How is psychedelic music created

The emergence of psychedelic rock music and its connection to society

Name: Leon Broek - Year: 12 - Tutor: Rolf Schaper

1 Introduction
In my specialist thesis I will clarify the connection between psychedelic rock music and society in the time it was created, as well as today. Why did people come to create this kind of music at that time? Why did the artists play these styles in particular? What was and is special about this music, or what characterizes this genre? Who were the predecessors of these musicians (on the reasons why the music is made and on the background (e.g. drug influences))? What did the artists originally want to express / aim at with their art at that time?
Behind the catchphrase "rock" are youthful rejection and protest attitudes towards war, peace and freedom thinking, as well as the desire for personal independence. The huge open-air festivals in Woodstock, Monterey and Alamont made these values ​​public for the first time in the form of a new sense of community. "Psychedelic Rock" - also called "Acid Rock" or "Psychedelia" - is a style of rock music that developed simultaneously and in parallel with the hippie culture.

In the German language, the term “Psychedelic” is often incorrectly translated as “Psychodelic” or “Psychodelic”. Psychedelic rock music was coined around 1965 in the Bay Area in San Francisco, USA, established itself as an important part of western pop culture and continued in its creation until 1969. The main common features of the bands involved are the use of unusual and novel sounds, as well as the revolutionary-experimental handling of song structures, which were previously often made simpler. Other important features are distorted guitars, sound effects such as “wah”, “flanger”, “phaser” or “reverb”, which give psychedelic rock music its typical trance-like character. Long, playful solos and improvisations are also common.

Psychedelic music is often inspired by hallucinatory experiences with LSD, so-called psychedelic mushrooms (also called “magic mushrooms”), mescaline and / or cannabis. A secondary term in psychedelic rock is space rock. This term was mostly coined by bands like Pink Floyd and Hawkwind in the late 1960s and early 1970s.
In space rock, the use of repetitive features, e.g. B. by hard rock-like guitar riffs and diverse timbres, a space-like atmosphere and a feeling of weightlessness. This is caused by the use of synthesizers, but also with more exotic instruments such as wind or string instruments. Along with the "space-like" music are often texts that deal with the universe, science fiction or fantasy. In addition, complicated light shows are common when performing live in this genre. One can highlight the band Pink Floyd mentioned above, who already experimented with optical effects at concerts in their early phase. Technical aspects are also decisive when explaining psychedelic music, because innovations at the time made the overall musical development, as will be explained later, possible.
Nevertheless, it is important to realize that jazz musicians such as Miles Davis created basic psychedelic moods in their compositions. This was achieved without electrical live or studio effects, but only with instruments. As with psychedelic music, the focus of these artists was on creating something new. In addition, artists like Miles Davis and Charlie Parker also used drugs.

2 History and situation of people / society before and during the development
During the Vietnam War, US citizens were for a long time in the dark about the situation in Vietnam and the extent of the destruction. The reason for this was a widespread silence in government circles. Since the US government felt that it was morally right, western journalists were allowed to move relatively freely in the war zone. Every day, images of fighting were shown on television. The newspapers also reported extensively. This led to the brutality of the war becoming public knowledge. The air strikes on Vietnam and the use of napalm by the Americans sparked protests and outrage around the world. Then around 1969 more and more US citizens rejected the Vietnam War. The US seemed to be waging a war against the Vietnamese people, not communism. In response, a broad protest movement developed in the western world, coupled with the new forms of cultural expression that gained popularity in the 1960s. Students organized and eventually banded together with the aim of changing the structure of society. In their eyes, the elites had completely exploited and undermined the people's trust. The traditional order seemed to be called into question and the attitude towards war divided society.
“America invented the blues. We have to be proud of that - not the atomic technology or the moon landing; on the blues.

And when the blues got psychedelic, rock’n’roll really took off. ”²
-Ken Kesey, Author and Merry Prankster-
A new left movement emerged in Europe. In West Germany, the positive image of the USA as a protective power was damaged. The aggression and brutality of the American government and the constant possibility of using atomic weapons now also triggered a hippie movement in Europe, whose top values ​​were love, respect for life, pacifism, anarchism, maladjustment and lack of property. Another reason for these movements were various civil conflicts within Europe.
Posture and clothing were deliberately neglected as a protest against the mocked sense of cleanliness. The achievement society and the benefit of everything and everyone as the primary goal were rejected: the closeness to nature, making music together and living together were important. On the other hand, work was only carried out when money was scarce. You practically lived the music. The music became the basic attitude.
Philosophy, clothing, way of thinking and hair length within the scene were just as often standardized among the hippies as there were and are common patterns of recognition in every other social group.
But there were also other criteria in which the hippies differed from other youth protest movements: Meditation, withdrawal into their own self and their tendency to use mind-expanding drugs were such points. LSD, cannabis, and other drugs were still legal and readily available. Many supporters of the hippies believed that people under the influence of LSD could free themselves from their inner constraints and thus lead freer, more imaginative lives. Light drugs could be consumed openly.
Soon, some business people also recognized a source of money in this scene in the lifestyle of the hippie and the term "flower power" became a catchphrase that was mainly used for marketing. Many supporters of the hippie scene now wore flower power patches or similar items on shirts and pants. So you could see even faster who belonged and who didn't. In San Francisco itself, the hippies had become a vacation attraction. Thus, the hippie movement evolved into something that its followers once ridiculed.

"Hippies (derived from" hip ") are members of a countercultural youth movement that emerged in the 1960s." 7
“A counterculture is a specific, long-term socially effective subgroup (subset) of a given human culture. In contrast to the subculture - according to J. Milton Yinger - its members question the primary values ​​and norms of this culture and develop their own system of social values ​​and norms ”13

2.1 Influences on what artists do and what they leave behind
Of course, the social processes had a massive impact on all of art and thus also on psychedelic music during this time and were the first to initiate the emergence and development of psychedelic rock music. The musicians' values, such as love and devotion to music, criticism of American politics, anarchism and of course the “technical revolution” led to a musical awakening and experiments that had never happened before. In jam sessions, in which the previous knowledge of already existing complex psychedelic music was used, completely new musical paths emerged. A great source of inspiration, for example, was the music of jazz musicians Miles Davis and Charlie Parker.

3 The psychedelic rock music (beginning)
In the media landscape and in everyday language, the term "psychedelic" became a buzzword around 1965. Everything that seemed confusing, meditative, surreal, dreamy or exotic in any form was called psychedelic: from lava lamps to colorful ones patterned wallpaper. Of course, music was also called psychedelic:

“In psychedelic rock, extensive improvisations and spherical soundscapes tried to reinforce the consciousness-expanding effects of drugs. The same function should be fulfilled by colored spotlights and film and slide projections. Typical representatives of this music were the Californian groups Jefferson Airplane and Grateful Dead as well as the English band Pink Floyd. But the psychedelic influence was also present in other groups, such as the trend-conscious and trend-setting Beatles or the Rolling Stones (...) "

Psychedelic rock can be seen in several ways, firstly as a new musical development and secondly as a pre-form of later progressive rock, which existed alongside it and was also mixed with it. Both ultimately descend from the same subculture and show similar musical movements. At the beginning, psychedelic rock was characterized by a close relationship between viewers and musicians. B. at concerts in the Marquee Club in London no separation between stage and audience. One can speak of a reciprocal relationship between musicians and audiences who both belonged to the same scene. At this point it can also be noted that psychedelic music first existed in the club scene.

What constitutes psychedelic rock is difficult to say at first just by a rough description of the style, as very different pieces of music from folk to jazz have been described as psychedelic and all of them can appear as influences in psychedelic rock. It is easier to describe certain musical clichés or identifying features that are considered typically psychedelic.

There are numerous deviations from the simple skirt schemes. African, Old American, and Asian rhythms were used. Quite often the 4/4 time is interrupted for interludes in other time signatures and some psychedelic pieces are even polyrhythmic. Polyrhythm is the superposition of several different rhythms in a polyphonic piece, which was only common in jazz before Jimi Hendrix and Carlos Santana - and which then became a typical component of psychedelic and progressive rock. However, Santana should not be assigned to psychedelic rock. Furthermore - as already mentioned - psychedelic rock music can often be recognized by the variety of guitar effects used, because effects such as "delay" and "reverb", which can be explained with the words echo, reverb and delay, often solve the "lifting." “Basic mood, which also leads to the floating feeling mentioned that can arise when listening to the music.

3.1 Contemporary scene formation / mood
“It was incredibly informal. People just wandered around wondering what was going on ... and things just happened spontaneously. Everyone was ready to accept everything and contribute to everything. Everyone created something. "
-Jerry Garcia, Grateful Dead, on the First Acid Test 1965-

“In 1967, starting in San Francisco, a new youth movement, the hippie culture, conquered the western world. The themes of the hippies were pacifism, free love and the expansion of consciousness through the fashion drugs LSD and marijuana. The only decidedly political demand was the withdrawal of American troops from Vietnam, otherwise there was a rather diffuse protest, not only against the conformist adult world, but against western industrial society in general. The new sense of community was expressed in huge open-air festivals (Woodstock). "

In Europe, 1968 was the famous year of the student movement. After the wave of protests spilled over from the USA to Europe, there were demonstrations and riots in Paris, Prague and Berlin, which, unlike the hippie movement, were linked to specific political demands. Unlike in the US, the protest has not yet shifted to music.
“However, Macan sees music as the most important self-expression of the hippies, especially psychedelic rock, which on the acoustic level reflects the fashionable and ideal demarcation from the“ mainstream ”:“ The hippies despised the Establishment, approved top forty music for its predictability, conformity, and (in their view) banality (...) "

3.2 Drug influences of the artists as sources of inspiration and as reasons for problems
“Psychedelic music expands your consciousness and your perception. As simple as that."
-Phil Lesh, Grateful Dead-

In 1938, the Swiss researcher Dr. Albert Hoffmann chemically produced lysergic acid diethylamide for the first time, which is called LSD or "acid" for short. Until 1966, LSD use was legal in the United States. Clinical tests disproved the theory that LSD induces short-term psychotic states and so it has been classified as a "psychedelic" or "mind altering" substance.

The renowned Harvard professor of psychology Timothy Leary has been experimenting with hallucinogenic substances since 1960, especially with LSD since 1961. Due to increasing criticism of his studies, he relocated his work to Mexico in 1962 and limited it to the summer months. There, the experiences with the drug were experienced and evaluated in a group. The second event in 1963 was attended by many early hippies, which underscored the enormous popularity of Leary.

Leary published the first results of this work in 1964 together with Richard Alpert and Ralph Metzner in the book "The Psychedelic Experience". The book was a detailed guide to the use of LSD with the help of Asian philosophies based on the Tibetan Book of the Dead.

The term psychedelic was invented in 1956 by the British psychiatrist Humphry Osmond together with the British writer Aldous Huxley and describes the effects of hallucinogenic drugs on human perception. The term psychedelic is made up of the words "soul" and "apparently", literally meaning a sometimes euphoric trance, intoxication or meditation state or impression in which "the soul opens". Both men coined the word for this new type of drug effect on the soul in the form of a rhyme:

To make this trivial world sublime
take half a Gramme of phanerothyme.

(To make this trivial world more sublime, take half a gram of phanerothyma.)
Osmond's answer:
To fathom hell or soar angelic
just take a pinch of psychedelic.

(To explore Hell or ascend to heavenly heights, just take a pinch of "Psychedelic".) “12

The term psychedelic was first mentioned in Osmond's 1957 paper "A Review of the Clinical Effects of Psychotomimetic Agents" and has since established itself in the psychiatric field. Several young men who later became well-known representatives of the “psychedelic culture” took part in various clinical LSD tests. For example the poet Allen Ginsberg and the writer Ken Kesey. When these experiments were stopped on behalf of the CIA, Kesey and a few friends began organizing LSD parties in the North Beach student area of ​​San Francisco. After a short time these parties developed into so-called "Trips Festivals".

There was free LSD for one dollar. The first of these festivals took place on December 4, 1965 in a private home in San José.

"I don't think that musically valuable things have ever been created under the influence of drugs, but at least we developed a love for the completely unexpected."
-Jerry Garcia, Grateful Dead, in an interview-

“Nobody can define psychedelic music. Music is psychedelic when the listener is on acid. "
-Paul Kantner, Jefferson Airplane-
There have been connections between drugs and music throughout human history. On the other hand, one has rarely made a drug directly responsible for a musical development. Perhaps Louis Armstrong's lifelong love of cannabis actually had something to do with his extraordinary sensitivity to full sounds and melodious details, but no one would call Armstrong's improvisations stoner music or label it psychedelic for that reason. There may also be a connection between heroin use and the ability of modern jazz musicians like Charlie Parker to play the most complex rhythms and not even seem strained. Nevertheless, it would not occur to anyone to equate bebop with “junkie jazz”. What one can say about drugs, however, is that the social spread of LSD after the controlled experiments of the CIA has most likely accelerated the adoption of experimental song elements.
LSD is a special case. The reason for this is not just the fact that the effects of LSD are many times stronger than, for example, THC, the psychoactive substance in marijuana and hashish. A sufficient dose of LSD can trigger a trip that shakes a person to the point of origin and changes their life completely. An LSD trip can very drastically reveal that someone has so far been mistaken about the true nature of their external and internal reality (their psyche and their environment). The result can contribute to a personality development, but it can also throw a person completely off track - depending on how well he has prepared himself for his drug experiment and how tolerable he is to the substance, or whether he is mentally unstable or not .

At the turn of the decade, the hippie movement and generally the pop music of the late sixties that broke out to new heights then experienced a severe defeat, which also made clear the dangers of drugs:

Jimi Hendrix, Janis Joplin, Doors singer Jim Morrison and Rolling Stones guitarist Brian Jones died of excessive drug or alcohol use.

3.3 Technical innovations as effects and possibilities on / for the music world
The sound of the psychedelic rock era has become faster and often more electronic. There are many new directions that would not have come about without the technical possibilities that were developed in the 1960s.

Due to the influence of technology, it was possible to record with a time delay and via tracks. These techniques include B. the invention and refinement of the synthesizer, new recording techniques, tape cutting techniques, reverb (reverb), delay (echo / delay effect), flanger and phase effects, which represented completely new sounds - plus the possibility of stereo recording.

You often played in some parts of the song twice in order to create a broader sound. With this technique experimented z. B. The Beatles very early. This uncharted territory of developments made psychedelic rock possible and also paved the way for increased flexibility in the entirety of all musical genres.

Music productions with special effects are considered to be typically psychedelic, ranging from a simple wah effect pedal to experimenting with all of the new possibilities of studio technology mentioned above. In addition to the newly invented new synthesizer, other electronic instruments such as the trautonium, the electro-theremin and the mellotron were also used to create new sounds.

These newly created possibilities in studio technology soon increased the pressure of the music industry on bands and musicians. Music had to sound smoother, more perfect and more consumable - in short, "highly polished". This also reduced the chances for small garage bands with poor recording conditions to make their music big and gain popularity.

3.4 Rise, fame, relegation -> artist examples
Janis Joplin, Jimi Hendrix and Jim Morrison were the central key figures of the hippie era in the 1960s. All three musicians shaped a lifestyle that was later described as “Sex, Drugs & Rock'n'Roll” and “Live fast, love hard, die young”. “The futile search for true love, affection and security let these artists occasionally fall into depression, which they tried to displace with alcohol and hard drugs. Because of this inner turmoil of feelings and her difficulties in establishing close human contacts, her music can be understood, which simultaneously expresses pride and despair (All is Loneliness). ”6
The Beatles, who were musical masterminds for years, disbanded on April 10, 1970.
Despite these events, both the ideals of the hippies and the new musical techniques and styles shaped the coming decade.

3.5 Important and well-known artists / bands
“It has been possible for some time to chemically alter a person's state of mind and point of view. Thinking and language can be restructured so that people's thoughts are directly related to their life and problems, so that they can deal with them better
can. The search for this pure judgment forms the basis of a song on this album. ”2
- From the text accompanying the first album by the 13th Floor Elevators, The Psychedelic Sounds Of The 13th Floor Elevators, 1966-

  • Miles Davis
  • The Beatles
  • The Byrds
  • The Yardbirds
  • Grateful Dead
  • The Doors
  • Janis Joplin
  • Jefferson Airplane
  • The Who
  • The Blues Magoos
  • Led Zeppelin
  • Meat puppets
  • The Seeds
  • Count Five
  • The Deep
  • Rolling Stones
  • Pink Floyd
  • Syd Barret (formerly with Pink Floyd)
  • Jimi Hendrix
  • Novalis (German band)
  • Cream
  • King Crimson
  • Charlie Parker
  • The Merry Pranksters

As is often the case with music, some films also reflect contemporary moods or at least give a hint of what it might have been like within the hippie or psychedelic scene. Examples of this are the films "Psych-Out" (with Jack Nicholson among others) and "Easy Rider" (with Dennis Hopper, Phil Spector and also Jack Nicholson). In an exaggerated sense, also “Fear and Loathing in Las Vegas” (with Johnny Depp, among others).

Pink Floyd at a concert for the album “The Wall”. You can see a particularly elaborately designed light and laser show, for which Pink Floyd was known and had even hired an extra lighting technician.

4 the psychedelic rock music (today)
Some musicians who helped create psychedelic rock haven't turned their backs on this style and are still making similar music. But psychedelic music has also evolved and there are many new and younger artists and bands turning to psychedelic music styles. Even if you narrow down the period of psychedelic rock historically from 1965 to 1969, psychedelic music has survived to this day as a style of its own. Some living evidence of this is given in point 4.2. listed.

4.1 Developments through psychedelic music
Similar to rock and roll, psychedelic rock changed the music world tremendously. Things became a matter of course that were previously considered risky, frowned upon or even impossible.

"Many of the basic principles of contemporary rock music would be inconceivable without the psychedelic era."
-Joe Boyd, head of Hannibal Records (electronic label) -

For example, string or wind instruments were used that were previously only used in styles that were not assigned to rock. In addition, exotic instruments such as the sitar and tabla were used - as well as organs.

With the instruments, however, direct influences from other styles also flowed into rock music. In addition to jazz or folk, these were also influences from classical music to which one opened up. For example, there was a tendency to view an album as a thematically closed work (concept album).

Around 1970, psychedelic rock split into other styles: These include progressive rock, art rock and glam rock. Hard rock (e.g. "Led Zeppelin", "Deep Purple", "Black Sabbath") also made use of psychedelic elements.

Even metal and even britpop were heavily influenced by psychedelic rock. "Alice In Chains" and "Monster Magnet" recorded "psychedelic rock" songs. Britpop bands like "Oasis" or "Blur" referred to psychedelic elements - as did "Supergrass" or "Radiohead". "Wolfmother" and "Queens of the Stone Age" can also be counted as psychedelic rock. "The Cure", which unite electronic influences in their music, are also often distinctly psychedelic. Many electronic styles, such as trance, ambient and acid house, also live from psychedelic influences.
Side effects of the psychedelic rock era, such as posters and the light show, are now indispensable and indispensable components of rock and pop music in the form of concert posters and stage lighting.

Furthermore, during the heyday of psychedelic rock history, there was a break with the traditional three-minute piece. The radio stations became more and more willing to play longer songs. The lyrics also got more and more attention. Last but not least, Bob Dylan contributed to the fact that texts are given greater importance in relation to music today.

4.2 Artists / Bands (Today)

  • Radiohead (
  • Wolfmother (
  • Phil Lesh (
  • Gov't Mule (
  • Queens of the Stone Age (
  • Jethro Tull (
  • La Ira de Dios (
  • Trail Of Dead (
  • Eyes Adrift (

4.3 Differences and connections to previous scene mood
First of all, one can say that today in the jam and psychedelic rock scene a lot is different from what was already said about the mood within the rock scene in the 60s and 70s. Of course, the Vietnam War was a great source of suffering for many families. Many people in the United States have been victims of the war themselves; B. through the loss of acquaintances, friends or even family members.

"Because behind the ideal media world of peace, love and flowers, the sixties were a time of violent conflict and fear, with the front lines running on the streets."

Furthermore, the inhibition threshold for drug use was much lower, as little was known about the dangers of the substances and because the deterrent and prevention campaigns were only intensified in the late 1960s and 1970s. In addition, it was probably much easier to get hold of LSD in the early years of psychedelic rock music than it is today.

Of course, you can still get hold of psychedelic drugs these days ... and there's war too. And yet these events will not happen a second time. The fact that the mood has changed within every scene, every community and every society is due to many factors. The fact that many things change faster than in the past is perhaps due in particular to the pronounced mass media that are present everywhere, but such a pronounced and partly also somewhat closed scene as it existed in the 1960s and 1970s appears today in the pure psychedelic- Rock no longer give direction.

4.4 Expansion / growth due to media publication opportunities -> difficulties and advantages
On the one hand, it can be said here that due to the large number of media (television, internet, radio, newspapers) that accompany us practically around the clock, every musician now has the opportunity to make his product (music, text, video) public to make and especially through Internet portals such. B. Myspace can reach its respective interest groups. But the competition in the music industry is also growing. One reason for this is also in the media: Strictly speaking, in advertising.

Supply and demand for z. B. Musical instruments are increasing and due to the large number of advertisements, large music department stores such as Thomann in Bavaria have an easy time bringing articles cheaply to interested parties. Nowadays there is no longer any need for a large investment to get equipment for the rehearsal room or for the stage. Anyone who has acquired some skill on an instrument can now found a band and present themselves to an audience in public. The presentation on the Internet is even free and very straightforward.

The media is also responsible for the fact that a lot of good musicians never achieve fame and are reserved for a small group of fans of a band. There can be very different reasons for this: On the one hand, very few artists are selected for the broad masses. That always has something to do with luck. On the other hand, this selection even takes place in circles of recognized, famous bands and musicians. One example of this are the radio stations' numerous "clean-up campaigns" in the 1960s, which selected out much of what could be roughly associated with drugs.

However, the media are also responsible for the fact that rock musicians, for example, become unreachable superstars: Due to the concept-planned presentation in favor of the image and thus the marketing, musicians who have become famous sometimes appear as superhuman. The media use material from the record companies and press material. In extreme cases, image-damaging material may not be printed in the first place, if z. For example, photographers hired for concerts try to act on their own by trying to publish this material that is harmful to the artist. On the other hand, people, especially fans, experience the smallest crises in the lives of their role models and stars. As a result, the demand for artists increases with increasing fame, which means that crises for these famous people can be exacerbated because the privacy of the persecuted and well-known artists is no longer taken into account.

5 Own statement and conclusion
Personally, I would like to note that psychedelic music has a very deep effect: Effects such as echo or reverb make what is spoken sound as if the speaker is moving away. Such effects and the typically used patterns immediately create a deep level of memory or an image that is of course different for every person. But when you get involved with the music, you quickly realize that you shouldn't stick the label "psychedelic", which smells of marijuana and incense sticks, on everything, because you can recognize the term by certain patterns that cannot be explained superficially. The way it has to be in art - namely anything but superficial - one has even further split the psychedelic music, which is already very experimental, and one in turn came to new styles of music that were mixed with all other musical genres. There is little point in assigning a band or a song solely to psychedelic music, as there are always other directions at work. Psychedelic music is just a branch.

In conclusion, I would say that when looking for psychedelic rock music you can quickly find what you are looking for among the artists and bands specified in this elaboration, because if the criteria of the technical or technical characteristics are the only criteria, you are faced with an innumerable large search result these elements appear in almost every music today.

6 Appendix
The enclosed audio CD contains 10 tracks that have psychedelic traits. I don't differentiate between older and newer pieces. However, I have given descriptions of the songs on the CD, which is why they contain psychedelic characteristics and are valuable for understanding the psychedelic term.


  1. Pink Floyd - Comfortably Numb
  2. Pink Floyd - The Great Gig In The Sky
  3. Eyes Adrift - Pasted
  4. The Jimi Hendrix Experience - All Along The Watchtower
  5. The Jimi Hendrix Experience - Voodoo Child
  6. Queens Of The Stone Age - The Sky Is Falling
  7. Led Zeppelin - No Quarter
  8. J.A.M. Club - In the cellar
  9. J.A.M. Club - Rendezvous with my guitar
  10. J.A.M. Club - The Arab

Of course, among the bands that I have selected for the enclosed CD is Pink Floyd, who were masters at building powerful and exciting guitar sound walls with deep psychedelic solos, but on the other hand also relaxing rhythms and thereby giving the listener the feeling to give, he would float or become weightless. The two tracks on the CD are “Comfortably Numb” and “The Great Gig In The Sky”.

The outro "Pasted" from the only album "Eyes Adrift" is on the accompanying CD from the band Eyes Adrift, which consisted of a real star cast, but unfortunately never really achieved fame and finally broke up in 2003, a year after its formation . Numerous guitar tracks, soulful transitions, different time signatures and howling solos follow an even more normal acoustic rock song.

Jimi Hendrix also created psychedelic moods in many of his songs. A good example is the cover of "All Along The Watchtower" (Bob Dylan). In Hendrix's version of the song, a wah guitar pedal, a glass or metal tube (called a slide) that is pushed over the guitar strings and reverb and echo effects (delay) create a mosaic of timbres and thus creates a real carpet of emotions. The same can be said about Jimi Hendrix's song "Voodoo Child". Both songs can be found on the enclosed CD for checking purposes.

The sixth track on the CD is “The Sky Is Falling” by the Queens Of The Stone Age. First of all, it is a typical rock song, but it has strong psychedelic features in the vocal as well as the instrumental.

The seventh track is again a rock classic - by Led Zeppelin - No Quarter. “No Quarter shows the psychedelic note of the British. John Paul Jones goes wild again, in addition Plant's voice was loaded with a thick bank of effects (...) "

The last three tracks, which I also consider psychedelically inspired, are songs from my own band “J.A.M. Club ". With “In the cellar” it is especially the instrumental part, which also serves as an intro, and also the drums, which initially sound “fluid” (caused by effects), but then become “solid” and are also based on electronic music. In “Rendezvous with my guitar” the middle part, which is embellished with vocals, and the solo that follows has psychedelic influences. The last song “Der Araber” originated from a pure instrumental jamming and it actually stayed that way.

The Albert Hofmann Foundation: Excerpts from: "A Review of the Clinical Effects of Psychotomimetic Agents" by Humphry Osmond. From the journal "Annals of the New York Academy of Sciences", Vol. 66 (3), 1957, pp. 418-434
2Robert Palmer: Rock’n’Roll - The Chronicle of a Cultural Revolution, 1997
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15Markus Wierschem: "Caught in a Web." Progressive rock - music, history and the German scene.
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20 Phil Collins: Encyclopedia of Rock, 1983
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26Schwann: Pocket Lexicon Drugs, 3rd edition, 1982
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