The Musician's Guide To Theory And Analysis Online Textbook – Psychedelic rock is a genre of rock music inspired by, influenced by, or representative of psychedelic culture, which is based on hallucinogenic drugs that alter perception. The song incorporates new electronic sound effects and recording techniques, elaborate instrumental solos and improvisation.
Originating among British and American musicians in the mid-1970s, the term psychedelic rock invoked LSD’s three main effects: depersonalization, dechronization, and dynamization, all of which separate the user from everyday reality.
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Musically, influences can be introduced through new studio gimmicks, electronic or non-Western instruments, disjointed song structures and extended instrumental sections.
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Some of the early psychedelic rock musicians of the 1970s were folk, jazz, and blues oriented, while others displayed an Indian classical influence known as “raaga rock”. There were two main types of gray in the 1970s: the brighter, surrealist British psychedelia and the heavier “acid rock” of the American West Coast. Although “acid rock” is sometimes used interchangeably with the term “psychedelic rock”, it also refers to grittier, heavier, harder, more extreme ds.
Psychedelic rock’s peak years were between 1967 and 1969, with the 1967 Summer of Love and the 1969 Woodstock Rock Festival turning it into an international music movement, losing some keys before beginning to decline with changing attitudes. Individuals and a return to the original movement saw a surviving artist move into new musical fields Gray transitioned from old blues and folk-based rock to progressive rock and hard rock and, as a result, contributed to sub-Greek developments such as heavy metal. It was revived in various forms of neo-psychedelia from the late 1970s
As a musical style, psychedelic rock incorporates new electronic sound effects and recording effects, extended solos, and improvisation.
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The term “psychedelic” was coined in 1956 by psychiatrist Humphrey Osmond in a letter to LSD exponent Aldous Huxley.
As the counterculture scene developed in San Francisco in 1966, the terms acid drug and psychedelic rock were used to describe drug-influenced music.
But acid rock can be distinguished as a more extreme variation that relies on heavier, taller, longer jams.
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Music critic Richie Unterberg has said that trying to “define” the first psychedelic record is “as difficult as trying to name the first rock and roll record”. Some “Remote Claims” include the instrumental “Telstar” (produced by Joe Meek for the Tornadoes in 1962) and the Dave Clark Five’s “Any Way You Want It” (1964).
A 1962 single by the Futures, “2000 Pounds of Honey” sparked rumors of a distorted guitar and “fuzztone” and began the search for “heavy, transistorized distortion potential” and other effects such as increased reverb and echo. In London’s fertile rock ‘n’ roll scene
According to AllMusic, the emergence of psychedelic rock in the mid-1970s was a result of British invasions of the American market by British groups and efforts to expand the “sonic possibilities” of folk music.
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Writing in his 1969 book The Rock Revolution, Arnold Shaw said that in its American form, the Great Man Generation represented escapism, which he called the development of youth culture’s protest against sexual taboos, racism, violence, hypocrisy, and materialism. .
In 1965, the influence of American folk singer Bob Dylan was instrumental in the creation of the folk art movement, and his songs remained a touchstone for the psychedelic songwriters of the 1960s.
In 1956, virtuoso sitarist Ravi Shankar began to bring Indian classical music to the West, inspiring jazz, classical and folk musicians.
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By the mid-1970s, his influence extended to a generation of young musicians who soon formed raga rock.
In the British folk scene, blues, drug, jazz and Eastern influences were mixed in the 1960s work of Davy Graham, who adopted modal guitar tunings to transpose Indian ragas and Celtic spools. Graham was highly influential on Scottish folk virtuoso Bert Jans and other pioneering guitarists of the mid-1970s.
Jazz saxophonist and composer John Coltrane had a similar influence, as the outer sounds of his albums My Favorite Thing (1960) and A Love Supreme (1965), influenced by Shankar’s raga, were source material for guitarists and others. Improvise or “play”.
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The earliest musical use of the term “psychedelic” in the folk scene was in New York folk group The Holy Modal Rounders’ 1964 version of Lead Bailey’s ‘Hesitation Blues’.
Folk/avant-garde guitarist John Fahy recorded many songs in the early 1960s, experimenting with unusual recording techniques including reverse tape and new backing instruments including flute and sitar.
His nineteen-minute “The Great San Bernardino Birthday Party” features “anticipated elements of psychedelia with its edgy improvisations and odd guitar tunings”.
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Similarly, folk guitarist Sandy Bull’s early work “incorporated elements of folk, jazz and drone mode with an Indian and Arabic influence”.
Their 1963 album Fantasias for Guitar and Banjo explores a variety of styles and “can rightly be described as the first psychedelic record”.
Barry Miles, a leading figure in the British underground of the 1960s, stated that “hippies did not emerge overnight” and that “1965 was the first year that a significant youth movement began to emerge in the United States. Top ‘psychedelic’ rock bands were formed in this year.
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On the west coast of the United States, underground chemist Augustus Owsley Stanley III and Kay Casey (known to their followers as Mary Pranksters) helped thousands of people go on wild trips to Casey’s acid test and new psychedelic dance hall. In the UK, Michael Hollingshead read at the World Psychedelic Center and Beat All Generation poets Ginsberg, Laurence Ferlinghetti and Gregory Corso read at the Royal Albert Hall. Miles added: “The reading acted as a catalyst for underground activity in London, as people suddenly realized how many of the same people were out there. Also this year, London began to burst into color with the opening of Granny Tech Clothing. Trip and Hang On stores.
According to music critic Jim Derogatis in his book on psychedelic rock, Turn On Mind, the Beatles are seen as “new-age acid apostles”.
The studio responded to the Beatles’ request by offering a series of tricks that ensured the group played a key role in the development of psychedelic influences.
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Musician William Eichardt wrote that by 1965 the Beatles had employed a variety of techniques that would soon become elements of psychedelic music, a technique he described as “cognate” and reflected how, like the Yardbirds, they were pioneers of psychedelia.
Eichard cites the Beatles’ thematic originality and unconventionality as important aspects that brought the group to Grey; “true” tonal ambiguity; Leadership in incorporating elements of Indian music and studio techniques such as variable speed, tape loop and reverse tape sounds; and embracing the avant-garde
In Unterberg’s opinion, the Byrds, who emerged from the Los Angeles folk scene, and the Yardbirds from the blues scene, were more responsible than the Beatles for “sounding the psychedelic lords”.
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Drug use and attempts from acoustic folk music to rock music shortly after the Byrds were inspired by the 1964 Beatles film A Hard Day’s Night.
In the summer of 1965, he took to electric equipment to produce a chart-topping version of Dylan’s “Mr. Tambourine Man.”
On Yardbird, Unterberg identified lead guitarist Jeff Beck as “set the blueprint for psychedelic guitar”, noting his “wicked little-melodies, hyperactive instrumental breaks (called rave-ups), unexpected tempo changes and use of bright gregorianos”. Helped define the “manic eclecticism” typical of early psychedelic rock
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The Band’s “Heart Full of Soul” (June 1965), which includes a distorted guitar riff that mimics the sound of a site,
In Eichard’s description, music “carried the power of a new scene” as the guitar-hero Phomon emerged in rock and heralded the arrival of new eastern sounds.
To impersonate Tambura on “Look at My Freeds” (July 1965), which became a top 10 hit in the UK.
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The December 1965 release of The Beatles’ “Norwegian Wood” from the album Rubber Soul marked the first recording in which a member of the Western rock group played sitar.
– a trd that fueled the growth of raga rock as it became a staple of exotic psychedelic rock in India.
Music historian George Case has recognized Rubber Soul as the first of two Beatles albums that “marked the authentic beginning of the psychedelic era”.
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San Francisco historian Charles Perry recalled that the album was the soundtrack to “Haight-Ashbury, Barley and the Whole Circuit” because pre-hippie youth suspected the songs were drug-inspired.
Although psychedelia was introduced to Lord Angels, according to Shank, San Francisco emerged as the west coast capital of the movement.
Many Californian folk artists followed Byrd into folk rock, and their San psychedelic influences produced the “San Francisco Sound”.
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Music historian Simon Philo writes that, “Although some critics claim that the center of influence shifted from London to California in 1967, it was British artists such as the Beatles and the Rolling Stones who helped to inspire and
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