Notes

---

Size: 283 MB
Bitrate: 256
Ripped by: ChrisGoesRock
No Artwork

SOME INFO ABOUT PSYCHEDELIC ROCK:
Psychedelic rock is a style of rock music that attempts to replicate the mind-altering experiences of hallucinogenic drugs[1] by using lyrics that has the use of bizarre sounds created by altering the instruments and vocals with electronic effects such as tape-loops echos and delays, phase shifting, or by playing taped sounds backwards.

Psychedelic rock is a bridge from early blues-based rock to progressive rock and heavy metal, but it also drew on non-Western sources such as Indian music's ragas and sitars. Unlike acid rock, which refers to styles overlapping with hard rock or heavy metal, psychedelic rock is generally more mellow. There are also other forms of psychedelic music that started from the same roots and diverged from the prevalent rock style into electronic music.

Psychedelic music uses as modal melodies; esoteric lyrics often describing dreams, visions, or hallucinations; longer songs and lengthy instrumental solos. A major feature of psychedelic music is its elaborate production, often using the latest multitrack tape recorders, and its heavy reliance on "trippy" electronic effects such as distortion, reverb, and reversed, delayed and/or phased sounds. A very early example of "phasing" was heard on Toni Fisher's recording of "The Big Hurt" in 1959 (though that would not be regarded as a psychedelic record). Another common distinction is its beat variance from traditional dance music; either through an unusual encompassing beat (as heard in The Beatles' "Tomorrow Never Knows"), or by disrupting traditional 4/4 timing with interludes (as heard in Pink Floyd's "See Emily Play").

The advent of psychedelic rock marked the emergence of the "studio as instrument" trend; studio production values rose dramatically, and musicians, engineers and producers began to explore the possibilities of recent advances in multitrack recording and electronic sound treatment, which were having a major impact on the sound of pop music. Until the mid-1960s, pop music was typically recorded quickly and simply; singles were often recorded live to tape in a single "take". This rapid development is nowhere better exemplified than by The Beatles -- their first album Please Please Me (1963) (aka Introducing...The Beatles in the US) was recorded in a single day, but their 1967 Sgt. Pepper's Lonely Hearts Club Band was the result of over 700 hours of studio sessions over a period of more than six months.

The aural character of psychedelic rock was crucially influenced by the introduction of a slew of new recording and sound processing techniques and new electronic musical instruments which became widely available in the mid-1960s. These were eagerly taken up by pop and rock musicians who were seeking ways to broaden the tonal palette of rock music.

The Musique concrète school and others experimenting with the possibilities of magnetic tape in the 1940s and 1950s discovered that it was possible to physically reverse a tape recording and play it backwards, and that many natural sounds — and especially the sounds of musical instruments — took on a startling new character when played in reverse. The effect was eagerly seized upon by pop producers and musicians in the mid-1960s, who used it widely in recordings to augment the "other-worldly" soundscapes they created. The Beatles were among the first to use the technique, and it can be heard on both the Revolver album (1966) and on the 1967 single "Strawberry Fields Forever", which includes a reversed recording of Ringo's drums and cymbals. Fifty Foot Hose used reverse sounds of drums, cymbals and electric bass, along with other magnetic tape transformations, on their 1967 album Cauldron.

Later, the reverse effect was widely used by bands for recording guitar solos, creating a startling effect in which the notes begin with a long fade-in and finish abruptly. An excellent later example of this technique is on the song "Roundabout" by Yes, which opens with a sustained piano chord, recorded and then replayed backwards and precisely edited so that the reversed piano chord ends exactly at the point that the first chord of the guitar intro is struck. Echo and reverberation were also used much more prominently than on earlier pop recordings, and many well-known psychedelic records feature the use of long-delay and multiple-repeat echo effects, which at the time could only be created using linked tape recorders.

The effect known as "phasing" (or flanging) is one of the most characteristic production techniques used in psychedelic rock. The invention of this effect, which first came into use around 1967, is usually credited to British recording engineer George Chkiantz, and it features prominently on the 1967 singles "Itchycoo Park" by The Small Faces and "Sky Pilot" by Eric Burdon and The Animals. The effect was originally created by duplicating part or all of a piece of music onto magnetic tape and then playing back both recordings simultaneously (the same effect could be created using two identical LPs played simultaneously).

Engineers discovered that a fractional time difference between the two sources would generate a distinctive 'swooshing' effect which swept up and down the frequency range, creating an unearthly sound which (like the sitar) quickly became a fad. Although phasing was originally created with tape recorders, electronic engineers soon devised ways of duplicating it electronically and a wide range of effects units soon came on the market, allowing guitarists and others to easily add a rich phasing effect to their instruments.

Other production techniques that are often used on psychedelic rock records include the 'filtering' of vocals and instruments — examples are the highly compressed, trebly piano sound on The Beatles' song "Hey Bulldog" and the piano sound on the title track of the Small Faces LP Ogden's Nut Gone Flake (1968), which features a heavily-compressed piano which is further treated by putting the sound through a wah wah pedal. On the album "Cauldron" (1967) Fifty Foot Hose used a custom built guitar synthesizer. Other common effects include the use of extreme guitar sounds — trebly, jangly tones (often using 12-string guitars) or highly distorted 'fuzztone' sounds were much in vogue during the height of the style.

Many psychedelic recordings also made extensive use of pre-recorded sounds and sound effects, like the animal noises used at the end of "Good Morning, Good Morning" by The Beatles (sourced from the Abbey Road tape library), or the kaleidoscopic array of sounds used on "The Real Thing" (1969) by Australian singer Russell Morris, which includes an actual recording of a Hitler Youth rally in the 1930s and climaxes with an atomic bomb exploding.

Another key feature of psychedelic music was its relatively heavy reliance on keyboards, especially electronic keyboards. Although the harpsichord had been out of fashion in classical music for more than two centuries, its distinctive 'tinkly' sound appealed to musicians and producers of psychedelic rock and session musicians like Nicky Hopkins were often called on to play one on recordings of this period. The Baldwin Combo Harpsichord was one of these early Electric piano instruments.

The Hammond organ was already widely used in popular music, having been popularised by jazz musicians like Jimmy Smith and by renowned soul group Booker T and the MGs, but the enormously wide tonal and timbral range of the instrument proved a boon for psychedelic rock groups, especially when used in conjunction with the Leslie speaker, a rotating speaker that added a complex phase-shifted sound to the organ. The sound could be further enhanced by channeling the organ through a fuzz box or by simply overdriving the organ's internal amplifier so that the notes became heavily overdriven, producing rich, distorted overtones.

The other 'classic' keyboard instrument of psychedelic rock was the Mellotron, an English-made instrument (based on an American prototype, the Chamberlin) which was the world's first successful mass-produced polyphonic sampler keyboard. The Mellotron used banks of tape-loops, controlled by a dual keyboard, to reproduce a huge range of pre-recorded instruments, percussion and sound effects. The Mellotron made its famous recording debut in pop on The Beatles' "Strawberry Fields Forever" in early 1967, and it rapidly became a staple of psychedelic and progressive rock, especially favoured for its highly distinctive string, flute and choir settings (recorded from real sources) which are still often sampled and used today.

Other prominent early examples of the use of the Mellotron in psychedelic pop/rock are "Hole In My Shoe" by Traffic, "2000 Light Years from Home" by The Rolling Stones and "Nights in White Satin" by The Moody Blues, who were one of the first groups to use the Mellotron regularly in their live performances. Another key psychedelic recording, which uses phasing and which combines compressed piano, Hammond organ and Mellotron, is the hit 1968 version of Bob Dylan's "This Wheel's on Fire" recorded by Brian Auger, Julie Driscoll and Trinity.

Many psychedelic rock and pop songs feature themes of childhood, nostalgia and longing for lost innocence; the surrealistic creations of British author Lewis Carroll were an especially strong influence on the genre. A good example of this trend can be found on the 1967 song "Living In A Child's Dream" by Australian band The Masters Apprentices. The voices of children were also used on many recordings such as "Hole In My Shoe" by Traffic, which features a spoken interlude recited by a young girl. An alternate approach can be heard on songs like "The Gnome" by Pink Floyd, whose main songwriter Syd Barrett was greatly influenced by authors like Kenneth Grahame (a chapter of whose book The Wind in the Willows provided Barrett with the title of Pink Floyd's first album, The Piper at the Gates of Dawn), Lewis Carroll and J.M. Barrie. Other songs feature lyrics which meditate on broad existential themes, while other express criticisms or even a rejection of "straight" society and the materialistic values of western consumer culture, such as George Harrison's "Within You Without You".

Psychedelia also had an obvious impact on the visual presentation of pop recordings, especially LP album covers. Prior to 1967, most LP covers were simple single-sleeve affairs -- the front cover usually featured just the title, the artist/group name and a straightforward photo portrait; the back cover was usually text only, with a list of song titles and occasionally a few short paragraphs of publicity material about the artist/s.

But pop album cover design was revolutionised by The Beatles during the two-year period from 1965 to 1967. Their 1965 LP Rubber Soul featured an optically disorted image of the group, and their 1966 LP Revolver was even more elborate, featuring an intricate black-and-white cover illustration by musician-artist Klaus Voorman which incorporated photographs by Robert Whitaker. The process reached its zenith in June 1967 with the release of Sgt Pepper's Lonely Hearts Club Band. The Beatles and their collaborators -- art director Robert Fraser, pop artist Peter Blake and photographer Michael Cooper -- created a lavish package that surpassed anything previously attempted in pop music.

The glossy, vividly coloured 'gatefold' sleeve was fronted by the iconic group portrait of the band, resplendent in custom-made Dayglo satin uniforms, standing in front of a group of life-size cutouts of famous people from history, including the waxwork figures of the Beatles themselves (borrowed from Madame Tussauds). The inner sleeve featured only a huge, close-up portrait of the four Beatles against a gold background, and the back cover -- for the first time in pop music -- featured the complete lyrics of all the songs. The original issue of the LP also included a cardboard insert with cut-out 'Sgt Pepper' badges and other designs, and the paper dust-jacket that held the LP featured a mulitcoloured abstract pattern created by design collective The Fool. The final bill for the cover was £2,868 5s/3d -- one hundred times the average cost for an album cover at that time.

Psychedelic rock was heavily affected by the contemporary interest in the music of India, particularly the raga form and the classical instrumental styles of Hindustani music, which was popularised in the west by The Beatles and Ravi Shankar. With its extended, modal structures, long passages of improvisation, unusual time signatures and exotic instruments like the sitar, the tambura and the tabla, Indian music exerted a considerable influence on western pop-rock musicians. This can be clearly heard in songs like "See My Friends" by The Kinks, "Paint It, Black" by The Rolling Stones, "Hole In My Shoe" by Traffic and "Norwegian Wood", "Love You To", "Within You Without You" and "Tomorrow Never Knows" by The Beatles. The use of the sitar quickly became a major fad in pop music, and the American Coral guitar company even created an electric sitar-guitar, which could be played like a regular six-string electric guitar but which sounded like a sitar because it had a bank of sympathetic strings attached to the body.

While the first musicians to be influenced by psychedelic drugs were in the jazz and folk scenes, the first use of the term "psychedelic" in popular music was by the "acid-folk" group The Holy Modal Rounders in 1964, with the song "Hesitation Blues" [www.lysergia.com]. The first use of the word "psychedelic" in a rock music context is usually credited to The Deep, and the earliest known appearance of this usage of the word in print is in the title of their 1966 album The Psychedelic Moods of the Deep. Roky Erickson lead singer of the 13th Floor Elevators coined the term 'psychedelic rock' in a 1966 interview as well as releasing The Psychedelic Sounds of the 13th Floor Elevators in the same year. In 1962 British rock embarked on a frenetic race of ideas that spread back to the U.S. with the British Invasion. The folk music scene also experimented with outside influences. In the tradition of Jazz and blues music many musicians began to take drugs, and include drug references in their songs. In 1965 Bob Dylan put electric rock instrumentation in his album Bringing It All Back Home, and The Byrds had a hit with Mr. Tambourine Man. The British rock act The Yardbirds recorded the single Happenings Ten Years Time Ago in 1966, which is frequently cited as the first psychedelic song due to its frantic evocation of drug-induced paranoia.

Psychedelia began in the United States' folk scene, with New York City's Holy Modal Rounders introducing the term in 1964. A similar band called Mother McCree's Uptown Jug Champions from San Francisco were influenced by The Byrds and the Beatles to switch from acoustic music to electric music in 1965. Renaming themselves the Warlocks, they fell in with Ken Kesey's LSD-fuelled Merry Pranksters in November 1965, and changed their name to the Grateful Dead the following month. The Dead played to light shows at the Pranksters' "Acid Tests", with pulsing images being projected over the group in what became a widespread practice.

Their sound soon became identified as Acid rock which they played at the Trips Festival in January 1966 along with Big Brother & the Holding Company. The festival was held at the The Fillmore and was attended by some 10,000 people. For most of the attendees, it was their first encounter with both acid-rock and LSD. Another band, originally playing R&B called The Ethix started to experiment with electronics, tape transformations and wild improvisations, and as their music transformed, The Ethix transformed into Fifty Foot Hose.

Throughout 1966, the San Francisco music scene flourished, as the Fillmore, the Avalon Ballroom, and the Matrix club began booking local rock bands on a nightly basis. The emerging "San Francisco Sound" made local stars of numerous bands, including the Charlatans, Moby Grape, Big Brother and the Holding Company, Fifty Foot Hose, Quicksilver Messenger Service, Country Joe and the Fish, The Great Society, and the folk-rockers Jefferson Airplane, whose debut album was recorded during the winter of 1965/66 and released in August 1966. Jefferson Airplane Takes Off was the first album to come out of San Francisco during this era and sold well enough to bring the city's music scene to the attention of the record industry.

Jefferson Airplane gained greater fame the following year with two of the earliest psychedelic hit singles: "White Rabbit" and "Somebody to Love". In fact, both these songs had originated with the band The Great Society, whose singer Grace Slick left them to accept an offer to join Jefferson Airplane, taking the two compositions with her.

While the Grateful Dead were the acknowledged leaders of the San Francisco music scene in the 1960s by both local concert-goers and rival bands, their records did not sell as well as those of their Bay Area peers. As a result, the Grateful Dead didn't begin to attain national popularity until around 1969-1970, when their constant touring gained them a cult following.

Although San Francisco receives much of the credit for jumpstarting the psychedelic music scene, many other American cities contributed significantly to the new genre. Los Angeles boasted dozens of important psychedelic bands, including the Byrds, Iron Butterfly, Love, Spirit, the United States of America, Jimi Hendrix, and the Doors, among others. New York City produced its share of psychedelic bands such as the Blues Magoos, the Blues Project, Bermuda Triangle Band, and the Third Bardo. The Detroit area gave rise to psychedelic bands the Amboy Dukes and the SRC. Texas (particularly Austin) is often cited for its contributions to psychedelic music, being home to the groundbreaking 13th Floor Elevators, as well as Bubble Puppy, Shiva's Headband, Golden Dawn, the Zakary Thaks, Red Krayola, and many others.

The Byrds went psychedelic in 1966 with "Eight Miles High", a song with odd vocal harmonies and an extended guitar solo that guitarist Roger McGuinn states was inspired by Raga and John Coltrane.

In 1965, members of Rick And The Ravens and The Psychedelic Rangers came together with Jim Morrison to form The Doors. They made a demo tape for Columbia Records in September of that year, which contained glimpses of their later acid-rock sound. When nobody at Columbia wanted to produce the band, they were signed by Elektra Records, who released their debut album in January 1967. It contained their first hit single, "Light My Fire." Clocking in at over 7 minutes, it became one of the first rock singles to break the mold of the three-minute pop song, although the version usually played on AM radio was a much-shorter version.

Initially, The Beach Boys, with their squeaky-clean image, seemed unlikely as psychedelic types. Their music, however, grew more psychedelic and experimental, perhaps due in part to writer/producer/arranger Brian Wilson's increased drug usage and burgeoning mental illness. In 1966, responding to the Beatles' innovations, they produced their album Pet Sounds and later that year had a massive hit with the psychedelic single "Good Vibrations". Wilson's magnum opus SMiLE (which was never finished, and was remade by Wilson with a new band in 2004) also shows this growing experimentation.

The psychedelic influence was also felt in black music, where record labels such as Motown dabbled for a while with psychedelic soul, producing such hits as "Ball of Confusion (That's What the World Is Today)" and "Psychedelic Shack" (by The Temptations), "Reflections" (by Diana Ross & the Supremes), and the 11-minute-long "Time Has Come Today" by The Chambers Brothers, before falling out of favor. Sly and the Family Stone, a racially integrated group whose roots were in soul and R&B, created music influenced by psychedelic rock. This is especially evident on their breakthrough second album, Dance to the Music.

[edit] Britain in the 1960s
In the United Kingdom, Donovan, going electric like Dylan, had a 1966 hit with "Sunshine Superman," one of the very first overtly psychedelic pop records. Pink Floyd had been developing psychedelic rock with light shows since 1965 in the underground culture scene, and in 1966 the Soft Machine formed. From a blues rock background, the British supergroup Cream debuted in December. The Jimi Hendrix Experience with Noel Redding and Mitch Mitchell brought Jimi Hendrix fame in Britain, and later in his American homeland.

Pink Floyd's "Arnold Layne" in March 1967 only hinted at their live sound; the Beatles' groundbreaking album Sgt. Pepper's Lonely Hearts Club Band was recorded on nearly all of the same dates as Pink Floyd's first album The Piper at the Gates of Dawn. Cream showed their psychedelic sounds the same year in Disraeli Gears. In the folk scene itself blues, drugs, jazz and eastern influences had featured since 1964 in the work of Davy Graham and Bert Jansch, and in 1967 the Incredible String Band's The 5000 Spirits or the Layers of the Onion developed this into full blown psychedelia. Other artists joining the psychedelic revolution included Eric Burdon (previously of The Animals), and The Small Faces. The Who's Sell Out had two early psychedelic tracks, "I Can See for Miles" and "Armenia City in the Sky", but the album concept was out of tune with the times, and it was their later album Tommy that established them in the scene.

The Rolling Stones had drug references and psychedelic hints in their 1966 singles "19th Nervous Breakdown" and "Paint It, Black", then the fully psychedelic Their Satanic Majesties Request ("In Another Land") suffered from the problems the group was having at the time. In 1968 Jumpin' Jack Flash and Beggars Banquet re-established them, but their disastrous concert at Altamont in 1969 ended the dream on a downer.

By late 1965 The Beatles were joining in the fun with their Rubber Soul album, which featured John Lennon's first paean to universal love ("The Word") and a sitar-laden tale of attempted hippy hedonism ("Norwegian Wood"). Instrumental freakouts appeared on "The Word" and "I'm Looking Through You", while "Girl" featured a weird breathing sound in the refrain. The August 1966 album Revolver featured psychedelia more intensely in "Tomorrow Never Knows" and in "Yellow Submarine." The latter song combined psychedelic elements with appeal to children and nostalgia, a formula which they would repeat and which would keep their music widely popular. The album also had psychedelic elements in "Love You To", "She Said, She Said", and "Doctor Robert".

With 1967's releases that the band embraced a colourful new frontier. "Strawberry Fields Forever" was the first song recorded intended for an album about nostalgia and childhood in 1966. Brian Epstein hastily released the first two songs recorded which would have ended up on the Sgt Pepper's Lonely Hearts Club Band album. It was released as a double-A sided single along with "Penny Lane" on February 13, 1967 in the UK and on February 17, 1967 in the U.S. "Strawberry Fields Forever" induced a "magic carpet" of sound, with its unusual chord progression, a kaleidoscope of instruments and effects, and an unusual edit of two completely separate versions (the latter of which had to be slowed down to fit.) topped off with a false ending.

The album Sgt Pepper's Lonely Hearts Club Band (partially influenced by their studio neighbors Pink Floyd --then recording The Piper at the Gates of Dawn-- and vice versa) was a veritable encyclopedia of psychedelia (among other elements), as well as an explosion of creativity that would set the standard for rock albums decades later. From the title track to "Lucy in the Sky with Diamonds" to "Within You Without You" to "A Day in the Life", the album showcased a wildly colourful palette, with unpredictable changes in rhythm, texture, melody, and tone colour that few groups could equal.

The single "All You Need Is Love", debuted for a worldwide audience on the "Our World" television special, restated the message of "The Word", but with a Sgt. Pepper style arrangement. Yet after the death of Brian Epstein and the unpopular television movie Magical Mystery Tour (with an uneven soundtrack album accompanying it) the band returned to a more raw style in 1968, albeit a more earthy and complex version than had been heard before Rubber Soul.

Around the same time The Beatles were recording Sgt. Pepper, another British group was recording their first international album. Upon returning to England from Australia, The Bee Gees wrote and recorded their debut LP, Bee Gees' 1st, which contained such psychedelic songs such as "Every Christian Lion Hearted Man Will Show You", "New York Mining Disaster 1941" and "Turn Of The Century". The Bee Gees continued throughout the remainder of the 60's in the psychedelic/baroque rock style with albums such as "Horizontal", "Idea" and the classic double album "Odessa". After a 16 month break-up and reunion, The Bee Gees completely reinvented their sound in the early 1970's into a more R&B/Soul style. Many rock critics consider the 1960's era Bee Gees as their classic period.

Australia and New Zealand have long been overlooked in the history of popular music, especially in relation to psychedelic rock and pop, although it was a fertile region for recordings in this genre. One of the main reasons for the relative obscurity of Australasian psychedelia was that few bands from the region had any significant commercial success outside their home countries; the most notable exception was The Easybeats, who scored an international hit in late 1966 with their classic single "Friday On My Mind" (which was in fact recorded in the UK).

Another limiting factor was that some of the best Australasian psychedelic records were pressed in tiny quantities (sometimes as few as 250 copies) and very few ever gained significant overseas distribution (if any). As a result, releases from these countries were for many years known only to a small coterie of international music fans and, not surprisingly, their rarity means that they now command high prices on the collector's market. However, since the advent of the CD and the re-release of many of these important recordings, the original psychedelic rock of the 1960s from Australia and New Zealand has gradually gained wider recognition, culminating in the inclusion of a number of seminal tracks on the second volume of the famous Nuggets series, originated by US musician Lenny Kaye.

Local musicians and producers were heavily influenced by innovations in British and American psychedelic music, although, for several reasons, British music had a somewhat stronger influence. One major factor was that the EMI company had long enjoyed the dominant market position in both countries. Another influence was that many Australasian bands like The Easybeats and The Twilights included members who were recent immigrants from the UK. Also, it was common for many groups to receive regular "care packages" from relatives and friends in Britain, containing singles, albums, the latest Carnaby Street fashions and even off-air tape recordings of British and European radio broadcasts. As a result, considering the distance and travel times involved, local Australian and New Zealand bands were kept remarkably up to date with the latest trends. The Bee Gees (then living in Australia) are known to have recorded cover versions of Beatles songs like "Rain" and Paperback Writer" within days of the singles being released in the UK.

Several Australian groups traveled to the UK during this fertile period -- The Easybeats went to London in late 1966, and around the same time Australia's other leading pop band The Twilights won the inaugural Hoadleys National Battle of the Sounds competition, enabling them to also travel to the UK. As they were signed to EMI, The Twilights were able to record at the legendary Abbey Road during the period of the making of Sgt Peppers.

Other countries
The invention of psychedelic music in the US quickly spread and was followed all over the world. The first continental Europe band was Group 1850, of The Netherlands, formed in 1964, first album in 1968. The Brazilian psychedelic rock group Os Mutantes formed in 1966, and although little known outside Brazil at the time, their remarkable recordings have since accrued a substantial international cult following.

In the late 1960's a wave of Mexican rock heavily influenced by psychedelic and funk rock emerged in several northern border Mexican states, in particular in Tijuana, Baja California. Among the most recognized bands from this "Chicano Wave" (Onda Chicana in Spanish), there is one in particular that was recognized by their originality. The band Love Army derived from the Tijuana Five and was formed by Alberto Isiordia (aka El Pajaro), Salvador Martinez, Jaime Valle, Fernando Vahaux, Ernesto Hernandez, Mario Rojas and Enrique Sida.

From 1967 to 1973, between the ending of the government of President Frei Montalva and the all the government of President Allende (creator of a socialist dream in the contry that end up with the dead of Allende by the military forces with help of the CIA and some wealthy chileans) a cultural movement was born from a few Chilean bands that emerged playing a unique fusion of folkloric music with heavy psychedelic influences. The 1967 release of Los Mac's album "Kaleidoscope men" inspired many bands such as Los Jaivas and Los Blops, the latter going on to collaborate with the iconic Chilean singer-songwriter Victor Jara on his 1971 album "El derecho de vivir en paz."

Meanwhile in the Argentinian capital Buenos Aires, a burgeoning psychedelic scene gave birth to three of the most important bands in Argentine Rock: Los Gatos, Manal and perhaps most importantly Almendra. Almendra was fronted by Luis Alberto Spinetta who penned most of the band's songs on their two albums released in 1969 and 1970, drawing on a number of influences including Blues, Jazz and Folk. Spinetta's first solo release in 1971 "Spinettalandia y Sus Amigos - La Búsqueda de la Estrella" is also notable for its strong psychedelic influences. Spinetta has since gone on to enjoy a long and successful career in Argentina.

A thriving psychedelic music scene in Cambodia was pioneered by Sinn Sisamouth and Ros Sereysothea. In 1972, from Canada, Frank Marino's Mahogany Rush, named for Marino's experience while doing LSD[2], offered the album "Maxoom" in the psychedelic genre. The title song Maxoom is another early psychedelic song. The band followed this release with Child of the Novelty in 1974. The cover art is an artists representation of Marino's description of an acid trip.

Late 1960s
Many of the bands that pioneered psychedelic rock left it by the end of the 1960s. The increasingly hostile political environment and the embrace of amphetamines, heroin and cocaine by the underground led to a turn toward harsher music. At the same time, Bob Dylan released John Wesley Harding and the Band released Music from Big Pink, both albums that rejected psychedelia for a more roots-oriented approach. Many bands in England and America followed suit. Eric Clapton cites Music from Big Pink as a primary reason for quitting Cream, for example.[citation needed] The Grateful Dead also went back to basics and had major successes with Workingman's Dead and American Beauty in 1970, then continued to successfully develop their amazing live music and produce a long string of records over the next twenty-five years.

The musicians and bands that continued to embrace psychedelia often went on to create progressive rock in the 1970s, which maintained the love of unusual sounds and extended solos but added jazz and classical influences to the mix. For example, progressive rock group Yes sprang out of three British psychedelic bands: Syn (featuring Chris Squire), Tomorrow (featuring Steve Howe) and Mabel Greer's Toy Shop (Jon Anderson). Also, psychedelic rock strongly influenced early heavy metal bands such as Black Sabbath. Psychedelic rock, with its distorted guitar sound and adventurous compositions can be seen as an important bridge between heavy metal and earlier blues oriented rock.

Alongside the progressive stream, space rock bands such as Hawkwind, Arthur Brown's Kingdom Come and Gong maintained a more explicitly psychedelic course into the 1970s.

CD1:
01. Moloch - Helping Hand
02. Moxy - Moxy II - Cause There´s Another
03. Sorcery - Sinister Soldiers - Slippin´ Away
04. Pulse - Pulse - Too Much Lovin'
05. Q 65 - Afghanistan [1970-71] Night
06. Neil Young - US Weld Tour 1991 - Hey Hey, My My
07. Sam Gopal - Escalator - Yesterlove
08. Raw Material - Selftitled - Traveller Man
09. Second Hand - Reality - The World Eill End Yesterday
10. Shape Of The Rain - Riley, Riley, Wood And Waagett - Dusty Road
11. Skin Alley - Skin Alley - Mother Please Help Your Child
12. Snatch And The Poontangs - The Signifyin' Monkey Part 2
13. Sperrmull - Right Now
14. Sum Pear - Better Get Down
15. Swampgas - Don't
16. Ted Nugent - Tooth Fang & Claw - Living In The Woods

CD2:
01. The Yankee Dollar - Follow Your Dream´s Way
02. The Spike Drivers - Everybody´s Got That Feeling
03. Toad - Stay
04. The Byrds - Lover Of The Bayou
05. Twenty Sixty Six And Then - Reflections - At My Home
06. ULTRA - Ultra - Lamp Black White Fight
07. The Id - the Inner Sounds Of The Id
08. Them - Now And Them - Nobody Loves You When You're Down And Out
09. Trizio 50 - Graveyard
10. The Battered Ornaments - Mantle-Piece - Living Life Backwards
11. The David - Another Day, Another Lifetime
12. The Dog That Bit People - Cover Me in Roses
13. Savage Resurrection - Thing In 'E'
14. Tractor - John Peel Bought Us A Studio - Willow
15. The Parlour Band - Is A Friend - Pretty Haired Girl