[3] 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.

[19][20] The two terms are often used interchangeably,[13] but acid rock may be distinguished as a more extreme variation that was heavier, louder, relied on long jams,[21] focused more directly on LSD, and made greater use of distortion.

[7] Writing in his 1969 book The Rock Revolution, 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".

[32] In the 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.

[33][34][nb 2] Jazz saxophonist and composer John Coltrane had a similar impact, as the exotic sounds on his albums 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".

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.

[42] Producer George Martin, who was initially known as a specialist in comedy and novelty records,[43] 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.

[44] Anticipating their overtly psychedelic work,[45] "Ticket to Ride" (April 1965) introduced a subtle, drug-inspired drone suggestive of India, played on rhythm guitar.

[46] 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.

[66] San Francisco historian Charles Perry recalled the album being "the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit", as pre-hippie youths suspected that the songs were inspired by drugs.

[74] Helms and San Francisco Mime Troupe manager Bill Graham in the fall of 1965 organised larger scale multi-media community events/benefits featuring the Airplane, the Diggers and Allen Ginsberg.

By early 1966 Graham had secured booking at The Fillmore, and Helms at the Avalon Ballroom, where in-house psychedelic-themed light shows[75] replicated the visual effects of the psychedelic experience.

[84] On "Eight Miles High", Roger McGuinn's 12-string Rickenbacker guitar[92] provided a psychedelic interpretation of free jazz and Indian raga, channelling Coltrane and Shankar, respectively.

[107] 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[108] and lyrics conveying the division between an enlightened psychedelic outlook and conformism.

[110] In author Shawn Levy's description, it was "the first true drug album, not [just] a pop record with some druggy insinuations",[111] 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".

[112][nb 12] Echard highlights early records by the 13th Floor Elevators and Love among the key psychedelic releases of 1966, along with "Shapes of Things", "Eight Miles High", "Rain" and Revolver.

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".

[140] 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.

[146] 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.

[148] 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.

The first, dominated by 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.

[159][nb 15] 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.

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.

[173] In 1969, the murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his cult of followers, claiming to have been inspired by The Beatles' songs such as "Helter Skelter", has been seen as contributing to an anti-hippie backlash.

[174] 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 Meredith Hunter by Hells Angels security guards.

[175] George Clinton's ensembles Funkadelic and Parliament and their various spin-offs took psychedelia and funk to create their own unique style,[176] producing over forty singles, including three in the US top ten, and three platinum albums.

[183][verification needed] George Clinton's interdependent Funkadelic and Parliament ensembles and their various spin-offs took the genre to its most extreme lengths, making funk almost a religion in the 1970s,[176] producing over forty singles, including three in the US top ten, and three platinum albums.

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.

[194][verification needed] From 1971 David Bowie moved on from his early psychedelic work to develop his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.

[208] 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 dance culture as well as other sources, including psychedelic music and 1960s pop.