"Psychedelic" is a musical term that even fans of the genre have trouble defining. The word "psychedelic" was first used in reference to psychedelic drugs, that is, drugs which were known to inspire distortions of perception
and sometimes wild hallucinations in the user. Psychedelic music, then, became known as music created by those who indulged in such drugs. However, that definition is somewhat limiting, even if it does provide a
more-than-likely explanation for psychedelic rock's beginnings. Perhaps a
better working definition of psychedelic music is music which inspires in
the listener the same kind of effect which psychedelic drugs inspire in the
user. That is, music that is "capable of producing abnormal psychic
effects" (with thanks to Webster's New Collegiate Dictionary). To put it
simply, psychedelic music is, for lack of a better term, trippy.

Most people agree that the birth of Psychedelic rock began during the years
of 1965 and 1966. The movement virtually coincided with the US response to
the British Invasion. A glut of bands, both US, UK, and abroad, were trying
to make it in the music business and create something new in the process.
Although the top pop groups of the day made many fine psychedelic
recordings, such large-scale groups won't be found on this list. In
addition, none of the artists featured on my previous '60s San Francisco
Recommendations list will be found here. For the purpose of this list,
I?ve chosen to focus on lesser-known artists as a means of hopefully
shedding light on some recordings that might otherwise be overlooked.

1. The Thirteenth Floor Elevators
Psychedelic Sounds of

(International Artists 1966/Spalax [France] 1994)

http://members.tripod.com/leotiger/id47.htm

Emerging from Austin, Texas in 1965, the Elevators have the distinction of
being the first band to actually describe themselves as "psychedelic".
Their 1966 breakthrough hit ?You?re Gonna Miss Me? was a solid garage rocker with a bizarre sound effect, provided by an electrified jug. The album
that followed was even more intriguing, featuring all-original songwriting
that explored a variety of interesting themes. The band's sound was
extremely original, with frontman Roky Erickson's Buddy Holly-esque vocals
often descending into frantic screams, Tommy Hall's bizarre jug sounds,
Stacey Sutherland's unaffected guitar work, and the off-kilter drumming of a
series of sloppy drummers. This, their first album of four, is still
generally regarded as their greatest offering.

2. Nazz
(Self-Titled)

(SGC 1968/Rhino 1990)

http://www.aaeg.com/Nazzbio.html

Inspired by the "second wave" of British Invasion bands like the Yardbirds
and the Who, the Philadelphia-based Nazz played their own brand of melodic,
anglophile power pop complete with psychedelic touches. Led by none other
than Todd Rungdren, the Nazz released this, their first album, in 1968, amid
a wave of publicity for the group. Sadly however, all the PR work didn?t
pay off. The band's first single, "Open My Eyes", stalled in the lower
reaches of the Billboard chart, not even making the Hot 100. In addition,
the debut LP only managed a very modest #118 in the album charts. Despite
the lack of commercial success however, the band?s material is great. This
first album is an excellent mix of ballads and rockers, and its all-original
songwriting is sophisticated and superb.

3. Mandrake Memorial
(Self-Titled)

(Poppy 1968/Collectables 1996)

http://www.geocities.com/SunsetStrip/Underground/2507/mandrax.html

Also from Philadelphia, Mandrake Memorial added a uniquely baroque touch to
the usual mix of rock and pop. Their self-titled debut album is absolutely
brilliant. The synergy created between the breathless vocals of Randy
Monaco, the elaborate keyboard playing of Michael Kac, and the searing
guitar work of Craig Anderton, is stunning at times. This amazing
musicianship applied to very interesting and melodic original material makes
for a very special listening experience. The Mandrake Memorial sound is
baroque, exotic, ethereal, and utterly infectious. This first album is
definitely an essential possession for fans of psychedelia, and it?s
definitely one to be treasured.

4. Kaleidoscope
Side Trips

(Epic 1967/ Epic-Sony 1992)

http://www.pulsatingdream.com/

Although formed and based in LA, the diverse influences behind the group
assured that they could never be just another West Coast rock band.
Kaleidoscope's eclectic style clearly demonstrated its members' roots in
folk, blues, country, jazz, and Eastern music. Their first album, Side
Trips, combines eastern-flavored original material with covers of old-timey
country and blues standards like "Hesitation Blues", "Oh Death", and "Minnie
the Moocher". Other tracks, like the aptly titled "Pulsating Dream",
captured the essence of the group's rock influences. Although the
combination wasn?t always successful, the album certainly provides for
intriguing and atmospheric listening. Side Trips is a psychedelic nugget
unlike almost anything else, and Kaleidoscope is thee group to which all
other Eastern-flavored 60s pop bands are compared.

5. Red Crayola
Parable of Arable Land

(International Artists 1968/Collectables 1993)

http://www.micropublishery.com/Musaic/Articles/Red_Krayola/red_krayola.html

Here it is, the album which made us all "remember what happened to Hansel
and Gretel". If you've yet to hear the debut album of Red Crayola, you?re
in for quite an experience. I can't think of any piece of music more
exquisitely brilliant as it is agonizingly demented. Led by visionary acid
head Mayo Thompson, the Red Crayola formed in Houston, Texas in 1966. Their debut album, Parable of Arable Land was completely unlike anything else released at the time. The interspersement of frantic, driving rock songs
with frantic clanging noise, or "free form freakouts" as they called them,
makes the album an arresting listening experience. This album is completely
weird and completely recommended. Their second album, *God Bless the Red
Krayola and All Who Sail with It?, although still very much avant-garde, is
much less rock-based and focused, and is consequently very disappointing in
comparison.

6. Various Artists
30 Seconds before the Calico Wall

(Arf! Arf! 1995)

http://www.arfarfrecords.com/arfarf/review/30sec.html

I stumbled upon this CD when I was still getting into hardcore obscuro 60s
psych, and was totally amazed at what I?d found. This compilation features
extremely rare recordings by extremely obscure bands, almost all of which
are taken from the original 45s. The average obsessive record-collecting
geek would be hard-pressed to find even one of these original records, and
yet here are twenty-eight collected together, complete with well-researched
biographical information and even a few photos. The music on 30 Seconds
is very much representative of the move from garage rock to psychedelic rock
which took place during the late 60s. This is part of the beauty of this
compilation; the bands contained herein are real genuine garage bands
playing psychedelic garage music. The quality of the songwriting and
overall inventiveness of the bands is amazing when you take into account the
limited resources available to such low-key groups. It?s a testament to the
fact that the late 60s was a time of unequaled creativity and
experimentation.

7. Love
Forever Changes

(Elektra 1967/Rhino-Elektra 2001 [Deluxe Edition])

http://the-m-files.com/love/m2indexframe.html

Granted, much has already been said about this album, and deservedly so.
Still, while hailing it as a pop classic, we mustn't forget that Forever
Changes is a distinctly psychedelic classic. The album is so much a part
of its era, even if it only began to be recognized as such afterwards. The
diverse, ambiguous themes and innovative performances of Forever Changes
certainly make it a work which could be considered to change perception in
the listener. The songwriting itself is psychedelic in its very nature, as
it explores conflicting emotions and conflicting realities, all in the
context of music which seems at odds with itself. Even if perhaps that?s an
overly verbose assessment, it seems an accurate one, as it reflects the very
nature of the work. Forever Changes is puzzling, intriguing, inscrutable,
and at the same time, utterly beautiful?a truly psychedelic experience.

8. Gandalf
(Self-Titled)

(Capitol 1969/Sundazed 2002)

http://www.petersando.com/gandalf.html

Gandalf's sole 1969 album is considered by many to be a truly inspired slice
of psychedelia, and one which sadly fell on deaf ears when originally
released. It seems to me that the appeal of the album lies in the
melodramatic but not overdone performances. The blistering lead guitar
breaks, organ work which is sometimes eerie and sometimes baroque, and the
exquisitely smooth vocal delivery of lead singer Peter Sando give the album
a very distinct atmosphere. Also notable is the group's amalgamation of
modern and older material chosen for the album. Group originals and modern
cover choices are presented alongside iconoclastic versions of old standards
like "Golden Earrings", "Scarlet Ribbons", and "Nature Boy". The trippy,
psychedelic re-workings of these older songs are quite unique. These and
all the other songs make the album a very interesting, innovative, and
enduring piece.

9. Rotary Connection
(Self-Titled)

(Cadet Concept 1968/Chess\MCA 1996)

http://meltingpot.fortunecity.com/norway/119/rotaryconnection.html

The brainchild of Chess Records' Marshall Chess, the Rotary Connection began
their life as a studio group assembled for the sole purpose of producing a
progressive, psychedelic pop album. Among the number of studio musicians
picked for the project was the stratospheric-piped Minnie Riperton, whose
five-octaves can be heard throughout the album. A very bizarre period
piece, the album is composed predominantly of cover versions of then-recent
hits cutting across soul and rock, including "Like a Rolling Stone", "Soul
Man", and "Ruby Tuesday". The interpretations of these cover songs is quite
unusual; indeed, some songs are virtually unrecognizable. What is easy to
recognize however is the inventiveness of producer Marshall Chess, whose
project to create a "progressive, psychedelic pop album" came off
brilliantly. Although it's perhaps something of an acquired taste, the
first Rotary Connection album is certainly worth investigation.

10. The Freeborne
Peak Impressions

(Monitor 1968/Distortions 1998)

http://www.distortionsrecords.com/usa.html

Out of Boston, the Freeborne made only one album for a very small label.
However, Peak Impressions made, indeed, quite an impression. It seems to
be a classic example of a very low-key psychedelic effort which nonetheless
demonstrates a high degree of talent and ingenuity. The all-original
material is truly impressive. The band certainly seems skilled at crafting
meaningful, interesting songs exploring emotion and human experience. The
group's actual musical style is also interesting. The entire album is very
dreamlike and mellow, and the musical arrangements are lovely and
surprisingly sophisticated. Overall, the album is a great example of a
polished, interesting psychedelic album created apart from the major labels.
The band's talent and inventiveness show through despite modest means, and
the results form a fine psychedelic album.