Editing Psychedelic rock (section)

====Peak era====
[[File:1967 Mantra-Rock Dance Avalon poster.jpg|thumb|left|upright=0.8|alt= The Mantra-Rock poster showing an Indian swami sitting cross-legged in the top half with circular patterns around and with information about the concert in the bottom half|Poster for the [[Mantra-Rock Dance]] event held at San Francisco's [[Avalon Ballroom]] in January 1967. The headline acts included [[the Grateful Dead]], [[Big Brother and the Holding Company]] and [[Moby Grape]].]]
In 1967, psychedelic rock received widespread media attention and a larger audience beyond local psychedelic communities.{{sfn|Butler|2014|p=184}} From 1967 to 1968, it was the prevailing sound of rock music, either in the more whimsical British variant, or the harder American West Coast acid rock.{{sfn|Brend|2005|p=88}} Music historian David Simonelli says the genre's commercial peak lasted "a brief year", with San Francisco and London recognised as the two key cultural centres.{{sfn|Simonelli|2013|p=100}} Compared with the American form, British psychedelic music was often more arty in its experimentation, and it tended to stick within pop song structures.<ref name=britpsych>{{AllMusic|class=style|id=british-psychedelia-ma0000012038|label=British Psychedelia}}</ref> Music journalist Mark Prendergast writes that it was only in US garage-band psychedelia that the often whimsical traits of UK psychedelic music were found.{{sfn|Prendergast|2003|p=227}} He says that aside from the work of the Byrds, Love and [[the Doors]], there were three categories of US psychedelia: the "acid jams" of the San Francisco bands, who favoured albums over singles; pop psychedelia typified by groups such as the Beach Boys and [[Buffalo Springfield]]; and the "wigged-out" music of bands following in the example of the Beatles and the Yardbirds, such as [[the Electric Prunes]], [[the Nazz]], [[the Chocolate Watchband]] and [[the Seeds]].{{sfn|Prendergast|2003|p=225}}{{refn|group=nb|Writing in 1969, Shaw said New York's [[Tompkins Square Park]] was the East Coast "center of hippiedom".{{sfn|Shaw|1969|p=150}} He cited [[the Blues Magoos]] as the main psychedelic act and as "a group that outdoes the west coasters ... in decibels".{{sfn|Shaw|1969|p=177}}}}

The Doors' [[The Doors (album)|self-titled debut]] album (January 1967) is notable for possessing a darker sound and subject matter than many contemporary psychedelic albums,<ref>{{cite web |url=https://www.rollingstone.com/music/music-album-reviews/the-doors-114926/ |title=The Doors |first=Parke|last=Puterbaugh|magazine=[[Rolling Stone]]|date=April 8, 2003}}</ref> which would become very influential to the later [[Gothic rock]] movement.<ref>{{cite web |url=https://www.readersdigest.co.uk/culture/a-dark-history-of-goth-a-genre-obsessed-with-love-and-death |title=A dark history of Goth, a genre obsessed with love and death |first=John|last=Robb|magazine=[[Reader's Digest]]|date=October 26, 2023}}</ref> Aided by the No. 1 single, "[[Light My Fire]]", the album became very successful, reaching number 2 on the ''Billboard'' chart.<ref>{{cite web |url=https://www.billboard.com/pro/the-doors-a-billboard-chart-history/ |title=The Doors: A Billboard Chart History |first=Keith|last=Caulfied|magazine=[[Billboard (magazine)|Billboard]]|date=May 21, 2013}}</ref>

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 (band)|Family]], [[Traffic (band)|Traffic]] and [[Fairport Convention]], and English psychedelia's LSD-inspired preoccupation with "nostalgia for the innocent vision of a child".{{sfn|MacDonald|1998|p=191}} The [[Mellotron]] parts on "Strawberry Fields Forever" remain the most celebrated example of the instrument on a pop or rock recording.{{sfn|Brend|2005|p=57}}{{sfn|Prendergast|2003|p=83}} According to Simonelli, the two songs heralded the Beatles' brand of [[Romanticism]] as a central tenet of psychedelic rock.{{sfn|Simonelli|2013|p=106}}

[[File:White rabbit.JPG|thumb|Poster for [[Jefferson Airplane]]'s song "[[White Rabbit (song)|White Rabbit]]", which describes the surreal world of ''[[Alice in Wonderland]]'']]

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 (song)|White Rabbit]]" and "[[Somebody to Love (Jefferson Airplane song)|Somebody to Love]]" subsequently became top 10 hits in the US.{{sfn|Philo|2015|pp=115–116}}

[[The Hollies]] psychedelic B-side "All the World Is Love" (February 1967) was released as the flipside to the hit single "[[On a Carousel]]".<ref>{{cite book|last1=Doggett|first1=Peter|title=Crosby, Stills, Nash & Young: The Biography
|url=https://books.google.com/books?id=sYZzDwAAQBAJ|publisher=Vintage|year=2019|isbn=978-1-4735-5225-8 }}</ref>

Pink Floyd's "[[Arnold Layne]]" (March 1967) and "[[See Emily Play]]" (June 1967), both written by [[Syd Barrett]], helped set the pattern for pop-psychedelia in the UK.{{sfn|Kitts|Tolinski|2002|p=6}} There, "underground" venues like the [[UFO Club]], [[Middle Earth Club]], [[The Roundhouse]], the Country Club and the Art Lab drew capacity audiences with psychedelic rock and ground-breaking [[liquid light shows]].<ref>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}}, pp.&nbsp;83–84.</ref> A major figure in the development of British psychedelia was the American promoter and record producer [[Joe Boyd]], who moved to London in 1966. He co-founded venues including the UFO Club, produced Pink Floyd's "Arnold Layne", and went on to manage folk and folk rock acts including [[Nick Drake]], the [[Incredible String Band]] and Fairport Convention.<ref>R. Unterberger, [https://www.allmusic.com/artist/nick-drake-p1963/biography "Nick Drake: biography"], ''AllMusic''. Retrieved 7 May 2011.</ref><ref name="Sweers2005p86">B. Sweers, ''Electric Folk: The Changing Face of English Traditional Music'' (Oxford: Oxford University Press, 2005), {{ISBN|0-19-515878-4}}, p. 86.</ref>

Psychedelic rock's popularity accelerated following the release of the Beatles' album ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' (May 1967) and the staging of the [[Monterey Pop Festival]] in June.{{sfn|Butler|2014|p=184}} ''Sgt. Pepper'' was the first commercially successful work that critics recognised as a landmark aspect of psychedelia, and the Beatles' mass appeal meant that the record was played virtually everywhere.{{sfn|Butler|2014|p=186}} The album was highly influential on bands in the US psychedelic rock scene{{sfn|Nagelberg|2001|p=8}} and its elevation of the LP format benefited the San Francisco bands.{{sfn|Philo|2015|pp=112–114}} Among many changes brought about by its success, artists sought to imitate its psychedelic effects and devoted more time to creating their albums; the counterculture was scrutinised by musicians; and acts adopted its non-conformist sentiments.{{sfn|Hoffmann|Bailey|1990|pp=281–282}}

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.<ref>G. Falk and U. A. Falk, ''Youth Culture and the Generation Gap'' (New York: Algora, 2005), {{ISBN|0-87586-368-X}}, p. 186.</ref> 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]].<ref>W. E. Studwell and D. F. Lonergan, ''The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s'' (London: Routledge, 1999), {{ISBN|0-7890-0151-9}}, p. 223.</ref> 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]]".{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=29, 1027, 1220}} Other major [[British Invasion]] acts who absorbed psychedelia in 1967 include the Hollies with the album ''[[Butterfly (Hollies album)|Butterfly]]'',<ref>{{cite book|last1=Segretto|first1=Mike |title=33 1/3 Revolutions Per Minute: A Critical Trip Through the Rock LP Era, 1955–1999|url=https://books.google.com/books?id=PIekzgEACAAJ|publisher=Backbeat|page=135|year=2022|isbn=978-1-4930-6460-1 }}</ref> and [[The Rolling Stones]] album ''[[Their Satanic Majesties Request]]''.<ref>{{cite book|last1=Segretto|first1=Mike |title=33 1/3 Revolutions Per Minute: A Critical Trip Through the Rock LP Era, 1955–1999|url=https://books.google.com/books?id=PIekzgEACAAJ|publisher=Backbeat|pages=152–154|year=2022|isbn=978-1-4930-6460-1 }}</ref> 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.{{sfn|DeRogatis|2003|pp=120–121}}

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 (band)|The Four Seasons]]' "[[Watch the Flowers Grow]]", [[Roy Orbison]]'s "Southbound Jericho Parkway" and [[The Everly Brothers]]' "Mary Jane".<ref>{{cite web|last1=Norfolk|first1=Simon|url=http://www.shindig-magazine.com/?p=3605|title=From The Archives: Watch The Flowers Grow – A Guide To Unusual Forays Into The Weird |website=[[Shindig! (magazine)|Shindig!]]|date=20 April 2020 |access-date=Jan 13, 2023}}</ref><ref>{{cite web|last1=Unterberger|first1=Richie|url=http://www.richieunterberger.com/evsing.html|title=Liner Notes For The Everly Brothers' The Everly Brothers Sing |website=richieunterberger.com|access-date=Jan 13, 2023}}</ref>

According to author Edward Macan, there ultimately existed three distinct branches of British psychedelic music. The first, dominated by [[Cream (band)|Cream]], the Yardbirds and Hendrix, was founded on a heavy, electric adaptation of the blues played by the Rolling Stones, adding elements such as the Who's [[power chord]] style and feedback.{{sfn|Macan|1997|p=19}} The second, considerably more complex form drew strongly from [[jazz]] sources and was typified by Traffic, [[Colosseum (band)|Colosseum]], [[If (band)|If]], and [[Canterbury scene]] bands such as [[Soft Machine]] and [[Caravan (band)|Caravan]].{{sfn|Macan|1997|p=20}} The third branch, represented by [[the Moody Blues]], Pink Floyd, [[Procol Harum]] and [[the Nice]], was influenced by the later music of the Beatles.{{sfn|Macan|1997|p=20}} Several of the post-''Sgt. Pepper'' English psychedelic groups developed the Beatles' classical influences further than either the Beatles or contemporaneous West Coast psychedelic bands.{{sfn|Macan|1997|p=21}} Among such groups, [[the Pretty Things]] abandoned their R&B roots to create ''[[S.F. Sorrow]]'' (December 1968), the first example of a psychedelic rock opera.{{sfn|Prendergast|2003|p=226}}{{refn|group=nb|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.{{sfn|Prendergast|2003|pp=226–227}}}}