Editing Psychedelic rock

{{Short description|Music genre}}
{{Good article}}
{{Use dmy dates|date=October 2020}}
{{Infobox music genre
| name              = Psychedelic rock
| stylistic_origins = *[[Rock music|Rock]]
*[[psychedelic music|psychedelia]]
*[[contemporary folk music|folk]]
*[[garage rock]]
*[[jazz]]
*[[blues]]
*[[electronic music|electronic]]
*[[novelty song|novelty music]]
*[[Surf music|surf]]
| cultural_origins  = Mid 1960s, United States and United Kingdom
| derivatives       = *[[Art rock]]
*[[hard rock]]
*[[Heavy metal music|heavy metal]]
*[[industrial music]]
*[[jam band]]
*[[krautrock]]
*[[neo-psychedelia]]
*[[glam rock]]
*[[occult rock]]
*[[progressive rock]]
*[[proto-prog]]
*[[shoegaze]]
| subgenres         = *[[Acid rock]]{{efn|"Acid rock" may also be a synonym.<ref name="syn">{{harvnb|Hoffmann|2004|p=1725|loc="Psychedelia was sometimes referred to as 'acid rock.{{'"}}}}; {{harvnb|Nagelberg|2001|p=8|loc="acid rock, also known as psychedelic rock"}}; {{harvnb|DeRogatis|2003|p=9|loc="now regularly called 'psychedelic' or 'acid'-rock"}}; {{harvnb|Larson|2004|p=140|loc="known as acid rock or psychedelic rock"}}; {{harvnb|Romanowski|George-Warren|1995|p=797|loc="Also known as 'acid rock' or the 'San Francisco Sound{{'"}}}}.</ref>}} · [[raga rock]] · [[space rock]]
| fusiongenres      = *[[Psychedelic soul]]
*[[psychedelic funk]]
*[[psychedelic pop]]
*[[stoner rock]]
*[[zamrock]]
| regional_scenes   = *[[Anatolian rock|Turkey]]
*[[Psychedelic rock in Australia and New Zealand|Australia]]
*[[Psychedelic rock in Latin America|Latin America]]
*[[Psychedelic rock in Australia and New Zealand|New Zealand]]
*[[Zamrock|Zambia]]
| local_scenes      = *[[Canterbury scene]]
*[[San Francisco Sound]]
| other_topics      = *[[British underground]]
*[[experimental rock]]
*[[folk rock]]
*[[freak scene]]
*[[Haight-Ashbury]]
*[[hippie]]s
*[[jam band]]
*[[psychedelic folk]]
| footnotes         = {{notelist}}
}}
{{Psychedelic sidebar|Arts}}

'''Psychedelic rock''' is a [[rock music]] [[Music genre|genre]] that is inspired, influenced, or representative of [[psychedelia|psychedelic]] culture, which is centered on perception-altering [[hallucinogen]]ic drugs. The music incorporated new electronic [[sound effect]]s and recording techniques, extended instrumental solos, and improvisation.<ref name=PrownNewquist48/> Many psychedelic groups differ in style, and the label is often applied spuriously.{{sfn|Hicks|2000|p=63}}

Originating in the mid-1960s among British and American musicians, the sound of psychedelic rock invokes three core effects of LSD: [[depersonalization]], dechronicization (the bending of time), and dynamization (when fixed, ordinary objects dissolve into moving, dancing structures), all of which detach the user from everyday reality.{{sfn|Hicks|2000|p=63}} Musically, the effects may be represented via novelty studio tricks, [[electronic music|electronic]] or non-Western instrumentation, disjunctive song structures, and extended instrumental segments.{{sfn|Hicks|2000|pp=63–66}} Some of the earlier 1960s psychedelic rock musicians were based in [[contemporary folk music|folk]], [[jazz]], and the [[blues]], while others showcased an explicit [[Indian classical]] influence called "[[raga rock]]". In the 1960s, there existed two main variants of the genre: the more whimsical, surrealist British psychedelia and the harder American West Coast "[[acid rock]]". While "acid rock" is sometimes deployed interchangeably with the term "psychedelic rock", it also refers more specifically to the heavier, harder, and more extreme ends of the genre.

The peak years of psychedelic rock were between 1967 and 1969, with milestone events including the 1967 [[Summer of Love]] and the 1969 [[Woodstock Festival]], becoming an international musical movement associated with a widespread [[Counterculture of the 1960s|counterculture]] before declining as changing attitudes, the loss of some key individuals, and a back-to-basics movement led surviving performers to move into new musical areas. The genre bridged the transition from early blues and folk-based rock to [[progressive rock]] and [[hard rock]], and as a result contributed to the development of sub-genres such as [[heavy metal music|heavy metal]]. Since the late 1970s it has been revived in various forms of [[neo-psychedelia]].

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==Definition==
{{Further|Psychedelic music}}
{{See also|Acid rock}}

As a musical style, psychedelic rock incorporated new electronic sound effects and recording effects, extended solos, and improvisation.<ref name=PrownNewquist48>{{harvnb|Prown|Newquist|1997|page=[https://books.google.com/books?id=60Jde3l7WNwC&pg=PA48 48]}}</ref> Features mentioned in relation to the genre include:
* [[electric guitar]]s, often used with [[Audio feedback|feedback]], [[Wah-wah (music)|wah-wah]] and [[Distortion (music)|fuzzbox]] [[effects unit]]s;<ref name = PrownNewquist48/>
* certain studio effects (principally in British psychedelia),{{sfn|Prendergast|2003|pp=25–26}} such as [[backmasking|backwards tapes]], [[Panning (audio)|panning]], [[flanging]], [[Music loop|tape loops]], and extreme [[reverb]];<ref>S. Borthwick and R. Moy, ''Popular Music Genres: An Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, pp.&nbsp;52–54.</ref>
* elements of [[Indian music]] and other [[Eastern music]],<ref name="allmusic">{{cite web|url=https://www.allmusic.com/subgenre/psychedelic-garage-ma0000002800|title=Pop/Rock » Psychedelic/Garage|publisher=[[AllMusic]]|access-date=6 August 2020}}</ref> including [[Middle Eastern music|Middle Eastern]] modalities;{{sfn|Romanowski|George-Warren|1995|p=797}}
* non-Western instruments (especially in British psychedelia), specifically those originally used in [[Indian classical music]], such as [[sitar]], [[Tanpura|tambura]] and [[tabla]];{{sfn|Prendergast|2003|pp=25–26}}
* elements of [[Free jazz|free-form jazz]];<ref name="allmusic"/>
* a strong keyboard presence, especially [[electronic organ]]s, [[harpsichord]]s, or the [[Mellotron]] (an early tape-driven [[Sampler (musical instrument)|sampler]]);<ref>D. W. Marshall, ''Mass Market Medieval: Essays on the Middle Ages in Popular Culture'' (Jefferson, North Carolina: McFarland, 2007), {{ISBN|0-7864-2922-4}}, p. 32.</ref>
* extended instrumental segments, especially [[guitar solo]]s, or [[jam session|jams]];{{sfn|Hicks|2000|pp=64–66}}
* disjunctive song structures, occasional [[key signature|key]] and [[time signature]] changes, [[Musical mode|modal]] melodies and [[Drone (music)|drones]];{{sfn|Hicks|2000|pp=64–66}}
* droning quality in vocals;<ref name="lavezzoli">{{cite book|author=Lavezzoli, Peter|pages=155–157|year=2006|title=The Dawn of Indian Music in the West|publisher=[[Continuum International Publishing Group]]|isbn=978-0-8264-2819-6}}</ref>
* [[electronic instrument]]s such as [[synthesizers]] and the [[theremin]];{{sfn|DeRogatis|2003|p=230}}{{Verify source|date=August 2020}}
* lyrics that made direct or indirect reference to hallucinogenic drugs;{{sfn|Nagelberg|2001|p=8}}
* [[surrealism|surreal]], whimsical, esoterically or literary-inspired lyrics<ref>Gordon Thompson, ''Please Please Me: Sixties British Pop, Inside Out'' (Oxford: Oxford University Press, 2008), {{ISBN|0-19-533318-7}}, pp. 196–97.</ref>{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}} with (especially in British psychedelia) references to childhood;{{sfn|Pinch|Trocco|2009|p=289}}
* [[Victorian era|Victorian-era]] antiquation (exclusive to British psychedelia), drawing on items such as [[music box]]es, [[music hall]] nostalgia and circus sounds.{{sfn|Prendergast|2003|pp=25–26}}

The term "psychedelic" was coined in 1956 by psychiatrist [[Humphry Osmond]] in a letter to LSD exponent [[Aldous Huxley]] and used as an alternative descriptor for hallucinogenic drugs in the context of [[psychedelic psychotherapy]].{{sfn|MacDonald|1998|p=165fn}}<ref>N. Murray, ''Aldous Huxley: A Biography'' (Hachette, 2009), {{ISBN|0-7481-1231-6}}, p. 419.</ref> As the countercultural scene developed in San Francisco, the terms [[acid rock]] and psychedelic rock were used in 1966 to describe the new drug-influenced music and were being widely used by 1967.<ref>[https://books.google.com/books?id=21UEAAAAMBAJ&dq=%22psychedelic+rock%22+%22acid+rock%22&pg=PA68 "Logical Outcome of fifty years of art"], ''LIFE'', 9 September 1966, p. 68.</ref>{{sfn|DeRogatis|2003|pp=8–9}} The two terms are often used interchangeably,{{sfn|Nagelberg|2001|p=8}} but acid rock may be distinguished as a more extreme variation that was heavier, louder, relied on long [[Jam session|jams]],<ref name=AllmusicAcidRock>{{AllMusic|class=style|id=acid-rock-ma0000012327}}</ref> focused more directly on LSD, and made greater use of distortion.<ref>Eric V. d. Luft, ''Die at the Right Time!: A Subjective Cultural History of the American Sixties'' (Gegensatz Press, 2009), {{ISBN|0-9655179-2-6}}, p. 173.</ref>

==Original psychedelic era==
{{Main|Psychedelic era}}

===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>

===1965: Formative psychedelic scenes and sounds===
{{Main|Psychedelia}}
{{See also|Counterculture of the 1960s|Folk rock|Raga rock}}

[[File:Londons Carnaby Street, 1966.jpg|thumb|"Swinging London", [[Carnaby Street]], {{circa|1966}}]]
[[Barry Miles]], a leading figure in the 1960s [[UK underground]], says that "[[Hippies]] didn't just pop up overnight" and that "1965 was the first year in which a discernible youth movement began to emerge [in the US]. Many of the key 'psychedelic' rock bands formed this year."{{sfn|Miles|2005|p=26}} On the US West Coast, underground chemist [[Augustus Owsley Stanley III]] and [[Ken Kesey]] (along with his followers known as the [[Merry Pranksters]]) helped thousands of people take uncontrolled trips at Kesey's [[Acid Tests]] and in the new psychedelic dance halls. In Britain, [[Michael Hollingshead]] opened the [[World Psychedelic Centre]] and [[Beat Generation]] poets [[Allen Ginsberg]], [[Lawrence Ferlinghetti]] and [[Gregory Corso]] read at the [[Royal Albert Hall]]. Miles adds: "The readings acted as a catalyst for underground activity in London, as people suddenly realized just how many like-minded people there were around. This was also the year that London began to blossom into colour with the opening of the [[Granny Takes a Trip]] and [[Hung On You]] clothes shops."{{sfn|Miles|2005|p=26}} Thanks to media coverage, use of LSD became widespread.{{sfn|Miles|2005|p=26}}{{refn|group=nb|The growth of underground culture in Britain was facilitated by the emergence of alternative weekly publications like ''IT'' (''[[International Times]]'') and ''[[Oz (magazine)|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, London|Chelsea]]) boutiques.<ref>P. Gorman, ''The Look: Adventures in Pop & Rock Fashion'' (Sanctuary, 2001), {{ISBN|1-86074-302-1}}.</ref>}}

According to music critic [[Jim DeRogatis]], writing in his book on psychedelic rock, ''Turn on Your Mind'', the Beatles are seen as the "Acid Apostles of the New Age".{{sfn|DeRogatis|2003|p=40}} Producer [[George Martin]], who was initially known as a specialist in [[comedy music|comedy]] and [[novelty record]]s,{{sfn|MacDonald|1998|p=183}} responded to the Beatles' requests by providing a range of studio tricks that ensured the group played a leading role in the development of psychedelic effects.{{sfn|Hoffmann|2016|p=269}} Anticipating their overtly psychedelic work,{{sfn|MacDonald|1998|p=128}} "[[Ticket to Ride (song)|Ticket to Ride]]" (April 1965) introduced a subtle, drug-inspired drone suggestive of India, played on rhythm guitar.{{sfn|Jackson|2015|pp=70–71}} Musicologist William Echard writes that the Beatles employed several techniques in the years up to 1965 that soon became elements of psychedelic music, an approach he describes as "cognate" and reflective of how they, like [[the Yardbirds]], were early pioneers in psychedelia.{{sfn|Echard|2017|p=90}} As important aspects the group brought to the genre, Echard cites the Beatles' rhythmic originality and unpredictability; "true" tonal ambiguity; leadership in incorporating elements from Indian music and studio techniques such as vari-speed, tape loops and reverse tape sounds; and their embrace of the avant-garde.{{sfn|Echard|2017|pp=90–91}}

[[File:Terry Melcher Byrds in studio 1965.jpg|thumb|left|Producer [[Terry Melcher]] in the studio with [[the Byrds]]' [[Gene Clark]] and [[David Crosby]], 1965]]

In Unterberger's opinion, [[the Byrds]], emerging from the Los Angeles folk rock scene, and the Yardbirds, from England's [[British blues|blues scene]], were more responsible than the Beatles for "sounding the psychedelic siren".{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1322}} 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 (film)|A Hard Day's Night]]'',{{sfn|Jackson|2015|p=168}}{{sfn|Prendergast|2003|pp=228–229}} adopted electric instruments to produce a chart-topping version of Dylan's "[[Mr. Tambourine Man]]" in the summer of 1965.{{sfn|Unterberger|2003|p=1}}{{refn|group=nb|In the song's lyric, the narrator requests: "Take me on a trip upon your magic swirling ship".{{sfn|DeRogatis|2003|pp=8–9}} 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.{{sfn|DeRogatis|2003|pp=8–9}}}} 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#History|rave-ups]]), unpredictable tempo changes, and use of Gregorian chants" helped to define the "manic eclecticism" typical of early psychedelic rock.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1322}} The band's "[[Heart Full of Soul]]" (June 1965), which includes a distorted guitar riff that replicates the sound of a [[sitar]],{{sfn|Jackson|2015|pp=xix, 85}} peaked at number 2 in the UK and number 9 in the US.{{sfn|Russo|2016|p=212}} 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.{{sfn|Echard|2017|p=5}} [[The Kinks]] provided the first example of sustained Indian-style drone in rock when they used open-tuned guitars{{sfn|Lavezzoli|2006|pp=154–155}} to mimic the [[Tanpura|tambura]] on "[[See My Friends]]" (July 1965), which became a top 10 hit in the UK.{{sfn|Bellman|1998|pp=294–295}}{{sfn|Jackson|2015|p=256}}

[[File:Los Beatles (19266969775) Recortado.jpg|thumb|upright=0.85|alt=The English rock band Beatles arriving for concerts in Madrid in July 1965|[[The Beatles]] on tour, July 1965]]
The Beatles' "[[Norwegian Wood (This Bird Has Flown)|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.{{sfn|Lavezzoli|2006|p=173}}{{refn|group=nb|While Beck's influence had been Ravi Shankar records,{{sfn|Power|2014|loc=Ch.4: Fuzzbox Voodoo}} the Kinks' Ray Davies was inspired during a trip to Bombay, where he heard the early morning chanting of Indian fisherman.{{sfn|Jackson|2015|p=256}}{{sfn|Lavezzoli|2006|p=154}} The Byrds were also delving into the raga sound by late 1965, their "music of choice" being Coltrane and Shankar records.{{sfn|Lavezzoli|2006|p=154}} 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.{{sfn|Lavezzoli|2006|p=153}} 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".{{sfn|Lavezzoli|2006|p=147}}}} The song sparked a craze for the sitar and other Indian instrumentation{{sfn|Lavezzoli|2006|p=171}} – a trend that fueled the growth of [[raga rock]] as the India exotic became part of the essence of psychedelic rock.{{sfn|Bellman|1998|p=292}}{{refn|group=nb|Previously, Indian instrumentation had been included in [[Ken Thorne]]'s orchestral score for the band's ''[[Help! (film)|Help!]]'' film soundtrack.{{sfn|Lavezzoli|2006|p=173}}}} Music historian George Case recognises ''Rubber Soul'' as the first of two Beatles albums that "marked the authentic beginning of the psychedelic era",{{sfn|Case|2010|p=27}} while music critic [[Robert Christgau]] similarly wrote that "Psychedelia starts here".{{sfn|Smith|2009|p=36}} San Francisco historian [[Charles Perry (food writer)|Charles Perry]] recalled the album being "the soundtrack of the [[Haight-Ashbury]], [[Berkeley, California|Berkeley]] and the whole circuit", as pre-hippie youths suspected that the songs were inspired by drugs.{{sfn|Perry|1984|p=38}}

[[File:The Fillmore.jpg|thumb|left|upright=1.0|[[The Fillmore]], San Francisco (pictured in 2010)]]
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.{{sfn|Shaw|1969|pp=63, 150}} Several California-based folk acts followed the Byrds into folk rock, bringing their psychedelic influences with them, to produce the "[[San Francisco Sound]]".{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}}{{sfn|Case|2010|p=51}}{{refn|group=nb|Particularly prominent products of the scene were the [[Grateful Dead]] (who had effectively become the [[house band]] of the Acid Tests),{{sfn|Hicks|2000|p=60}} [[Country Joe and the Fish]], [[The Great Society (band)|the Great Society]], [[Big Brother and the Holding Company]], [[The Charlatans (U.S. band)|the Charlatans]], [[Moby Grape]], [[Quicksilver Messenger Service]] and [[Jefferson Airplane]].{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1323}}}} Music historian Simon Philo writes that although some commentators would state that the centre of influence had moved from London to California by 1967, it was British acts like the Beatles and [[the Rolling Stones]] that helped inspire and "nourish" the new American music in the mid-1960s, especially in the formative San Francisco scene.{{sfn|Philo|2015|p=113}} The music scene there developed in the city's Haight-Ashbury neighborhood in 1965 at basement shows organised by [[Chet Helms]] of the [[Family Dog Productions|Family Dog]];{{sfn|Gilliland|1969|loc=shows 41–42}} and as [[Jefferson Airplane]] founder [[Marty Balin]] and investors opened [[The Matrix (club)|The Matrix]] nightclub that summer and began booking his and other local bands such as the [[Grateful Dead]], [[the Steve Miller Band]] and [[Country Joe & the Fish]].<ref>{{Cite web|url=http://www.geocities.com/balinmiracles/hightimesart.html|title=The High Times Interview: Marty Balin|last=Yehling|first=Robert|date=22 February 2005|website=Balin Miracles|archive-url=https://web.archive.org/web/20050222091301/http://www.geocities.com/balinmiracles/hightimesart.html|archive-date=22 February 2005|access-date=8 August 2017|url-status=dead}}</ref> Helms and [[San Francisco Mime Troupe]] manager [[Bill Graham (promoter)|Bill Graham]] in the fall of 1965 organised larger scale multi-media community events/benefits featuring the Airplane, [[Diggers (theater)|the Diggers]] and Allen Ginsberg. By early 1966 Graham had secured booking at [[The Fillmore]], and Helms at the [[Avalon Ballroom]], where in-house [[liquid light show|psychedelic-themed light shows]]{{sfn|Misiroglu|2015|p=10}} replicated the visual effects of the psychedelic experience.{{sfn|McEneaney|2009|p=45}} Graham became a major figure in the growth of psychedelic rock, attracting most of the major psychedelic rock bands of the day to The Fillmore.<ref name=Talevski />{{refn|group=nb|When this proved too small he took over [[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.<ref name=Talevski>N. Talevski, ''Knocking on Heaven's Door: Rock Obituaries'' (Omnibus Press, 2006), {{ISBN|1-84609-091-1}}, p. 218.</ref>}}

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 Tests|Acid Test]] held by novelist [[Ken Kesey]] and the Merry Pranksters. Their stage performance involved the use of [[strobe light]]s to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments".{{sfn|McEneaney|2009|p=45}} The Acid Test experiments subsequently launched the entire [[Psychedelia|psychedelic subculture]].{{sfn|McEneaney|2009|p=46}}

===1966: Growth and early popularity===
{{See also|Psychedelic pop}}

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quote=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 ...
|source=—''[[Melody Maker]]'', October 1966<ref>{{cite magazine|asin=B01AD99JMW|title=The History of Rock 1966|url=https://archive.org/details/TheHistoryOfRock1966/|date=2015|magazine=[[Uncut (magazine)|Uncut]]|page=105}}</ref>
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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."{{sfn|Echard|2017|p=29}} DeRogatis says the start of psychedelic (or acid) rock is "best listed at 1966".{{sfn|DeRogatis|2003|p=9}} Music journalists [[Pete Prown]] and [[HP Newquist|Harvey P. Newquist]] locate the "peak years" of psychedelic rock between 1966 and 1969.<ref name = PrownNewquist48/> 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.{{sfn|Butler|2014|p=184}}

{{Listen |pos=left|type=music|filename=Byrds_-_Eight_Miles_High.ogg|title=The Byrds' "Eight Miles High" (1966)|description=Excerpt of intro with guitar figure and part of first verse}}

In February and March,{{sfn|Savage|2015|pp=554, 556}} two singles were released that later achieved recognition as the first psychedelic hits: the Yardbirds' "[[Shapes of Things]]" and the Byrds' "[[Eight Miles High]]".{{sfn|Simonelli|2013|p=100}} The former reached number 3 in the UK and number 11 in the US,{{sfn|Russo|2016|pp=212–213}} and continued the Yardbirds' exploration of guitar effects, Eastern-sounding scales, and shifting rhythms.{{sfn|Bennett|2005|p=76}}{{refn|group=nb|Beatles' historian [[Ian MacDonald]] comments that [[Paul McCartney]]'s guitar solo on "[[Taxman]]" from ''[[Revolver (Beatles album)|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{{'"}}.{{sfn|MacDonald|1998|p=178fn}}}} By overdubbing guitar parts, Beck layered multiple takes for his solo,<ref>{{cite AV media notes|title=[[Beckology]]|others=[[Jeff Beck]]|year=1991|last=Santoro|first=Gene|type=box set booklet|publisher=[[Epic Records]]/[[Legacy Recordings]]|id=48661|OCLC=144959074|p=17}}</ref> which included extensive use of fuzz tone and harmonic feedback.{{sfn|Echard|2017|p=36}} The song's lyrics, which Unterberger describes as "stream-of-consciousness",{{sfn|Unterberger|2002|p=1322}} have been interpreted as pro-environmental or anti-war.{{sfn|Power|2011|p=83}} The Yardbirds became the first British band to have the term "psychedelic" applied to one of its songs.{{sfn|Simonelli|2013|p=100}} On "Eight Miles High", [[Roger McGuinn]]'s [[Rickenbacker 360|12-string Rickenbacker guitar]]{{sfn|Lavezzoli|2006|p=155}} provided a psychedelic interpretation of [[free jazz]] and [[Raga|Indian raga]], channelling Coltrane and Shankar, respectively.{{sfn|Savage|2015|p=123}} The song's lyrics were widely taken to refer to drug use, although the Byrds denied it at the time.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1322}}{{refn|group=nb|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!"{{sfn|Unterberger|2003|pp=3–4}}}} "Eight Miles High" peaked at number 14 in the US{{sfn|Lavezzoli|2006|p=156}} and reached the top 30 in the UK.{{sfn|Savage|2015|p=136}}

Contributing to psychedelia's emergence into the pop mainstream was the release of the Beach Boys' ''[[Pet Sounds]]'' (May 1966)<ref name="McPadden2016">{{cite web|last1=McPadden|first1=Mike|title=The Beach Boys' Pet Sounds and 50 Years of Acid-Pop Copycats|url=http://www.thekindland.com/the-beach-boys-pet-sounds-and-50-years-of-acid-1433|website=TheKindland|date=13 May 2016|access-date=18 June 2016|archive-url=https://web.archive.org/web/20161109101317/http://www.thekindland.com/the-beach-boys-pet-sounds-and-50-years-of-acid-1433|archive-date=9 November 2016|url-status=dead}}</ref> and the Beatles' ''[[Revolver (Beatles album)|Revolver]]'' (August 1966).<ref name="AMPop"/> Often considered one of the earliest albums in the canon of psychedelic rock,<ref name="SixDegrees">{{cite web|last1=Maddux|first1=Rachael|title=Six Degrees of The Beach Boys' Pet Sounds|url=http://www.wonderingsound.com/connections/six-degrees-of-the-beach-boys-pet-sounds/|publisher=[[Wondering Sound]]|date=16 May 2011|url-status=dead|archive-url=https://web.archive.org/web/20160304124623/http://www.wonderingsound.com/connections/six-degrees-of-the-beach-boys-pet-sounds/|archive-date=4 March 2016}}</ref>{{refn|group=nb|Brian Boyd of ''[[The Irish Times]]'' credits the Byrds' ''[[Fifth Dimension (album)|Fifth Dimension]]'' (July 1966) with being the first psychedelic album.<ref name="Boyd2016">{{cite news|last1=Boyd|first1=Brian|title=The Beatles, Bob Dylan and The Beach Boys: 12 months that changed music|url=https://www.irishtimes.com/culture/music/the-beatles-bob-dylan-and-the-beach-boys-12-months-that-changed-music-1.2671482|newspaper=[[The Irish Times]]|date=4 June 2016|access-date=7 August 2020}}</ref> Unterberger views it as "the first album by major early folk-rockers to break ... into folk-rock-psychedelia".{{sfn|Unterberger|2003|p=4}}}} ''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.<ref name=AllmusicBritishPsychedelic>R. Unterberger, [https://www.allmusic.com/explore/essay/british-psychedelic-t684 "British Psychedelic"] {{Webarchive|url=https://web.archive.org/web/20111229215110/http://www.allmusic.com/explore/essay/british-psychedelic-t684 |date=29 December 2011 }}, AllMusic. Retrieved 7 June 2011.</ref>{{sfn|DeRogatis|2003|pp=35–40}} The album track "[[I Just Wasn't Made for These Times]]" contained the first use of theremin sounds on a rock record.{{sfn|Lambert|2007|p=240}} 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."<ref name="Longman2016">{{cite web|last1=Longman|first1=Molly|title=Had LSD Never Been Discovered Over 75 Years Ago, Music History Would Be Entirely Different|url=https://mic.com/articles/143256/had-lsd-never-been-discovered-over-75-years-ago-music-history-would-be-entirely-different#.1lXG1R2k1|website=Music.mic|date=20 May 2016}}</ref>

{{Listen |pos=right|type=music|filename=Rain - The Beatles.ogg|title=The Beatles' "Rain" (1966)|description=23-second segment of chorus}}

DeRogatis views ''Revolver'' as another of "the first psychedelic rock masterpieces", along with ''Pet Sounds''.{{sfn|DeRogatis|2003|p=xi}} The Beatles' May 1966 B-side "[[Rain (Beatles song)|Rain]]", recorded during the ''Revolver'' sessions, was the first pop recording to contain reversed sounds.{{sfn|Reising|LeBlanc|2009|p=95}} Together with further studio tricks such as [[varispeed]], the song includes a droning melody that reflected the band's growing interest in non-Western musical form{{sfn|Philo|2015|p=111}} and lyrics conveying the division between an enlightened psychedelic outlook and conformism.{{sfn|Reising|LeBlanc|2009|p=95}}{{sfn|Savage|2015|p=317}} Philo cites "Rain" as "the birth of British psychedelic rock" and describes ''Revolver'' as "[the] most sustained deployment of Indian instruments, musical form and even religious philosophy" heard in popular music up to that time.{{sfn|Philo|2015|p=111}} Author [[Steve Turner (writer)|Steve Turner]] recognises the Beatles' success in conveying an LSD-inspired worldview on ''Revolver'', particularly with "[[Tomorrow Never Knows]]", as having "opened the doors to psychedelic rock (or acid rock)".{{sfn|Turner|2016|p=414}} In author [[Shawn Levy (writer)|Shawn Levy]]'s description, it was "the first true drug album, not [just] a pop record with some druggy insinuations",{{sfn|Levy|2002|p=241}} while musicologists Russell Reising and Jim LeBlanc credit the Beatles with "set[ting] the stage for an important subgenre of psychedelic music, that of the messianic pronouncement".{{sfn|Reising|LeBlanc|2009|p=100}}{{refn|group=nb|[[Sam Andrew]] of [[Big Brother and the Holding Company]] recalled that the album resonated with musicians in San Francisco,{{sfn|Reising|LeBlanc|2009|p=93}} in that the Beatles "had definitely come 'on board{{'"}} with regard to the counterculture.{{sfn|Reising|2002|p=7}} In the 1995 documentary series ''[[Rock & Roll (TV series)|Rock & Roll]]'', [[Phil Lesh]] of the Grateful Dead recalled thinking that with ''Revolver'' the Beatles had embraced the "psychedelic avant-garde".{{sfn|Reising|2002|p=3}}}}

Echard highlights early records by [[the 13th Floor Elevators]] and [[Love (band)|Love]] among the key psychedelic releases of 1966, along with "Shapes of Things", "Eight Miles High", "Rain" and ''Revolver''.{{sfn|Echard|2017|p=29}} Originating from Austin, Texas, the first of these new bands came to the genre via the [[Garage rock|garage]] scene{{sfn|Romanowski|George-Warren|1995|pp=312, 797}} before releasing their debut album, ''[[The Psychedelic Sounds of the 13th Floor Elevators]]'' in October that year.{{sfn|Savage|2015|p=518}} It was one of the first rock albums to include the adjective in its title,{{sfn|Hicks|2000|pp=60, 74}} although the LP was released on an independent label and was little noticed at the time.{{sfn|Savage|2015|p=519}} Two other bands also used the word in titles of LPs released in November 1966: The [[Blues Magoos]]' ''[[Psychedelic Lollipop]]'', and [[The Deep (band)|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".{{sfn|Savage|2015|p=110}}{{refn|group=nb|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]]''.<ref>{{cite news|first=Jim|last=Langdon|title=Unique Elevators Shine with 'Psychedelic Rock'|newspaper=[[Austin American-Statesman]]|date=10 February 1966|page=25|url=https://www.newspapers.com/clip/28248826/austin-american-statesman/|via=newspapers.com}}</ref>}} ''[[Rolling Stone]]'' highlights the 13th Floor Elevators as arguably "the most important early progenitors of psychedelic garage rock".{{sfn|Romanowski|George-Warren|1995|p=797}}

[[Donovan]]'s July 1966 single "[[Sunshine Superman (song)|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.<ref>{{cite web|last1=Mountney|first1=Dan|url=https://www.whtimes.co.uk/news/22359617.sunshine-superman-celebrating-55-years-since-donovans-genre-defining-us-number-one-hit/ |website=Welwyn Hatfield Times|title=Sunshine Superman: Celebrating 55 years since Donovan's genre-defining US number one hit|date=July 2021 | access-date=Jan 15, 2023}}</ref><ref>{{cite web|last1=Morenz|first1=Emily|url=https://groovyhistory.com/donovan-sunshine-superman-psychedelic-hit/5|title=Donovan's 'Sunshine Superman,' The First Psychedelic #1 Hit: Facts And Stories |website=Groovy History|access-date=Jan 15, 2023}}</ref>
 
The Beach Boys' October 1966 single "[[Good Vibrations]]" was another early pop song to incorporate psychedelic lyrics and sounds.{{sfn|DeRogatis|2003|pp=33–39}} The single's success prompted an unexpected revival in theremins and increased the awareness of [[analog synthesizer]]s.{{sfn|Pinch|Trocco|2009|pp=86–87}} As psychedelia gained prominence, Beach Boys-style harmonies would be ingrained into the newer psychedelic pop.<ref name="AMPop">{{cite web|author=Anon|title=Psychedelic Pop|url=https://www.allmusic.com/style/psychedelic-pop-ma0000011915|website=[[AllMusic]]}}</ref>

===1967–69: Continued development===
====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}}}}

====International variants====
{{See also|Psychedelic rock in Australia and New Zealand|Psychedelic rock in Latin America}}

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.<ref>S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, p. 44.</ref> In the later 1960s psychedelic scenes developed in a large number of countries in continental Europe, including the Netherlands with bands like [[The Outsiders (Dutch band)|The Outsiders]],<ref>R. Unterberger, ''Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-fi Mavericks & More'' (Miller Freeman, 1998), {{ISBN|0-87930-534-7}}, p. 411.</ref> Denmark, where it was pioneered by [[Steppeulvene]],<ref>P. Houe and S. H. Rossel, ''Images of America in Scandinavia'' (Amsterdam: Rodopi, 1998), {{ISBN|90-420-0611-0}}, p. 77.</ref> Yugoslavia, with bands like [[Kameleoni]],<ref name="istorija236">{{cite book|last1=Fajfrić|first1=Željko|last2=Nenad|first2=Milan|title= Istorija YU rock muzike od početaka do 1970.|year=2009|publisher=Tabernakl|location=Sremska Mitrovica|page=236}}</ref> [[Dogovor iz 1804.]],<ref name=PJ>{{cite book|last=Janjatović|first=Petar|title=Ex YU rock enciklopedija 1960–2023|year=2024|publisher=self-released / Makart|location=Belgrade}}</ref>{{rp|89}} [[Pop Mašina]]<ref name=PJ />{{rp|238}} and [[Igra Staklenih Perli]],<ref name=PJ />{{rp|136}} and Germany, where musicians fused music of psychedelia and the electronic avant-garde. 1968 saw the first major [[German rock]] [[music festival|festival]], the {{ill|Internationale Essener Songtage|de}} in [[Essen]],<ref>P. Buckley, ''The Rough Guide to Rock'', (Rough Guides, 1999), {{ISBN|1-85828-457-0}}, p. 26</ref> and the foundation of the [[Zodiak Free Arts Lab]] in [[Berlin]] by [[Hans-Joachim Roedelius]], and [[Conrad Schnitzler]], which helped bands like [[Tangerine Dream]] and [[Amon Düül]] achieve cult status.<ref>P. Stump, ''Digital Gothic: a Critical Discography of Tangerine Dream'' (Wembley, Middlesex: SAF, 1997), {{ISBN|0-946719-18-7}}, p. 33.</ref>

A thriving psychedelic music scene in [[Cambodia]], influenced by psychedelic rock and soul broadcast by US forces radio in Vietnam,<ref>M. Wood, [https://books.google.com/books?id=YMDVIT4pNlwC&dq=cambodian+rock+psychedelic&pg=PA46 "Dengue Fever: Multiclti Angelanos craft border-bluring grooves"] ''Spin'', January 2008, p. 46.</ref> was pioneered by artists such as [[Sinn Sisamouth]] and [[Ros Serey Sothea]].<ref>R. Unterberger, [https://www.allmusic.com/album/cambodian-rocks-vol-1-r729214/review "Various Artists: Cambodian Rocks Vol. 1: review"], ''AllMusic'' retrieved 1 April 2012.</ref> In South Korea, [[Shin Jung-hyeon|Shin Jung-Hyeon]], often considered the godfather of Korean rock, played psychedelic-influenced music for the American soldiers stationed in the country.  Following Shin Jung-Hyeon, the band [[Sanulrim|San Ul Lim]] (Mountain Echo) often combined psychedelic rock with a more folk sound.<ref>{{cite web|url=http://progressive.homestead.com/korea.html |title=KOREAN PSYCH & ACID FOLK, part 1 |publisher=Progressive.homestead.com |access-date=2013-02-03}}</ref> In Turkey, [[Anatolian rock]] artist [[Erkin Koray]] blended classic Turkish music and Middle Eastern themes into his psychedelic-driven rock, helping to found the Turkish rock scene with artists such as [[Cem Karaca]], [[Mogollar]], [[Barış Manço]] and Erkin Koray. In Brazil, the [[Tropicalia]] movement merged [[Music of Brazil|Brazilian]] and [[Music of Africa|African rhythms]] with psychedelic rock. Musicians who were part of the movement include [[Caetano Veloso]], [[Gilberto Gil]], [[Os Mutantes]], [[Gal Costa]], [[Tom Zé]], and the poet/lyricist [[Torquato Neto]], all of whom participated in the 1968 album ''[[Tropicália: ou Panis et Circencis]]'', which served as a musical manifesto.

===1969–71: Decline===
{{See also|Progressive rock|Heavy metal music}}
[[File:Woodstock redmond stage.JPG|thumb|right|The stage at the [[Woodstock|Woodstock Festival]] in 1969]]
By the end of the 1960s, psychedelic rock was in retreat. Psychedelic trends climaxed in the 1969 [[Woodstock|Woodstock Festival]], which saw performances by most of the major psychedelic acts, including Jimi Hendrix, Jefferson Airplane and the Grateful Dead.<ref>A. Bennett, ''Remembering Woodstock'' (Aldershot: Ashgate, 2004), {{ISBN|0-7546-0714-3}}.</ref> LSD had been made illegal in the United Kingdom in September 1966 and in California in October;{{sfn|Turner|2016|p=429}} by 1967, it was outlawed throughout the United States.{{sfn|DeRogatis|2003|p=62}} In 1969, the murders of [[Sharon Tate]] and [[Leno and Rosemary LaBianca]] by [[Charles Manson]] and his [[Manson Family|cult of followers]], claiming to have been [[Helter Skelter (Manson scenario)|inspired by The Beatles' songs]] such as "[[Helter Skelter (song)|Helter Skelter]]", has been seen as contributing to an anti-hippie backlash.<ref>D. A. Nielsen, ''Horrible Workers: Max Stirner, Arthur Rimbaud, Robert Johnson, and the Charles Manson Circle: Studies in Moral Experience and Cultural Expression'' (Lanham, Maryland: Lexington Books, 2005), {{ISBN|0-7391-1200-7}}, p. 84.</ref> At the end of the same year, the [[Altamont Free Concert]] in California, headlined by the Rolling Stones, became notorious for the fatal stabbing of black teenager [[Killing of Meredith Hunter|Meredith Hunter]] by [[Hells Angels]] security guards.<ref>J. Wiener, ''Come Together: John Lennon in his Time'' (Chicago IL: University of Illinois Press, 1991), {{ISBN|0-252-06131-4}}, pp.&nbsp;124–126.</ref>

[[George Clinton (funk musician)|George Clinton]]'s ensembles [[Funkadelic]] and [[Parliament (band)|Parliament]] and their various spin-offs took psychedelia and funk to create their own unique style,<ref name="S. Harrington, 2002">J. S. Harrington, ''Sonic Cool: the Life & Death of Rock 'n' Roll'' (Milwaukie, Michigan: Hal Leonard Corporation, 2002), {{ISBN|0-634-02861-8}}, pp.&nbsp;249–250.</ref> producing over forty singles, including three in the US top ten, and three platinum albums.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=226}}

[[Brian Wilson]] of the Beach Boys,{{sfn|DeRogatis|2003|pp=33–39}} [[Brian Jones]] of the Rolling Stones, [[Peter Green (musician)|Peter Green]] and [[Danny Kirwan]] of [[Fleetwood Mac]], [[Skip Spence]] of [[Jefferson Airplane]] and [[Moby Grape]], and [[Syd Barrett]] of Pink Floyd suffered permanent brain damage from the use of hallucinogens, with their departures helping to shift the focus of the respective bands of which they had been leading figures.<ref>"Garage rock", ''Billboard'', 29 July 2006, 118 (30), p. 11.</ref> Some groups, such as the Beatles, the Jimi Hendrix Experience and Cream, broke up.<ref>D. Gomery, ''Media in America: the Wilson Quarterly Reader'' (Washington DC: Woodrow Wilson Center Press, 2nd edn., 1998), {{ISBN|0-943875-87-0}}, pp.&nbsp;181–182.</ref> 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.<ref>S. Whiteley, ''Too Much Too Young: Popular Music, Age and Gender'' (London: Routledge, 2005), {{ISBN|0-415-31029-6}}, p. 147.</ref> 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.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1323}} 

Record executive [[Mike Curb]] was instrumental in having musicians who were promoting drug use dropped from or forced out of [[MGM Records]], where Curb was employed in 1970, replacing them with acts not known for drug use but were known for their conservative appeal, most prominently [[the Osmonds]].<ref>{{Cite web |title=MGM Drops "Drug Groups" |url=https://calendar.songfacts.com/november/7/9592 |access-date=2024-01-26 |website=Music History Calendar}}</ref><ref name="cleanlooks">{{cite web|url=https://www.nashvillescene.com/nashville/can-mike-curb-be-as-clean-as-he-looks/content/?oid=1181622|title=Can Mike Curb Be as Clean as He Looks?|author=Beverly Keel|date=October 2, 1997|work=[[Nashville Scene]]|archive-url=https://web.archive.org/web/20120404192940/https://www.nashvillescene.com/nashville/can-mike-curb-be-as-clean-as-he-looks/content/?oid=1181622|access-date=September 22, 2021|archive-date=April 4, 2012}}</ref><!----

In 1966, even while psychedelic rock was becoming dominant, Bob Dylan spearheaded the back-to-basics [[roots revival]] when he went to Nashville to record the album ''[[Blonde on Blonde]]''.<ref>R. Unterberger, S. Hicks and J. Dempsey, ''Music USA: the Rough Guide'' (London: Rough Guides, 1999), {{ISBN|1-85828-421-X}}, p. 31.</ref><ref name=Wolff2000/> This, and the subsequent more clearly country-influenced albums, ''[[John Wesley Harding (album)|John Wesley Harding]]'' (1967) and ''[[Nashville Skyline]]'' (1969), have been seen as creating the genre of [[country folk]].<ref name=Wolff2000>K. Wolff and O. Duane, ''Country Music: The Rough Guide'' (London: Rough Guides, 2000), {{ISBN|1-85828-534-8}}, p. 392.</ref> Dylan's lead was also followed by [[The Byrds]], joined by [[Gram Parsons]] to record ''[[Sweetheart of the Rodeo]]'' (1968), helping to define country rock,{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1327}} which became a particularly popular style in the California music scene of the late 1960s, and was adopted by former folk rock artists including Hearts and Flowers, [[Poco]] and [[New Riders of the Purple Sage]].{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=1327}} Other acts that followed the back to basics trend in different ways were the Canadian group [[The Band]] and the Californian-based [[Creedence Clearwater Revival]].{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=61, 265}}. The Grateful Dead also had major successes with the more reflective and stripped back ''[[Workingman's Dead]]'' and ''[[American Beauty (album)|American Beauty]]'' in 1970.<ref>B. Jackson, ''Garcia: An American Life'' (London: Penguin, 2000), {{ISBN|0-14-029199-7}}, pp.&nbsp;196–200.</ref> The super-group [[Crosby, Stills, Nash & Young|Crosby, Stills and Nash]], formed in 1968 from members of The Byrds, Buffalo Springfield and [[The Hollies]], were joined by [[Neil Young]] for ''[[Déjà Vu (Crosby, Stills, Nash & Young album)|Deja Vu]]'' in 1970, which moved away from many of what had become the "clichés" of psychedelic rock and placed an emphasis on political commentary and vocal harmonies.<ref>F. W. Hoffmann, ''Encyclopedia of Recorded Sound, Volume 1'' (London: CRC Press, 2nd edn., 2005), {{ISBN|0-415-93835-X}}, p. 253.</ref>

After the death of their manager [[Brian Epstein]] and the unpopular surreal television film ''[[Magical Mystery Tour (film)|Magical Mystery Tour]]'', the Beatles returned to a raw style with ''[[The Beatles (album)|The Beatles]]'' (1968), ''[[Abbey Road]]'' (1969) and ''[[Let It Be (The Beatles album)|Let It Be]]'' (1970), before their eventual break-up.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}} The back-to-basics trend was also evident in The Rolling Stones' albums starting from ''[[Beggar's Banquet]]'' (1968) to ''[[Exile on Main St.]]'' (1972).{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}} [[Fairport Convention]] released ''[[Liege and Lief]]'' in 1969, turning away from American-influenced folk rock toward a sound based on traditional British music and founding the subgenre of [[electric folk]], to be followed by bands like [[Steeleye Span]] and [[Fotheringay]].<ref name="Sweers2005pp45-9">B. Sweers, ''Electric Folk: The Changing Face of English Traditional Music'' (Oxford: Oxford University Press, 2005), {{ISBN|0-19-515878-4}}, pp.&nbsp;45–49.</ref> The psychedelic-influenced and whimsical strand of British folk continued into the 1970s with acts including [[Comus (band)|Comus]], [[Mellow Candle]], Nick Drake, The Incredible String Band, [[Forest (band)|Forest]] and [[Trees (folk band)|Trees]] and with Syd Barrett's two solo albums.{{sfn|DeRogatis|2003|p=120}}{{clear}} --->

==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>

==See also==
{{Portal|1960s|Rock music}}
* [[List of electric blues musicians]]
* [[List of psychedelic rock artists]]

==Notes, references, sources==
===Notes===
{{Reflist|group=nb|30em}}

===References===
{{Reflist|30em}}

===Bibliography===
{{div col|colwidth=30em}}
* {{cite book|last=Bellman|first=Jonathan|author-link=Jonathan Bellman|title=The Exotic in Western Music|year=1998|publisher=University Press of New England|location=Lebanon, NH|isbn=1-55553-319-1}}
*{{cite book|last=Bennett|first=Graham|year=2005|title=Soft Machine: Out-bloody-rageous|publisher=SAF|isbn=978-0-946719-84-6}}
* {{cite book|editor-last1=Bogdanov|editor-first1=Vladimir|editor-link1=Vladimir Bogdanov (editor)|editor-last2=Woodstra|editor-first2=Chris|editor-last3=Erlewine|editor-first3=Stephen Thomas|editor-link3=Stephen Thomas Erlewine|title=All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul|year=2002|publisher=Backbeat Books|isbn=978-0-87930-653-3}}
* {{cite book|last1=Brend|first1=Mark|title=Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop|date=2005|publisher=Hal Leonard Corporation|isbn=978-0-87930-855-1|url=https://books.google.com/books?id=m6KRDxYOp4UC&q=%22acid+rock%22+%22harder%22&pg=PT91}}
* {{cite book|last=Butler|first=Jan|chapter=Album Art and Posters: The Psychedelic Interplay of Rock Art and Art Rock|editor1-last=Shephard|editor1-first=Tim|editor2-last=Leonard|editor2-first=Anne|title=The Routledge Companion to Music and Visual Culture|url=https://books.google.com/books?id=rbc3AAAAQBAJ|year=2014|publisher=Routledge|location=New York|isbn=978-0-415-62925-6}}
* {{cite book|last=Case|first=George|title=Out of Our Heads: Rock 'n' Roll Before the Drugs Wore Off|url=https://books.google.com/books?id=4neuLF3p5ykC|publisher=Backbeat Books|location=Milwaukee, WI|year=2010|isbn=978-0-87930-967-1}}
* {{cite book|first=Jim|last=DeRogatis|author-link=Jim DeRogatis|title=Turn on Your Mind: Four Decades of Great Psychedelic Rock|url=https://books.google.com/books?id=U7cQmRsLgN8C|year=2003|publisher=Hal Leonard|location=Milwaukee, WI|isbn=978-0-634-05548-5}}
* {{cite book|last=Echard|first=William|title=Psychedelic Popular Music: A History through Musical Topic Theory|url=https://books.google.com/books?id=XJoqDwAAQBAJ|year=2017|publisher=Indiana University Press|location=Bloomington, IN|isbn=978-0-253-02659-0}}
*{{Gilliland |show=41 |title=The Acid Test: Psychedelics and a sub-culture emerge in San Francisco}}
* {{cite book|last=Hicks|first=Michael|title=Sixties Rock: Garage, Psychedelic, and Other Satisfactions|url=https://books.google.com/books?id=JviHtOrIlkkC|year=2000|publisher=University of Illinois Press|location=Urbana, IL|isbn=978-0-252-06915-4}}
*{{cite book|last1=Hoffmann|first1=Frank|title=Encyclopedia of Recorded Sound|date=2004|publisher=Routledge|url=https://books.google.com/books?id=-FOSAgAAQBAJ&q=%22encyclopedia+of+recorded+sound%22+%22acid+rock%22|isbn=978-1-135-94950-1}}
* {{cite book|last=Hoffmann|first=Frank|title=Chronology of American Popular Music, 1900-2000|url=https://books.google.com/books?id=hAI3DAAAQBAJ&pg=PA269|year=2016|publisher=Routledge|isbn=978-1-135-86886-4}}
* {{cite book|last1=Hoffmann|first1=Frank W.|last2=Bailey|first2=William G.|title=Arts & Entertainment Fads|url=https://books.google.com/books?id=_tR1owszUR0C&q=Pepper|publisher=The Haworth Press|location=Binghamton, New York|year=1990|isbn=0-86656-881-6}}
* {{cite book|last=Jackson|first=Andrew Grant|year=2015|title=1965: The Most Revolutionary Year in Music|publisher=Thomas Dunne Books|location=New York|isbn=978-1-250-05962-8}}
* {{cite book|last1=Kitts|first1=Jeff|last2=Tolinski|first2=Brad|author-link=Brad Tolinski|title=Guitar World Presents Nu-metal|publisher=[[Hal Leonard Corporation]]|year=2002|isbn=9780634032875|url-access=registration|url=https://archive.org/details/guitarworldprese00kitt|via=[[Internet Archive]]}}
* {{cite book|last=Lambert|first=Philip|title=Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius|date=2007|publisher=Bloomsbury Publishing|isbn=978-1-4411-0748-0}}
*{{cite book|last1=Larson|first1=Tom|title=History of Rock and Roll|date=2004|publisher=Kendall Hunt|isbn=978-0-7872-9969-9|url=https://books.google.com/books?id=vGJ7XmA8rjIC&q=jefferson+airplane+%22acid+rock%22&pg=PA140}}
* {{cite book|last=Lavezzoli|first=Peter|title=The Dawn of Indian Music in the West|publisher=Continuum|location=New York|year=2006|isbn=0-8264-2819-3}}
* {{cite book|first=Shawn|last=Levy|author-link=Shawn Levy (writer)|title=Ready, Steady, Go!: Swinging London and the Invention of Cool|publisher=Fourth Estate|location=London|year=2002|isbn=978-1-84115-226-4}}
* {{cite book|last=Macan|first=Edward|title=Rocking the Classics: English Progressive Rock and the Counterculture|url=https://archive.org/details/rockingclassicse0000maca|url-access=registration|year=1997|publisher=Oxford University Press|isbn=978-0-19-509887-7}}
* {{cite book|last=MacDonald|first=Ian|author-link=Ian MacDonald|year=1998|title=Revolution in the Head: The Beatles' Records and the Sixties|publisher=Pimlico|location=London|isbn=978-0-7126-6697-8}}
* {{cite book|last=McEneaney|first=Kevin T.|title=Tom Wolfe's America: Heroes, Pranksters, and Fools|url=https://books.google.com/books?id=8pNzCQAAQBAJ&pg=PA45|year=2009|publisher=ABC-CLIO|isbn=978-0-313-36545-4}}
* {{cite book|last=Miles|first=Barry|author-link=Barry Miles|title=Hippie|url=https://books.google.com/books?id=fLulFlbAJGgC|year=2005|publisher=Sterling|isbn=978-1-4027-2873-0}}
* {{cite book|last=Misiroglu|first=Gina|title=American Countercultures: An Encyclopedia of Nonconformists, Alternative Lifestyles, and Radical Ideas in U.S. History|date=2015|publisher=Routledge|isbn=9781317477297|url=https://books.google.com/books?id=j4KsBwAAQBAJ}}
* {{cite book|last=Nagelberg|first=Kenneth M.|chapter=Acid Rock|editor-last1=Browne|editor-first1=Ray B.|editor-last2=Browne|editor-first2=Pat|title=The Guide to United States Popular Culture|date=2001|publisher=University of Wisconsin Press|location=Madison, Wisconsin|isbn=978-0-87972-821-2|chapter-url=https://books.google.com/books?id=U3rJxPYT32MC&q=%22acid+rock%22+%22heavy+metal%22&pg=PA8}}
* {{cite book|last=Perry|first=Charles|author-link=Charles Perry (food writer)|year=1984|title=The Haight-Ashbury: A History|url=https://books.google.com/books?id=2OcDAQAAIAAJ|publisher=Random House/Rolling Stone Press|location=New York|isbn=978-0-394-41098-2}}
* {{cite book|last=Philo|first=Simon|title=British Invasion: The Crosscurrents of Musical Influence|url=https://books.google.com/books?id=WqiDBQAAQBAJ&pg=PA105|year=2015|publisher=Rowman & Littlefield|location=Lanham, Maryland|isbn=978-0-8108-8627-8}}
* {{cite book|last1=Pinch|first1=Trevor|last2=Trocco|first2=Frank|title=Analog Days: The Invention and Impact of the Moog Synthesizer|url=https://books.google.com/books?id=CoUs2SSvG4EC|year=2009|publisher=Harvard University Press|location=Cambridge, MA|isbn=978-0-674-04216-2}}
*{{cite book|last=Power|first=Martin|title=Hot Hired Guitar: The Life of Jeff Beck|year=2011|location=London|publisher=Omnibus Press|isbn=978-1-84938-869-6}}
* {{cite book|first=Mark|last=Prendergast|title=[[The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age]]|publisher=Bloomsbury|location=New York|year=2003|isbn=1-58234-323-3}}
* {{cite book|last1=Prown|first1=Pete|author1-link=Pete Prown|last2=Newquist|first2=Harvey P.|author2-link=HP Newquist|title=Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists|url=https://books.google.com/books?id=60Jde3l7WNwC|year=1997|publisher=Hal Leonard|isbn=978-0-7935-4042-6}}
* {{cite book|last=Reising|first=Russell|chapter=Introduction: 'Of the beginning'|editor-last=Reising|editor-first=Russell|year=2002|title='Every Sound There Is': The Beatles' Revolver and the Transformation of Rock and Roll|url=https://books.google.com/books?id=r44ZAQAAIAAJ|publisher=Ashgate Publishing|location=Farnham, UK|isbn=978-0-7546-0557-7}}
* {{cite book|last1=Reising|first1=Russell|first2=Jim|last2=LeBlanc|chapter=Magical Mystery Tours, and Other Trips: Yellow submarines, newspaper taxis, and the Beatles' psychedelic years|editor-last=Womack|editor-first=Kenneth|year=2009|title=The Cambridge Companion to the Beatles|location=Cambridge, UK|publisher=Cambridge University Press|isbn=978-0-521-68976-2}}
* {{cite book|editor1-first=Patricia|editor1-last=Romanowski|editor2-first=Holly|editor2-last=George-Warren|title=The New Rolling Stone Encyclopedia of Rock & Roll|publisher=Fireside/Rolling Stone Press|year=1995|location=New York|isbn=0-684-81044-1}}
*{{cite book|last=Russo|first=Greg|title=Yardbirds: The Ultimate Rave-Up|year=2016|publisher=Crossfire Publications|location=Floral Park, New York|isbn=978-0-9791845-7-4}}
* {{cite book|last=Savage|first=Jon|author-link=Jon Savage|title=1966: The Year the Decade Exploded|publisher=Faber & Faber|location=London|year=2015|isbn=978-0-571-27763-6}}
* {{cite book|last=Shaw|first=Arnold|author-link=Arnold Shaw (author)|title=The Rock Revolution|url=https://books.google.com/books?id=X4JCAAAAIAAJ|publisher=Crowell-Collier Press|location=New York|year=1969|isbn=978-0-02-782400-1}}
*{{cite book|last=Simonelli|first=David|year=2013|title=Working Class Heroes: Rock Music and British Society in the 1960s and 1970s|url=https://books.google.com/books?id=3cd8n1C6on8C|location=Lanham, Maryland|publisher=Lexington Books|isbn=978-0-7391-7051-9}}
* {{cite book|last=Smith|first=Chris|title=101 Albums That Changed Popular Music|publisher=Oxford University Press|location=New York|year=2009|isbn=978-0-19-537371-4}}
* {{cite book|last=Turner|first=Steve|author-link=Steve Turner (writer)|title=Beatles '66: The Revolutionary Year|year=2016|publisher=Ecco|location=New York|isbn=978-0-06-247558-9}}
*{{cite encyclopedia
| last = Unterberger
| first = Richie
| author-link = Richie Unterberger
| editor-last1 = Bogdanov
| editor-first1 = Vladimir
| editor-last2 = Woodstra
| editor-first2 = Chris
| editor-last3 = Erlewine
| editor-first3 = Stephen Thomas 
| editor-link3 =  Stephen Thomas Erlewine
| encyclopedia = [[All Music Guide]] to Rock: The Definitive Guide to Rock, Pop, and Soul
| section = Psychedelic Rock
| edition = 3rd
| year = 2002
| location = San Francisco
| publisher = Backbeat Books
|isbn=978-0-87930-653-3}}
* {{cite book|last=Unterberger|first=Richie|title=Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock|url=https://books.google.com/books?id=aw6kSkR3eXgC|publisher=Backbeat Books|location=San Francisco|year=2003|isbn=0-87930-743-9}}
{{div col end}}

==Further reading==
* {{cite book|author=Belmo|year=1999|title=20th Century Rock and Roll: Psychedelia|location=Burlington, Ontario|publisher=Collectors Guide Publishing|isbn=978-1-896522-40-1|ref=none}}
* {{cite book|last=Bromell|first=Nick|author-link=Nick Bromell|year=2002|title=Tomorrow Never Knows: Rock and Psychedelics in the 1960s|url=https://books.google.com/books?id=CLs0WtOozmYC|location=Chicago, Illinois|publisher=University of Chicago Press|isbn=0-226-07562-1|ref=none}}
* {{cite book|first=Peter Ames|last=Carlin|author-link=Peter Ames Carlin|title=Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson|url=https://books.google.com/books?id=eYyovo_AbqAC|year=2006|publisher=Rodale|isbn=978-1-59486-320-2|ref=none}}
* {{cite book|last=Chapman|first=Rob|author-link=Rob Chapman (journalist)|title=Psychedelia and Other Colours|url=https://books.google.com/books?id=etmCCgAAQBAJ|year=2015|publisher=Faber & Faber|location=London|isbn=978-0-571-28200-5|ref=none}}
*{{cite book|last=Hall|first=Mitchell K.|author-link=Mitchell K. Hall|year=2014|title=The Emergence of Rock and Roll: Music and the Rise of American Youth Culture|location=New York|publisher=Routledge|isbn=978-1-135-05358-1|ref=none}}
* 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}}.
* {{cite book|last=Reynolds|first=Simon|author-link=Simon Reynolds|chapter=Back to Eden: Innocence, Indolence and Pastoralism in Psychedelic Music, 1966–1996|editor=Melechi, Antonio|title=Psychedelia Britannica|location=London|publisher=Turnaround|year=1997|pages=143–165|ref=none}}

==External links==
{{wikiquote}}
{{Psychedelic music}}
{{Rock music}}
{{Authority control}}

{{DEFAULTSORT:Psychedelic Rock}}
[[Category:Psychedelic rock| ]]
[[Category:Psychedelic music]]
[[Category:History of rock music]]
[[Category:Counterculture of the 1960s]]
[[Category:Counterculture of the 1970s]]
[[Category:1960s fads and trends]]
[[Category:1970s fads and trends]]
[[Category:1960s neologisms]]
[[Category:1966 introductions]]
[[Category:Rock music genres]]
[[Category:Fusion music genres]]