Editing Psychedelic rock (section)

===1960–65: Precursors and influences===
{{See also|Psychedelic folk}}

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 (song)|Telstar]]" (produced by [[Joe Meek]] for [[the Tornados]] in 1962) and [[the Dave Clark Five]]'s "massively reverb-laden" "[[Any Way You Want It (The Dave Clark Five song)|Any Way You Want It]]" (1964).{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1322}} The first mention of LSD on a rock record was [[The Gamblers (American band)|the Gamblers]]' 1960 surf instrumental "LSD 25".{{sfn|DeRogatis|2003|p=7}}{{refn|group=nb|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."{{sfn|DeRogatis|2003|p=7}}}} A 1962 single by [[the Ventures]], "[[The 2,000 Pound Bee|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.<ref name=":0">{{Cite book|title=Hot Wired Guitar: The Life of Jeff Beck|last=Power|first=Martin|publisher=Omnibus Press|year=2014|isbn=978-1-78323-386-1|location=books.google.com|pages=Chapter 2}}</ref> By 1964 fuzztone could be heard on singles by [[P.J. Proby]],<ref name=":0" /> and the Beatles had employed feedback in "[[I Feel Fine]]",{{sfn|Philo|2015|pp=62–63}} their sixth consecutive number 1 hit in the UK.<ref>{{Cite book|title=The Beatles Encyclopedia: Everything Fab Four|last=Womack|first=Kenneth|publisher=Greenwood|year=2017|isbn=978-1-4408-4426-3|location=books.google.com|pages=222}}</ref>

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".<ref name="allmusic" /> Writing in his 1969 book ''The Rock Revolution'', [[Arnold Shaw (author)|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".{{sfn|Shaw|1969|p=189}}

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.{{sfn|DeRogatis|2003|pp=87, 242}} Virtuoso sitarist [[Ravi Shankar]] had begun in 1956 a mission to bring Indian classical music to the West, inspiring jazz, classical and folk musicians.{{sfn|Lavezzoli|2006|pp=61–62}} By the mid-1960s, his influence extended to a generation of young rock musicians who soon made [[raga rock]]{{sfn|Lavezzoli|2006|pp=142, foreword}} part of the psychedelic rock aesthetic and one of the many intersecting cultural motifs of the era.<ref>Bellman, pp. 294–295</ref> In the [[British folk music|British folk]] scene, blues, drugs, jazz and Eastern influences blended in the early 1960s work of [[Davy Graham]], who adopted modal guitar tunings to transpose Indian ragas and Celtic reels. Graham was highly influential on Scottish folk virtuoso [[Bert Jansch]] and other pioneering guitarists across a spectrum of styles and genres in the mid-1960s.<ref>{{Cite news|url=https://www.guitarworld.com/acoustic-nation-lessons/how-play-dadgad-pioneer-davey-graham/30870|title=How to Play Like DADGAD Pioneer Davey Graham|date=2017-03-16|work=Guitar World|access-date=2017-08-08}}</ref><ref name=Hope />{{refn|group=nb|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."<ref name=Hope>{{cite book|author=[[Stewart Hope]]|chapter=Voices green and purple: psychedelic bad craziness and the revenge of the avant-garde|editor1=Christoph Grunenberg|editor2=Jonathan Harris|title=Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s|location=Liverpool|publisher=Liverpool University Press|year=2005|isbn=9780853239192|page=137}}</ref>}} Jazz saxophonist and composer [[John Coltrane]] had a similar impact, as the exotic sounds on his albums ''[[My Favorite Things (John Coltrane album)|My Favorite Things]]'' (1960) and ''[[A Love Supreme]]'' (1965), the latter influenced by the ragas of Shankar, were source material for guitar players and others looking to improvise or "jam".{{sfn|Hicks|2000|pp=61–62}}

One of the first musical uses of the term "psychedelic" in the folk scene was by the New York-based folk group [[The Holy Modal Rounders]] on their version of [[Lead Belly]]'s '[[Hesitation Blues]]' in 1964.<ref>M. Hicks, ''Sixties Rock: Garage, Psychedelic, and Other Satisfactions'' (University of Illinois Press, 2000), {{ISBN|978-0-252-06915-4}}, pp 59–60.</ref> Folk/avant-garde guitarist [[John Fahey (musician)|John Fahey]] recorded several songs in the early 1960s experimented with unusual recording techniques, including backwards tapes, and novel instrumental accompaniment including flute and sitar.<ref name="Fahey">{{cite web |last=Unterberger |first=Richie |author-link=Richie Unterberger |title=The Great San Bernardino Oil Slick & Other Excursions&nbsp;— Album Review |url=http://www.allmusic.com/album/vol-4-the-great-san-bernardino-birthday-party-mw0000103865 |access-date=25 July 2013 |work=[[AllMusic]] |publisher=Rovi Corp.}}</ref> His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings".<ref name="Fahey" />  Similarly, folk guitarist [[Sandy Bull]]'s early work "incorporated elements of folk, jazz, and [[Indian music|Indian]] and [[Arabic music|Arabic]]-influenced dronish modes".<ref>{{cite web |last=Unterberger |first=Richie |author-link=Richie Unterberger |title=Sandy Bull&nbsp;— Biography |url=http://www.allmusic.com//artist/sandy-bull-mn0000295213/biography |access-date=July 16, 2013 |work=[[AllMusic]] |publisher=Rovi Corp.}}</ref>  His 1963 album ''[[Fantasias for Guitar and Banjo]]'' explores various styles and "could also be accurately described as one of the very first psychedelic records".<ref>{{cite web |last=Greenwald |first=Matthew |title=''Fantasias for Guitar & Banjo''&nbsp;— Album Review |url=http://www.allmusic.com/album/fantasias-for-guitar-banjo-mw0000811015 |access-date=July 16, 2013 |work=[[AllMusic]] |publisher=Rovi Corp.}}</ref>