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The Psychedelic era was the time of social, musical and artistic change influenced by psychedelic drugs, occurring from the mid-1960s [1] to the mid-1970s. [2] The era was defined by the proliferation of LSD and its following influence in the development of psychedelic music and psychedelic film in the Western world .
Psychedelic music (sometimes called psychedelia) [1] is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as DMT, LSD, mescaline, and psilocybin mushrooms, to experience synesthesia and altered states of consciousness.
Nuggets is a series of compilation albums, started by Elektra Records in 1972 [1] and continued by Rhino Records thereafter. [2] The series focuses primarily on relatively obscure garage and psychedelic rock songs from the 1960s, but with some hits and pop-oriented songs also included.
Classic Garage Rock - includes profiles and lyrics of 60s garage rock bands and songs—have inventory of records rented to film studios; Cosmic Mind at Play - discusses garage and psychedelic records of the 60s along with band histories; Down The Line – news, information, and reviews of 1960s bands
Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965. [12] The psychedelic life style had already developed in San Francisco and particularly prominent products of the scene were The Grateful Dead, Country Joe and the Fish, The Great Society and Jefferson Airplane.
The Bosstown Sound (or Boston Sound) was the catchphrase of a marketing campaign to promote psychedelic rock and psychedelic pop bands in Boston, Massachusetts, in the late 1960s. The concept was conceived by the record producer Alan Lorber as a marketing strategy intended to establish several underground musical artists native to the city on ...
Where once "progressive rock radio [was] the key media of ascendant rock culture", as writer Nelson George put it, [34] by 1987, musician and author Robert Palmer would write, "The glory days of 'progressive' rock radio - when the disk jockey actually chose the records he played and creatively juxtaposed songs and styles - are long gone." [35]
In October 1966, the band re-recorded a psychedelic pop-oriented cover of "(I'm Not Your) Stepping Stone", along with the new composition "Talk to Me" for the respective A-side and B-side of their debut single. The record became a regional hit, peaking at number 11 on the Wonderful Radio London Fab 40 charts. [4]