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{{More citations needed|date=December 2023}}
{{Short description|Genre of pop music}}
{{Redirect|pop-psych|pop psychology|popular psychology}}
{{Infobox music genre
{{Infobox music genre
| name = Psychedelic pop
| name = Psychedelic pop
⚫
| stylistic_origins = *[[Pop music|Pop]]<ref name=AllmusicPsychedelicpop/>
| bgcolor = #87CEEB
⚫
*[[psychedelic music|psychedelia]]<ref name=AllmusicPsychedelicpop/>
| color = black

| stylistic_origins =
⚫
| cultural_origins = Mid-1960s, United States and United Kingdom
⚫
* [[Pop music|Pop]]<ref name=AllmusicPsychedelicpop/>
| instruments =
⚫
* [[psychedelic music|psychedelia]]<ref name=AllmusicPsychedelicpop/>
⚫
| derivatives = *[[Neo-psychedelia]]<ref name="AllMusicNeoP"/>
* [[psychedelic rock]]
| subgenrelist =
* [[psychedelic folk]]
⚫
| subgenres =
* [[baroque pop]]
⚫
| fusiongenres =
⚫
| cultural_origins = Mid-1960s, [[United States]] and [[United Kingdom]]
| instruments =
| regional_scenes =
⚫
| other_topics = * [[List of psychedelic pop artists|List of artists]]
| derivatives =
⚫
* [[Neo-psychedelia]]<ref name="AllMusicNeoP"/>
* [[baroque pop]]
* [[dream pop]]
* [[bubblegum pop]]
* [[wonky pop]]
⚫
| subgenres =
⚫
| fusiongenres =
| regional_scenes =
* The United Kingdom
* The United States
| local_scenes = California
| other_topics =
⚫
* [[List of psychedelic pop artists]]
* [[hypnagogic pop]]
* [[hypnagogic pop]]
* [[psychedelic folk]]
* [[psychedelic folk]]
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}}
}}
{{Psychedelic sidebar}}
{{Psychedelic sidebar}}

'''Psychedelic pop''' is [[pop music]] that contains musical characteristics associated with [[psychedelic music]].<ref name=AllmusicPsychedelicpop>{{cite web|author=Anon|date=n.d.|url=http://www.allmusic.com/style/psychedelic-pop-ma0000011915|title=Psychedelic Pop|website=[[AllMusic]]}}</ref> Elements include "trippy" effects such as [[fuzz guitar]]s, tape manipulation, [[sitar]]s, backwards recording, and [[The Beach Boys|Beach Boys]]-style harmonies blended with pop, resulting in melodic songs with tight song structures.<ref name="AllmusicPsychedelicpop" /> The style lasted into the early 1970s.<ref name="AllmusicPsychedelicpop" />
'''Psychedelic pop''' (or '''acid pop''')<ref name="McPadden2016"/> is a genre of [[pop music]] that contains musical characteristics associated with [[psychedelic music]].<ref name=AllmusicPsychedelicpop>{{cite web|author=Anon|date=n.d.|url=http://www.allmusic.com/style/psychedelic-pop-ma0000011915|title=Psychedelic Pop|website=[[AllMusic]]}}</ref> Developing in the mid-to-late 1960s, elements included "[[acid trip|trippy]]" features such as [[fuzz guitar]]s, tape manipulation, backwards recording, [[sitar]]s, and [[The Beach Boys|Beach Boys]]-style harmonies, wedded to melodic songs with tight song structures.<ref name="AllmusicPsychedelicpop" /> The style lasted into the early 1970s.<ref name="AllmusicPsychedelicpop" /> It has seen revivals in subsequent decades by [[neo-psychedelic]] artists.<ref name=AllMusicNeoP/>

==Characteristics==
==Characteristics==
{{Details|Psychedelic music}}
{{Further|Psychedelic music}}

According to [[AllMusic]], psychedelic pop was not too "freaky", but also not very "[[bubblegum pop|bubblegum]]" either.<ref name="AllmusicPsychedelicpop" /> It appropriated the effects associated with straight psychedelic music, applying their innovations to concise pop songs.<ref name="AllmusicPsychedelicpop" /> The music was occasionally confined to the studio, but there existed more organic exceptions whose psychedelia was bright and melodic.<ref name="AllmusicPsychedelicpop" /> AllMusic adds: "What's [strange] is that some psychedelic pop is more interesting than average psychedelia, since it had weird, occasionally awkward blends of psychedelia and pop conventions -- [[the Neon Philharmonic]]'s 1969 album ''[[The Moth Confesses]]'' is a prime example of this."<ref name="AllmusicPsychedelicpop" />
According to [[AllMusic]], psychedelic pop was not too "freaky", but also not very "[[bubblegum pop|bubblegum]]" either.<ref name="AllmusicPsychedelicpop" /> It appropriated the effects associated with straight psychedelic music, applying their innovations to concise pop songs.<ref name="AllmusicPsychedelicpop" /> The music was occasionally confined to the studio, but there existed more organic exceptions whose psychedelia was bright and melodic.<ref name="AllmusicPsychedelicpop" /> AllMusic adds: "What's [strange] is that some psychedelic pop is more interesting than average psychedelia, since it had weird, occasionally awkward blends of psychedelia and pop conventions – [[the Neon Philharmonic]]'s 1969 album ''[[The Moth Confesses]]'' is a prime example of this."<ref name="AllmusicPsychedelicpop" />

==Notable works (1966–1969)==
==Notable works (1966–1969)==
{{See also|Psychedelic rock}}
{{See also|Psychedelic rock}}
===1966===
'''1966'''
* ''[[Pet Sounds]]'' by [[the Beach Boys]] – The album came as an indirect result of bandleader [[Brian Wilson]]'s experimentation with [[psychedelic drug]]s. It is credited for sparking a psychedelic pop revolution. Psychedelic rock had existed before ''Pet Sounds'', mainly among [[garage band]]s like the [[13th Floor Elevators]], but ''Pet Sounds'' inspired mainstream pop acts to take part in the psychedelic culture.<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=[[The Kind]]|date=May 13, 2016|access-date=June 18, 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=November 9, 2016|url-status=dead}}</ref>{{refn|group=nb|Albums which followed in the wake of ''Pet Sounds'' include ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' ([[The Beatles]], 1967), ''[[Triangle (The Beau Brummels album)|Triangle]]'' ([[The Beau Brummels]], 1967), ''[[The Magic Garden]]'', ([[The 5th Dimension]], 1967), ''[[Captain Sad and His Ship of Fools]]'', ([[The Cowsills]], 1968), ''[[Head (soundtrack)|Head]]'' ([[The Monkees]], 1968), ''[[The Turtles Present the Battle of the Bands]]'' ([[The Turtles]], 1968), ''[[Odessa (Bee Gees album)|Odessa
* ''[[Pet Sounds]]'' by [[the Beach Boys]] – The album came as an indirect result of bandleader [[Brian Wilson]]'s experimentation with [[psychedelic drug]]s. Music journalist Mike McPadden credits it with sparking a psychedelic pop revolution. He says that while psychedelic rock had existed before ''Pet Sounds'', mainly among [[garage band]]s like the [[13th Floor Elevators]], ''Pet Sounds'' inspired mainstream pop acts to take part in the psychedelic culture.<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=The Kind|date=May 13, 2016|access-date=June 18, 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=November 9, 2016|url-status=dead}}</ref>{{refn|group=nb|As albums that followed in the wake of ''Pet Sounds'', McPadden cites ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' ([[the Beatles]], 1967), ''[[Triangle (The Beau Brummels album)|Triangle]]'' ([[the Beau Brummels]], 1967), ''[[The Magic Garden]]'' ([[the 5th Dimension]], 1967), ''[[Captain Sad and His Ship of Fools]]'' ([[the Cowsills]], 1968), ''[[Head (soundtrack)|Head]]'' ([[the Monkees]], 1968), ''[[The Turtles Present the Battle of the Bands]]'' ([[The Turtles]], 1968), ''[[Odessa (Bee Gees album)|Odessa
]]'' ([[The Bee Gees]], 1969), ''[[The Genuine Imitation Life Gazette]]'' ([[The Four Seasons (band)|The Four Seasons]], 1969), ''[[Odessey and Oracle]]'', ([[The Zombies]], 1969), and ''[[Intercourse (The Tokens album)|Intercourse]]'' ([[The Tokens]], 1971).<ref name="McPadden2016"/>}}
]]'' ([[The Bee Gees]], 1969), ''[[The Genuine Imitation Life Gazette]]'' ([[The Four Seasons (band)|The Four Seasons]], 1969), ''[[Odessey and Oracle]]'' ([[The Zombies]], 1969), and ''[[Intercourse (The Tokens album)|Intercourse]]'' ([[The Tokens]], 1971).<ref name="McPadden2016"/>}}
* ''[[Revolver (Beatles album)|Revolver]]'' by [[the Beatles]] – According to AllMusic, the album ensured that psychedelic pop emerged from its underground roots and into the mainstream.<ref name="AllmusicPsychedelicpop" /> Biographer [[Ian MacDonald]] wrote that the album "had initiated a second pop revolution – one which while galvanising their existing rivals and inspiring many new ones, left all of them far behind".{{sfn|MacDonald|2005|p=192}}
* ''[[Revolver (Beatles album)|Revolver]]'' by [[the Beatles]] – According to AllMusic, the album ensured that psychedelia emerged from its underground roots and presented in the mainstream as psychedelic pop.<ref name="AllmusicPsychedelicpop" /> Biographer [[Ian MacDonald]] wrote that the album "had initiated a second pop revolution – one which, while galvanising their existing rivals and inspiring many new ones, left all of them far behind".{{sfn|MacDonald|2005|p=192}}
* "[[Good Vibrations]]" by the Beach Boys – Proclaimed by journalist [[Barney Hoskyns]] as the "ultimate psychedelic pop record" from Los Angeles in its time.{{sfn|Hoskyns|2009|p=128}} ''[[Popmatters]]'' added: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated ... [it] changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have."<ref name="12songs2015">{{cite magazine|last1=Interrante|first1=Scott|title=The 12 Best Brian Wilson Songs|url=http://www.popmatters.com/post/193278-the-12-best-brian-wilson-songs/|magazine=[[Popmatters]]|date=May 20, 2015}}</ref>
* "[[Good Vibrations]]" by the Beach Boys – Proclaimed by journalist [[Barney Hoskyns]] as the "ultimate psychedelic pop record" from Los Angeles in its time.{{sfn|Hoskyns|2009|p=128}} ''[[Popmatters]]'' added: "Its influence on the ensuing psychedelic and progressive rock movements can't be overstated ... [it] changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have."<ref name="12songs2015">{{cite magazine|last1=Interrante|first1=Scott|title=The 12 Best Brian Wilson Songs|url=http://www.popmatters.com/post/193278-the-12-best-brian-wilson-songs/|magazine=[[Popmatters]]|date=May 20, 2015}}</ref>
===1967===
'''1967'''
* "[[Penny Lane]]" and "[[Strawberry Fields Forever]]" by the Beatles – the double A-sided single is described by AllMusic as a prototype for psychedelic pop.<ref>{{cite web|url=http://www.allmusic.com/explore/essay/british-psychedelic-t684 |title=British Psychedelia |publisher=Allmusic |accessdate=2011-06-07 |url-status=dead |archiveurl=https://web.archive.org/web/20110101142207/http://www.allmusic.com/explore/essay/british-psychedelic-t684 |archivedate=January 1, 2011 }}</ref>
* "[[Penny Lane]]" and "[[Strawberry Fields Forever]]" by the Beatles – the double A-sided single is described by AllMusic as a prototype for psychedelic pop.<ref>{{cite web|url=http://www.allmusic.com/explore/essay/british-psychedelic-t684 |title=British Psychedelia |publisher=Allmusic |access-date=2011-06-07 |url-status=dead |archive-url=https://web.archive.org/web/20110101142207/http://www.allmusic.com/explore/essay/british-psychedelic-t684 |archive-date=January 1, 2011 }}</ref>
* ''[[Evolution (Hollies album)|Evolution]]'' was a transitional album between [[The Hollies]]' conventional pop sound and what the Oxford 'Encyclopedia of Popular Music' described the "full blown psychedelic glory of ''[[Butterfly (Hollies album)|Butterfly]].''"<ref>'Evolution (Hollies album),' in Oxford 'Encyclopedia of Popular Music.' Edited by Colin Larkin, 2009 https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095941837</ref>
* ''[[Evolution (Hollies album)|Evolution]]'' was a transitional album between [[The Hollies]]' conventional pop sound and what the Oxford 'Encyclopedia of Popular Music' described as the "full-blown psychedelic glory of ''[[Butterfly (Hollies album)|Butterfly]].''"<ref>'Evolution (Hollies album),' in Oxford 'Encyclopedia of Popular Music.' Edited by Colin Larkin, 2009 https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095941837</ref>
* "[[Arnold Layne]]" and "[[See Emily Play]]" by [[Pink Floyd]] – Two singles written by [[Syd Barrett]] that helped set the pattern for pop-psychedelia in Britain.{{sfn|Kitts|Tolinski|2002|p=6}}
* "[[Arnold Layne]]" and "[[See Emily Play]]" by [[Pink Floyd]] – Two singles written by [[Syd Barrett]] that helped set the pattern for pop-psychedelia in Britain.{{sfn|Kitts|Tolinski|2002|p=6}}
===1968===
'''1968'''
* ''[[Odessey and Oracle]]'' by [[the Zombies]] – AllMusic's Bruce Eder characterizes the album as "some of the most powerful psychedelic pop/rock ever heard out of England".<ref>{{cite web |url=http://www.allmusic.com/album/odessey-and-oracle-r22698 |title=Odessey and Oracle |first=Bruce|last=Eder |website=[[Allmusic]] }}</ref> According to ''Record Bin''{{'}}s Joshua Packard, the album was a "psychedelic pop spectacle". "[[Care of Cell 44]]", its opening track, "presents the band as bearers of a new kind of psychedelia, one that relied less on psychotropics and more on the natural abilities of the band. ... [the album] has gained a well-deserved reputation for being one of the greatest pop records of the '60s."<ref>{{cite web|last1=Packard|first1=Joshua|title=Record Bin: The psychedelic pop spectacle of The Zombies' "Odessey and Oracle"|url=http://nooga.com/171439/record-bin-the-psychedelic-pop-spectacle-of-the-zombies-odessey-and-oracle/|website=Record Bin|date=October 31, 2015}}</ref>
* ''[[Odessey and Oracle]]'' by [[the Zombies]] – AllMusic's Bruce Eder characterizes the album as "some of the most powerful psychedelic pop/rock ever heard out of England".<ref>{{cite web |url=http://www.allmusic.com/album/odessey-and-oracle-r22698 |title=Odessey and Oracle |first=Bruce|last=Eder |website=[[Allmusic]] }}</ref> According to ''Record Bin''{{'}}s Joshua Packard, the album was a "psychedelic pop spectacle". "[[Care of Cell 44]]", its opening track, "presents the band as bearers of a new kind of psychedelia, one that relied less on psychotropics and more on the natural abilities of the band. ... [the album] has gained a well-deserved reputation for being one of the greatest pop records of the '60s."<ref>{{cite web|last1=Packard|first1=Joshua|title=Record Bin: The psychedelic pop spectacle of The Zombies' "Odessey and Oracle"|url=http://nooga.com/171439/record-bin-the-psychedelic-pop-spectacle-of-the-zombies-odessey-and-oracle/|website=Record Bin|date=October 31, 2015}}</ref>

==Decline and revivals==
==Decline and revivals==
{{see also|Neo-psychedelia}}
{{see also|Neo-psychedelia}}

By the end of the 1960s psychedelic folk and rock were in retreat. Many surviving acts 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-laden heavy rock.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}} Psychedelic influences lasted a little longer in pop music, stretching into the early 1970s.<ref name=AllmusicPsychedelicpop/> Psychedelic pop became a component of the [[neo-psychedelic]] style. There were occasional mainstream acts that dabbled in the genre, including [[Prince (musician)|Prince]]'s mid-1980s work and some of [[Lenny Kravitz]]'s 1990s output, but it has mainly been the domain of alternative and indie rock bands.<ref name=AllMusicNeoP>{{cite web|website=[[AllMusic]]|date=n.d.|url=http://www.allmusic.com/style/neo-psychedelia-ma0000012252|title=Neo-Psychedelia}}</ref>
By the end of the 1960s, psychedelic folk and rock were in retreat. Many surviving acts 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-laden heavy rock.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1322–1323}}{{verification needed|date=June 2016}} Psychedelic influences lasted a little longer in pop music, stretching into the early 1970s.<ref name=AllmusicPsychedelicpop/>

Psychedelic pop became a component of the [[neo-psychedelic]] style. There were occasional mainstream acts that dabbled in the genre, including [[Prince (musician)|Prince]]'s mid-1980s work and some of [[Lenny Kravitz]]'s 1990s output, but it has mainly been the domain of alternative and indie rock bands.<ref name=AllMusicNeoP>{{cite web|website=[[AllMusic]]|date=n.d.|url=http://www.allmusic.com/style/neo-psychedelia-ma0000012252|title=Neo-Psychedelia}}</ref> [[Animal Collective]] saw commercial success in the 2000s; their 2009 album ''[[Merriweather Post Pavilion (album)|Merriweather Post Pavilion]]'' featured a reverb-heavy psychedelic pop sound that exerted a wide influence on music of the subsequent decade.<ref name="theringer1">{{cite web |last1=Kloczko |first1=Justin |title=Heavy Reverb: The Still-Resonant Psych-Pop Influence of 'Merriweather Post Pavilion' |url=https://www.theringer.com/music/2019/1/4/18167715/animal-collective-merriweather-post-pavilion-10th-anniversary-panda-bear-avey-tare |website=The Ringer |date=January 4, 2019}}</ref>

==List of artists==
==List of artists==
{{Main article|List of psychedelic pop artists}}
{{Main article|List of psychedelic pop artists}}

==Notes==
==Notes==
{{reflist|group=nb}}
{{reflist|group=nb}}

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

==Bibliography==
==Bibliography==
⚫
* {{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|url={{google books |plainurl=y |id=1-pH4i3jXvAC}}|year=2002|publisher=Backbeat Books|isbn=978-0-87930-653-3}}
{{refbegin|normalfont=yes}}
⚫
* J. Kitts and B. Tolinski, eds, ''Guitar World Presents Pink Floyd'' (Milwaukee, WI: Hal Leonard, 2002), {{ISBN|0-634-03286-0}}, p.&nbsp;6.
⚫
* {{cite book|editor-last1=Bogdanov|editor-first1=Vladimir|editorlink1=Vladimir Bogdanov|editor-last2=Woodstra|editor-first2=Chris|editor-last3=Erlewine|editor-first3=Stephen Thomas|editorlink3=Stephen Thomas Erlewine|title=All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul|url={{google books |plainurl=y |id=1-pH4i3jXvAC}}|year=2002|publisher=Backbeat Books|isbn=978-0-87930-653-3|ref=harv}}

{{refend}}
⚫
* J. Kitts and B. Tolinski, eds, ''Guitar World Presents Pink Floyd'' (Milwaukee, WI: Hal Leonard, 2002), {{ISBN|0-634-03286-0}}, p. 6.
{{Pop music}}
{{Pop music}}
{{Psychedelic music}}
{{Psychedelic music}}

{{DEFAULTSORT:Psychedelic Pop}}
[[Category:Pop music genres]]
[[Category:Pop music genres]]
[[Category:Psychedelic music]]
[[Category:Psychedelic music]]
[[Category:American rock music genres]]
[[Category:American styles of music]]
[[Category:American styles of music]]

Latest revision as of 00:44, 5 December 2024

"pop-psych" redirects here. For pop psychology, see popular psychology.
Psychedelic pop
Stylistic origins
Cultural originsMid-1960s, United States and United Kingdom
Derivative forms
Other topics
Part of a series on
Psychedelia
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Culture
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Experience
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Psychedelic pop (or acid pop)[3] is a genre of pop music that contains musical characteristics associated with psychedelic music.[1] Developing in the mid-to-late 1960s, elements included "trippy" features such as fuzz guitars, tape manipulation, backwards recording, sitars, and Beach Boys-style harmonies, wedded to melodic songs with tight song structures.[1] The style lasted into the early 1970s.[1] It has seen revivals in subsequent decades by neo-psychedelic artists.[2]

Characteristics

[edit]
Further information: Psychedelic music

According to AllMusic, psychedelic pop was not too "freaky", but also not very "bubblegum" either.[1] It appropriated the effects associated with straight psychedelic music, applying their innovations to concise pop songs.[1] The music was occasionally confined to the studio, but there existed more organic exceptions whose psychedelia was bright and melodic.[1] AllMusic adds: "What's [strange] is that some psychedelic pop is more interesting than average psychedelia, since it had weird, occasionally awkward blends of psychedelia and pop conventions – the Neon Philharmonic's 1969 album The Moth Confesses is a prime example of this."[1]

Notable works (1966–1969)

[edit]
See also: Psychedelic rock

1966

  • Pet Sounds by the Beach Boys – The album came as an indirect result of bandleader Brian Wilson's experimentation with psychedelic drugs. Music journalist Mike McPadden credits it with sparking a psychedelic pop revolution. He says that while psychedelic rock had existed before Pet Sounds, mainly among garage bands like the 13th Floor Elevators, Pet Sounds inspired mainstream pop acts to take part in the psychedelic culture.[3][nb 1]
  • Revolver by the Beatles – According to AllMusic, the album ensured that psychedelia emerged from its underground roots and presented in the mainstream as psychedelic pop.[1] Biographer Ian MacDonald wrote that the album "had initiated a second pop revolution – one which, while galvanising their existing rivals and inspiring many new ones, left all of them far behind".[4]
  • "Good Vibrations" by the Beach Boys – Proclaimed by journalist Barney Hoskyns as the "ultimate psychedelic pop record" from Los Angeles in its time.[5] Popmatters added: "Its influence on the ensuing psychedelic and progressive rock movements can't be overstated ... [it] changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have."[6]

1967

1968

  • Odessey and Oracle by the Zombies – AllMusic's Bruce Eder characterizes the album as "some of the most powerful psychedelic pop/rock ever heard out of England".[10] According to Record Bin's Joshua Packard, the album was a "psychedelic pop spectacle". "Care of Cell 44", its opening track, "presents the band as bearers of a new kind of psychedelia, one that relied less on psychotropics and more on the natural abilities of the band. ... [the album] has gained a well-deserved reputation for being one of the greatest pop records of the '60s."[11]

Decline and revivals

[edit]
See also: Neo-psychedelia

By the end of the 1960s, psychedelic folk and rock were in retreat. Many surviving acts 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-laden heavy rock.[12][verification needed] Psychedelic influences lasted a little longer in pop music, stretching into the early 1970s.[1]

Psychedelic pop became a component of the neo-psychedelic style. There were occasional mainstream acts that dabbled in the genre, including Prince's mid-1980s work and some of Lenny Kravitz's 1990s output, but it has mainly been the domain of alternative and indie rock bands.[2] Animal Collective saw commercial success in the 2000s; their 2009 album Merriweather Post Pavilion featured a reverb-heavy psychedelic pop sound that exerted a wide influence on music of the subsequent decade.[13]

List of artists

[edit]
Main article: List of psychedelic pop artists

Notes

[edit]
  1. ^ As albums that followed in the wake of Pet Sounds, McPadden cites Sgt. Pepper's Lonely Hearts Club Band (the Beatles, 1967), Triangle (the Beau Brummels, 1967), The Magic Garden (the 5th Dimension, 1967), Captain Sad and His Ship of Fools (the Cowsills, 1968), Head (the Monkees, 1968), The Turtles Present the Battle of the Bands (The Turtles, 1968), Odessa (The Bee Gees, 1969), The Genuine Imitation Life Gazette (The Four Seasons, 1969), Odessey and Oracle (The Zombies, 1969), and Intercourse (The Tokens, 1971).[3]

References

[edit]
  1. ^ a b c d e f g h i j k Anon (n.d.). "Psychedelic Pop". AllMusic.
  2. ^ a b c "Neo-Psychedelia". AllMusic. n.d.
  3. ^ a b c McPadden, Mike (May 13, 2016). "The Beach Boys' Pet Sounds and 50 Years of Acid-Pop Copycats". The Kind. Archived from the original on November 9, 2016. Retrieved June 18, 2016.
  4. ^ MacDonald 2005, p. 192.
  5. ^ Hoskyns 2009, p. 128.
  6. ^ Interrante, Scott (May 20, 2015). "The 12 Best Brian Wilson Songs". Popmatters.
  7. ^ "British Psychedelia". Allmusic. Archived from the original on January 1, 2011. Retrieved 2011-06-07.
  8. ^ 'Evolution (Hollies album),' in Oxford 'Encyclopedia of Popular Music.' Edited by Colin Larkin, 2009 https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095941837
  9. ^ Kitts & Tolinski 2002, p. 6.
  10. ^ Eder, Bruce. "Odessey and Oracle". Allmusic.
  11. ^ Packard, Joshua (October 31, 2015). "Record Bin: The psychedelic pop spectacle of The Zombies' "Odessey and Oracle"". Record Bin.
  12. ^ Bogdanov, Woodstra & Erlewine 2002, pp. 1322–1323.
  13. ^ Kloczko, Justin (January 4, 2019). "Heavy Reverb: The Still-Resonant Psych-Pop Influence of 'Merriweather Post Pavilion'". The Ringer.

Bibliography

[edit]
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