held promise, at least for a time, in the minds of many.{{sfn|Gilmore|1990}}  While opening boundaries and testing the frontiers of what the new world had to offer, 1960s youth ultimately had to accept the limitations of the new reality, yet often did so while experiencing the ecstasy of a moment when the realm of the infinite seemed possible and within reach.{{sfnm|1a1=Gilmore|1y=1990|2a1=Sclafani|2y=2009|3a1=Kaye|3y=1972}}{{efn|Commenting on the 1960s youth generation, as well as garage bands, Lenny Kaye mentions in his liner notes to ''Nuggets'' (1972): "The social situation similarly set the pace, doing its part by opening once rigid-boundaries of individual musics — folk, jazz, more exotic foreign forms — as well as cracking open the door to a world in which the youth felt that they had too long suffered a pat on the head ad a kick in the ass.  Lastly you might take into account the players and audiences themselves, nurtured on a steady diet of rock for as long as they could remember, the former sure that a piece of plutonian pie could easily be theirs by as simple act of faith as picking up a guitar..."}}

====Garage-based psychedelic rock====
{{Main|Psychedelic rock}}{{See also|acid rock}}

[[File:The Electric Prunes.png|thumb|[[The Electric Prunes]] in 1966]]
Tapping into the psychedelic zeitgeist, musicians sonically pushed barriers and explored new horizons.  Garage acts, while generally lacking the budgetary means to produce musical extravaganzas on the scale of the Beatles' ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' or the instrumental virtuosity of acts such as [[Jimi Hendrix]] or [[Cream (band)|Cream]], nonetheless managed to infuse esoteric elements into basic primitive rock.{{sfn|Markesich|2012|p=31}}  [[The 13th Floor Elevators]] from Austin, Texas, are usually thought to be first band to use the term "psychedelic"—in their promotional literature in early 1966.<ref name="Deusner (13th Floor Debut)">{{cite web|last1=Deusner|first1=Stephen M.|title=The 13th Floor Elevators: The Psychedelic Sounds of...|url=http://pitchfork.com/reviews/albums/11855-the-psychedelic-sounds-of-i-have-always-been-here-before/|website=Pitchfork Media|access-date=December 19, 2015|date=July 10, 2005|archive-url=https://web.archive.org/web/20151115143844/http://pitchfork.com/reviews/albums/11855-the-psychedelic-sounds-of-i-have-always-been-here-before/|archive-date=November 15, 2015|url-status=live}}</ref>  They also used it in the title of their debut album released in November, ''[[The Psychedelic Sounds of the 13th Floor Elevators]]''.  In August 1966, [[the Deep (band)|the Deep]] traveled from New York to Philadelphia to record a set of hallucinogenic songs for the album ''[[Psychedelic Moods]]: A Mind-Expanding Phenomena'', released in October 1966, one month before the 13th Floor Elevators' debut album, and whose all-night sessions produced mind-expanding [[Stream of consciousness (narrative mode)|stream of consciousness]] ramblings.<ref name="Benes (Deep/Psych Moods)">{{cite web|last1=Benes|first1=Ross|title=The First 'Psychedelic' Album Ever|url=http://www.esquire.com/entertainment/music/a27725/the-deep-psychedelic-moods/|website=Esquire|access-date=December 19, 2015|date=March 12, 2014|archive-url=https://web.archive.org/web/20151222132952/http://www.esquire.com/entertainment/music/a27725/the-deep-psychedelic-moods/|archive-date=December 22, 2015|url-status=live}}</ref>  Other notable bands that incorporated psychedelia into garage rock were the Electric Prunes, the Music Machine, the Blues Magoos,{{sfn|Markesich|2012|p=32}} and the Chocolate Watchband.  Garage rock helped lay the groundwork for the [[acid rock]] of the late 1960s.{{sfn|Hoffmann|2004|p=1725}}

====Primitivist avant-garde acts====
{{See also|Experimental rock}}

Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage, often infusing their work with [[subversive]] political or philosophical messages,{{sfn|Woods|2017}} dabbling in [[Experimental music|experimental]] musical forms and concepts considered at the time to be decidedly out of the mainstream.<ref name="Unterberger (Velvets Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Velvet Underground|website=AllMusic|url=http://www.allmusic.com/artist/the-velvet-underground-mn0000840402/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20170318031311/http://www.allmusic.com/artist/the-velvet-underground-mn0000840402/biography|archive-date=March 18, 2017|url-status=live}}</ref>  Such artists shared certain characteristics with the garage bands in their use of primitivistic instrumentation and arrangements, while displaying psychedelic rock's affinity for exploration—creating more urbanized, intellectual, and [[avant garde]] forms of primitivist rock, sometimes characterized as variants of garage rock.{{sfnm|1a1=Billet|1y=2016|2a1=Seavey|2y=2013|3a1=Dougan|3y=2003}}  New York City was the home to several such groups. [[The Fugs]], who formed in 1963, were one of rock's first experimental bands and its core members were singer, poet, and social activist [[Ed Sanders]], along with [[Tuli Kupferberg]] and [[Ken Weaver (musician)|Ken Weaver]].<ref name="Unterberger (Fugs Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Fugs|website=AllMusic|url=http://www.allmusic.com/artist/the-fugs-mn0000763301/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160922172933/http://www.allmusic.com/artist/the-fugs-mn0000763301/biography|archive-date=September 22, 2016|url-status=live}}</ref>  They specialized in a satirical mixture of amateurish garage rock, [[jug band|jug]], [[folk music|folk]], and psychedelic laced with leftist political commentary.<ref name="Unterberger (Fugs Bio.)"/><ref name="Raggett (Fugs' 1st)">{{cite web|last1=Raggett|first1=Ned|title=The Fugs (Review)|website=AllMusic|url=http://www.allmusic.com/artist/the-fugs-mn0000763301|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160711051918/http://www.allmusic.com/artist/the-fugs-mn0000763301|archive-date=July 11, 2016|url-status=live}}</ref>{{sfn|Dougan|2003}}  In a 1970 interview, Ed Sanders became the first known musician to describe his music as "punk rock".{{sfn|Shapiro|2006|p=492}}<ref name="Essor-Winston (Sanders/Punk)">{{cite web|last1=Essor-Winston|first1=Marissa|title=The American Punk Rock Movement: From the 1970's On|url=https://prezi.com/hwq5j9v9ss_n/the-american-punk-rock-movement-from-the-1970s-on/|website=Prezi|access-date=June 12, 2016|date=November 20, 2012|archive-url=https://web.archive.org/web/20160616224645/https://prezi.com/hwq5j9v9ss_n/the-american-punk-rock-movement-from-the-1970s-on/|archive-date=June 16, 2016|url-status=live}}</ref>
[[File:The_monks_1966.jpg|thumb|[[The Monks]]'s music imbued garage rock with [[Avant-garde music|avant-garde]] elements.]]

[[The Velvet Underground]], whose roster included [[Lou Reed]], are now generally considered the foremost experimental rock group of the period.<ref name="Unterberger (Velvets Bio.)"/>  At the time of recording their first album, they were involved with [[Andy Warhol]], who produced some its tracks, and his assemblage of "scenesters" at [[the Factory]], including model-turned-singer [[Nico]].<ref name="Deming (Velvets 1st)">{{cite web|last1=Deming|first1=Mark|title=The Velvet Underground & Nico|website=AllMusic|url=http://www.allmusic.com/album/the-velvet-underground-nico-mw0001955423|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160531232021/http://www.allmusic.com/album/the-velvet-underground-nico-mw0001955423|archive-date=May 31, 2016|url-status=live}}</ref>  She shared billing with them on the resulting album, ''[[The Velvet Underground & Nico]]''.<ref name="Deming (Velvets 1st)"/>  The album's lyrics, though generally apolitical, depict the world of hard drugs in songs such as "[[I'm Waiting for the Man]]" and "[[Heroin (The Velvet Underground song)|Heroin]]", and other topics considered taboo at the time.<ref name="Deming (Velvets 1st)"/>

Outside of New York were [[the Monks]] from Germany, whose members were former US servicemen who chose to remain in Germany, where in 1965 they developed an experimental sound on their album ''[[Black Monk Time]]''.{{sfn|Billet|2016}}<ref name="Unterberger (Monks Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Monks|website=AllMusic|url=http://www.allmusic.com/artist/the-monks-mn0000404345/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160323133900/http://www.allmusic.com/artist/the-monks-mn0000404345/biography|archive-date=March 23, 2016|url-status=live}}</ref><ref name="Deming (Monks/album)">{{cite web|last1=Deming|first1=Mark|title=The Monks - Black Monk Time (Review)|website=AllMusic|url=http://www.allmusic.com/album/black-monk-time-mw0000091408|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160605041128/http://www.allmusic.com/album/black-monk-time-mw0000091408|archive-date=June 5, 2016|url-status=live}}</ref>  The group, who sometimes wore [[habit (clothing)|habits]] and partially shaven [[tonsure]]s, specialized in a style featuring chanting and hypnotic percussion.<ref name="Unterberger (Monks Bio.)"/>