1.
Liquid light show
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Liquid light shows are a form of light art that surfaced in the early 1960s as accompaniment to electronic music and avant-garde theatre performances. They were later adapted for performances of rock or psychedelic music, Liquid light shows surfaced on both sides of the Atlantic around 1966 and were an integral part of the Progressive music scene well into the seventies. While the shows on both sides of the Atlantic had much in common they differed in two important ways, first, the American shows tended to be larger, with seven operators and over thirty projectors not being exceptional. In contrast, the shows in England seldom had more than three operators and ten or so projectors, second, American shows were generally built around the overhead projector with the liquids in large clock cover glasses. The surface tension of the liquids largely retained the mixtures, but the process was very messy indeed. A popular choice of colored liquids for light shows was Flo-Master ink, while this ink was very vivid it also had the problem of staining the operators hands very deeply. Light Sound Dimension was possibly the first psychedelic lightshow and was operated by the legendary Bill Ham, Bill pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill, the Joshua Light Show located in New York was founded by a filmmaker called Joshua White. The show was the ‘house lightshow’ at Bill Graham s Fillmore East for almost its entire existence, formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe had now joined the team, later they changed their name to Joes Lights having parted company with Joshua White. A video of Joshua White at work showing how some of the effects were achieved can be found here, brotherhood Of Light was formed in 1968 as a collective group of lighting and multimedia specialists. Brian Eppes, Brother Ed Langdon, Marcus Maximist and Bob Pullum gathered for the purpose of enhancing and augmenting the psychedelic music of the day. They also performed at the Grateful Dead New Years Eve shows at Winterland, the Heavy Water Light Show, did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image from their show and their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects. Personnel, Mark Boyle, Joan Hills, Des Bonner, Cameron Hills and these events were groundbreaking in respect of projected lighting and consisted of chemical and physical reactions projected onto a screen whilst being surrounded by various taped sounds. Elements of this lightshow evolved and performances were made at the legendary UFO Club in London’s Tottenham Court Road, later that year he formed the Sensual Laboratory with Joan Hills, who would later become his wife. In 1967 the first of many collaborations started with The Soft Machine, with shows at the Edinburgh Festival and also in the Netherlands, also in 1967 Liquid Light Environments ran at the UFO throughout the year. Concerts with The Soft Machine followed in the Netherlands and again in France as well as work on the Structure of Dreams at the Arts Lab, if you were in Detroit, It was the Grande Ballroom and Eastown Theater
2.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
3.
Psychedelic music
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Psychedelic music may also aim to enhance the experience of using these drugs. Numerous spiritual successors followed in the decades, including progressive rock, krautrock. Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, psychedelic as an adjective is often misused, with many so-called acts playing in a variety of styles. Dechronicization permits the user to move outside of conventional perceptions of time. Depersonalization allows the user to lose the self and gain an awareness of undifferentiated unity, dynamization, as Leary wrote, makes everything from floors to lamps seem to bends, as familiar forms dissolve into moving, dancing structures. Music that is truly psychedelic mimics these three effects, a number of features are quintessential to psychedelic music. Exotic instrumentation, with a fondness for the sitar and tabla are common. Songs often have disjunctive song structures, key and time signature changes, surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often an emphasis on extended instrumental segments or jams. There is a strong presence, in the 1960s this especially using electronic organs, harpsichords, or the Mellotron. In the 1960s there was a use of electronic instruments such as early synthesizers. Later forms of electronic psychedelia also employed repetitive computer-generated beats, R. Veysey, they profoundly influenced the thinking of the new generation of youth. The psychedelic lifestyle had already developed in California, particularly in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley. There was already a culture of use among jazz and blues musicians. One of the first musical uses of the term psychedelic in the scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Bellys Hesitation Blues in 1964. His nineteen-minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations, similarly, folk guitarist Sandy Bulls early work incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes. His 1963 album Fantasias for Guitar and Banjo explores various styles, soon musicians began to refer to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art, literature and film. This trend ran in parallel in both America and Britain and as part of the folk, folk rock and rock scenes
4.
Contemporary folk music
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Contemporary folk music refers to a wide variety of genres that emerged in the mid 20th century which were associated with traditional folk music. Starting in the century a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. The most common name for new form of music is also folk music. This type of music also includes fusion genres such as folk rock, electric folk. One of the earliest figures in this revival was Woody Guthrie, in the United Kingdom, the folk revival fostered a generation of singer-songwriters such as Donovan, who achieved initial prominence in the 1960s. The folk revival spawned Canadas first true wave of successful artists such as Gordon Lightfoot, Leonard Cohen, Joni Mitchell. Major performers who emerged from the 1940s to the early 1960s included Woody Guthrie, Pete Seeger, Joan Baez, the mid-1960s through the early 1970s was associated with large musical, political, lifestyle, and counterculture changes. Folk music underwent a rapid evolution, expansion and diversification at that same time. During this period, the term protest music was used to characterize folk music with topical political themes. The Canadian performers Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell represented such fusions, the late 1960s saw the advent of electric folk groups, a form of folk rock. Starting in the 1970s folk music was fueled by new singer-songwriters such as Joni Mitchell and John Denver. Other subgenres of folk include anti folk, folk punk, indie folk, folktronica, freak folk and Americana and fusion genres such as metal, progressive folk, psychedelic folk. Definitions of contemporary music are generally vague and variable. Here, it is taken to all music that is called folk that is not traditional music. According to Hugh Blumenfeld, for the American folk scene, This is the use of the term contemporary folk music. Nueva canción, an evolution of a new form of socially committed music, occurred in several Spanish-speaking countries. Contemporary country music descends ultimately from a rural American folk tradition, bluegrass music is a professional development of American old time music, intermixed with blues and jazz
5.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
6.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
7.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
8.
Surf music
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Surf music is a subgenre of rock music associated with surf culture, particularly as found in Southern California. It was especially popular from 1962 to 1964 in two major forms, the first is instrumental surf, distinguished by reverb-drenched electric guitars played to evoke the sound of crashing waves, largely pioneered by Dick Dale and the Del-Tones. The second is vocal surf, which took the original sound and added vocal harmonies backed by basic Chuck Berry rhythms. Dick Dale developed the sound from instrumental rock, where he added Middle Eastern and Mexican influences, a spring reverb. His regional hit Lets Go Trippin launched the surf music craze, the genre reached national exposure when it was represented by vocal groups such as the Beach Boys, Jan and Dean, and Bruce & Terry. Their vocal surf style drew more from African-American genres such as doo wop with its scat singing, Dale is quoted on such groups, They were surfing sounds surfing lyrics. In other words, the music wasnt surfing music, the words made them surfing songs. The real surfing music is instrumental, at the height of its popularity, surf music rivaled girl groups and Motown for top American popular music trends. It is sometimes referred to interchangeably with the California Sound, during the later stages of the surf music craze, many of its groups started to write songs about cars and girls, this was later known as hot rod rock. Surf music began in the early 1960s as instrumental music, almost always in straight 4/4 time. The outboard separate Fender Reverb Unit that was developed by Fender in 1961 was the actual first wet surf reverb tone and this unit is the reverb effect heard on Dick Dale records, and others such as Pipeline by the Chantays and Point Panic by the Surfaris. It had more of a wet plucky tone than the built in amp reverb, guitarists also made use of the vibrato arm on their guitar to bend the pitch of notes downward, electronic tremolo effects and rapid tremolo picking. Guitar models favored included those made by Fender, Mosrite, Teisco, or Danelectro, Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Ludwig, Gretsch or Slingerland, some popular songs also incorporated a tenor or baritone saxophone, as on The Lively Ones Surf Rider and The Revels Comanche. Often an electric organ or an electric piano featured as backing harmony, by the early 1960s, instrumental rock and roll had been pioneered successfully by performers such as Link Wray, The Ventures and Duane Eddy. This trend was developed by Dick Dale, who added Middle Eastern and Mexican influences, the distinctive reverb, groups such as The Bel-Airs, The Challengers and then Eddie & the Showmen followed Dale to regional success. The Chantays scored a top ten hit with Pipeline, reaching number 4 in May 1963. The group also had two other hits, Surfer Joe and Point Panic
9.
Music of India
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The music of India includes multiple varieties of Indian classical music, folk music, Filmi and Indian pop. Indias classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia, Music in India began as an integral part of socio-religious life. The basic concepts of music includes shruti, swaras, alankar, raga. Its tonal system divides the octave into 22 segments called shrutis, not all equal, the Hindustani music tradition diverged from Carnatic music around the 13th-14th centuries CE. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. Classical genres are dhrupad, dhamar, khyal, tarana and sadra, the present of Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of Vijayanagar Empire, like Hindustani music, it is melodic, with improvised variations, but tends to have more fixed compositions. It consists of a composition with improvised embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and, in the case of advanced students, Raga, Tala. The main emphasis is on the vocals as most compositions are written to be sung, there are about 7.2 million ragas in Carnatic Music, with around 300 still in use today. Every December, the city of Chennai in India has its eight-week-long Music Season, Carnatic music has served as the foundation for most music in South India, including folk music, festival music and has also extended its influence to film music in the past 100–150 years or so. Light classical or semi-classical, among others, Thumri, Dadra, Ghazal, Chaiti, Kajri and Tappa, Rabindra Sangeet, also known as Tagore songs, are songs written and composed by Rabindranath Tagore. They have distinctive characteristics in the music of Bengal, popular in India, Sangeet means music, Rabindra Sangeet means music of Rabindra. Rabindra Sangeet used Indian classical music and traditional music as sources. Rabindranath Tagore was a figure in Indian music. Many singers in West Bengal and Bangladesh base their careers on the singing of Tagore musical masterpieces. The national anthem of India and national anthem of Bangladesh are Rabindra Sangeets, bihu is the festival of New Year of Assam falling on mid April. This is a festival of nature and mother earth where the first day is for the cows, second day is for the man. Bihu dances and songs accompanied by drums and wind instruments are essential part of this festival
10.
United States
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Forty-eight of the fifty states and the federal district are contiguous and located in North America between Canada and Mexico. The state of Alaska is in the northwest corner of North America, bordered by Canada to the east, the state of Hawaii is an archipelago in the mid-Pacific Ocean. The U. S. territories are scattered about the Pacific Ocean, the geography, climate and wildlife of the country are extremely diverse. At 3.8 million square miles and with over 324 million people, the United States is the worlds third- or fourth-largest country by area, third-largest by land area. It is one of the worlds most ethnically diverse and multicultural nations, paleo-Indians migrated from Asia to the North American mainland at least 15,000 years ago. European colonization began in the 16th century, the United States emerged from 13 British colonies along the East Coast. Numerous disputes between Great Britain and the following the Seven Years War led to the American Revolution. On July 4,1776, during the course of the American Revolutionary War, the war ended in 1783 with recognition of the independence of the United States by Great Britain, representing the first successful war of independence against a European power. The current constitution was adopted in 1788, after the Articles of Confederation, the first ten amendments, collectively named the Bill of Rights, were ratified in 1791 and designed to guarantee many fundamental civil liberties. During the second half of the 19th century, the American Civil War led to the end of slavery in the country. By the end of century, the United States extended into the Pacific Ocean. The Spanish–American War and World War I confirmed the status as a global military power. The end of the Cold War and the dissolution of the Soviet Union in 1991 left the United States as the sole superpower. The U. S. is a member of the United Nations, World Bank, International Monetary Fund, Organization of American States. The United States is a developed country, with the worlds largest economy by nominal GDP. It ranks highly in several measures of performance, including average wage, human development, per capita GDP. While the U. S. economy is considered post-industrial, characterized by the dominance of services and knowledge economy, the United States is a prominent political and cultural force internationally, and a leader in scientific research and technological innovations. In 1507, the German cartographer Martin Waldseemüller produced a map on which he named the lands of the Western Hemisphere America after the Italian explorer and cartographer Amerigo Vespucci
11.
United Kingdom
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The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom or Britain, is a sovereign country in western Europe. Lying off the north-western coast of the European mainland, the United Kingdom includes the island of Great Britain, Northern Ireland is the only part of the United Kingdom that shares a land border with another sovereign state—the Republic of Ireland. The Irish Sea lies between Great Britain and Ireland, with an area of 242,500 square kilometres, the United Kingdom is the 78th-largest sovereign state in the world and the 11th-largest in Europe. It is also the 21st-most populous country, with an estimated 65.1 million inhabitants, together, this makes it the fourth-most densely populated country in the European Union. The United Kingdom is a monarchy with a parliamentary system of governance. The monarch is Queen Elizabeth II, who has reigned since 6 February 1952, other major urban areas in the United Kingdom include the regions of Birmingham, Leeds, Glasgow, Liverpool and Manchester. The United Kingdom consists of four countries—England, Scotland, Wales, the last three have devolved administrations, each with varying powers, based in their capitals, Edinburgh, Cardiff and Belfast, respectively. The relationships among the countries of the UK have changed over time, Wales was annexed by the Kingdom of England under the Laws in Wales Acts 1535 and 1542. A treaty between England and Scotland resulted in 1707 in a unified Kingdom of Great Britain, which merged in 1801 with the Kingdom of Ireland to form the United Kingdom of Great Britain and Ireland. Five-sixths of Ireland seceded from the UK in 1922, leaving the present formulation of the United Kingdom of Great Britain, there are fourteen British Overseas Territories. These are the remnants of the British Empire which, at its height in the 1920s, British influence can be observed in the language, culture and legal systems of many of its former colonies. The United Kingdom is a country and has the worlds fifth-largest economy by nominal GDP. The UK is considered to have an economy and is categorised as very high in the Human Development Index. It was the worlds first industrialised country and the worlds foremost power during the 19th, the UK remains a great power with considerable economic, cultural, military, scientific and political influence internationally. It is a nuclear weapons state and its military expenditure ranks fourth or fifth in the world. The UK has been a permanent member of the United Nations Security Council since its first session in 1946 and it has been a leading member state of the EU and its predecessor, the European Economic Community, since 1973. However, on 23 June 2016, a referendum on the UKs membership of the EU resulted in a decision to leave. The Acts of Union 1800 united the Kingdom of Great Britain, Scotland, Wales and Northern Ireland have devolved self-government
12.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
13.
Keyboard instrument
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A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
14.
Harpsichord
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A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed, Harpsichord designates the whole family of similar plucked keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was used in Renaissance and Baroque music. During the late 18th century, it disappeared from the musical scene with the rise of the piano. In the 20th century, it made a resurgence, being used in historically informed performances of music, in compositions. Harpsichords vary in size and shape, but all have the basic functional arrangement. The player depresses a key that rocks over a pivot in the middle of its length, the other end of the key lifts a jack that holds a small plectrum, which plucks the string. When the player releases the key, the far end returns to its rest position, the plectrum, mounted on a tongue that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the strings vibrations and these basic principles are explained in detail below. The keylever is a pivot, which rocks on a balance pin that passes through a hole drilled through the keylever. The jack is a thin, rectangular piece of wood that sits upright on the end of the keylever, the jacks are held in place by the registers. These are two strips of wood, which run in the gap between pinblock and bellyrail. The registers have rectangular mortises through which the pass as they can move up. The registers hold the jacks in the location needed to pluck the string. In the jack, a plectrum juts out almost horizontally and passes just under the string, historically, plectra were made of bird quill or leather, many modern harpsichords have plastic plectra. When the front of the key is pressed, the back of the key rises, the jack is lifted, the vertical motion of the jack is then stopped by the jackrail, which is covered with soft felt to muffle the impact. When the key is released, the falls back down under its own weight. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack
15.
Mellotron
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The Mellotron is an electro-mechanical, polyphonic tape replay keyboard originally developed and built in Birmingham, England, in 1963. It evolved from an instrument, the Chamberlin, but could be mass-produced more effectively. The instrument works by pulling a section of magnetic tape across a head, different portions of the tape can be played to access different sounds. The original models were designed to be used in the home, bandleader Eric Robinson and television personality David Nixon were heavily involved in the instruments original publicity. A number of celebrities such as Princess Margaret were early adopters. The Mellotron became more popular after the Beatles used it on several tracks and it was subsequently adopted by the Moody Blues, King Crimson and Genesis, and became a notable instrument in progressive rock. Later models such as the M400, the best selling model, dispensed with the accompaniments, the instrument became less popular in the 1980s due to the introduction of polyphonic synthesizers and samplers, despite a number of high profile uses from Orchestral Manoeuvres in the Dark and XTC. Production of the Mellotron ceased in 1986, but it regained popularity in the 1990s and this led to the resurrection of the original manufacturer, Streetly Electronics. In 2007, Streetly produced the M4000, which combined the layout of the M400 with the selection of earlier models. The Mellotron has a similar behaviour to a sampler, but generates its sound via audio tape, when a key is pressed, a tape connected to it is pushed against a playback head, like a tape recorder. While the key remains depressed, the tape is drawn over the head, when the key is released, a spring pulls the tape back to its original position. A variety of sounds are available on the instrument, on earlier models, the instrument is split into lead and rhythm sections. There is a choice of six stations of rhythm sounds, each containing three tracks and three fill tracks. The fill tracks can also be mixed together, similarly, there is a choice of six lead stations, each containing three lead instruments which can be mixed. In the centre of the Mellotron, there is a button that allows a variation in both pitch and tempo. Later models do not have the concept of stations and have a knob to select a sound. However, the containing the tapes is designed to be removed. Pressing a key harder allows the head to come into contact under greater pressure, another factor in the Mellotrons sound is that the individual notes were recorded in isolation
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Electronic organ
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An electronic organ is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally, it was designed to imitate the sound of pipe organs, theatre organs, band sounds, or orchestral sounds. In a fashion not totally unlike that of organs, reed organs generated sound by forcing air over a set of reeds by means of a bellows. While reed organs had limited tonal quality, they were small, inexpensive, self-powered, the reed organ was thus able to bring an organlike sound to venues that were incapable of housing or affording pipe organs. This concept was to play an important role in the development of the electric organ, pipe organ In the 1930s, several manufacturers developed electronic organs designed to imitate the function and sound of pipe organs. At the time, some thought that emulation of the pipe organ was the most promising route to take in the development of an electronic organ. Various types of organs have been brought to market over the years. Electricity arrived on the scene in the first decades of the 20th century. Electrically powered reed organs appeared during the first decades of electricity, cahills techniques were later used by Laurens Hammond in his organ design, and the 200-ton Telharmonium served as the worlds first demonstration of electrically produced music on a grand scale. Meanwhile, some experimentation with producing sound by electric impulses was taking place. Built in Belleville, Ontario, the Robb Wave Organ predates its much more successful competitor Hammond by patent and manufacture, the first widespread success in this field was a product of the Hammond Corporation in 1934. The Hammond organ quickly became the successor of the reed organ, from the start, electronic organs operated on a radically different principle from all previous organs. The organ was electrically powered, replacing the reed organs twin bellows pedals with a swell pedal more like that of a pipe organ. Instead of having to pump at a constant rate, as had been the case with the reed organ, from the beginning, the electronic organ had a second manual, also rare among reed organs. The most revolutionary difference in the Hammond, however, was its number of tonewheel settings. By using the drawbars, the organist could combine a variety of tones and harmonics in varying proportions. In all, the Hammond was capable of producing more than 250 million tones, the classic Hammond sound benefitted from the use of free-standing loudspeakers called tone cabinets that produced a higher-quality sound than small built-in speakers. The sound was further enhanced by rotating speaker units, usually manufactured by Leslie
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Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
18.
Sitar
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The sitar is a plucked stringed instrument used mainly in Hindustani music and Indian classical music. The sitar flourished in the 16th and 17th centuries and arrived at its present form in 18th century India and it derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd-shaped resonance chamber. In appearance, the sitar is similar to the tanpura, except that it has frets, used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. The word sitar originally derived from Sanskrit words saptatantri veena, which later was called as saat taar which eventually became sitar, another source might be from Persian seh + tar, literally meaning three strings. The instrument is thought to have been a version of the Veena, another prominent instrument in Carnatic and Hindustani music, altered in order to conform with Mughal tastes. The sitar flourished in the 16th and 17th centuries and arrived at its present form in 18th century India, in his Bharatiya Sangeet Vadya, Lalmani Misra traces the instruments development from the Tritantri veena through the nibaddh and anibaddh Tamburas also called tanbur and later the jantra. Construction of the similar tanpura was described by Tansen, a sitar can have 18,19,20, or 21 strings. The frets are movable, allowing fine tuning, the Gandhaar-pancham sitar has six playable strings, whereas the Kharaj-pancham sitar, used in the Maihar gharana, to which Ravi Shankar belonged, and other gharanas such as Bishnupur, has seven. Three of these, called the chikaari, simply provide a drone, the instrument has two bridges, the large bridge for the playing and drone strings and the small bridge for the sympathetic strings. Its timbre results from the way the strings interact with the wide, as a string reverberates its length changes slightly as its edge touches the bridge, promoting the creation of overtones and giving the sound its distinctive tone. The maintenance of this specific tone by shaping the bridge is called jawari, many musicians rely on instrument makers to adjust this. The bridges are fixed to the resonating chamber, or kaddu. Some sitars have a resonator, the tumbaa, near the top of the hollow neck. Materials used in construction include teak wood or tun wood, which is a variation of mahogany, for the neck and faceplate, the instruments bridges are made of deer horn, ebony, or very occasionally from camel bone. Synthetic material is now common as well, there are three popular modern styles of sitar offered in a variety of sub-styles and decorative patterns. The two popular styles are the gayaki style sitars and the full decorated instrumental style sitars, the gayaki style sitar is mostly of seasoned toon wood, with very few or no carved decorations. It often has a dark polish, the inlay decorations are mostly of mother of pearl. The number of strings is often limited to eleven but may extend to thirteen
19.
Theremin
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The theremin is an early electronic musical instrument controlled without physical contact by the thereminist. It is named after the Westernized name of its Russian inventor, Léon Theremin, the electric signals from the theremin are amplified and sent to a loudspeaker. The theremin was used in soundtracks such as Miklós Rózsas Spellbound, The Lost Weekend. It has also used in theme songs for television shows such as the ITV drama Midsomer Murders. This has led to its association with eerie situations, Theremins are also used in concert music and in popular music genres such as rock. The theremin was originally the product of Soviet government-sponsored research into proximity sensors, the instrument was invented by a young Russian physicist named Lev Sergeyevich Termen in October 1920 after the outbreak of the Russian Civil War. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin moved to the United States, subsequently, Theremin granted commercial production rights to RCA. Although the RCA Thereminvox, was not a success, it fascinated audiences in America. Clara Rockmore, a well-known thereminist, toured to wide acclaim, performing a repertoire in concert halls around the United States. In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by NKVD agents, taken back to the Soviet Union and made to work in a sharashka laboratory prison camp at Magadan, in any case, Theremin did not return to the United States until 1991. However, a niche interest in the theremin persisted, mostly among electronics enthusiasts, one of these electronics enthusiasts, Robert Moog, began building theremins in the 1950s, while he was a high-school student. Moog subsequently published a number of articles about building theremins, Moog credited what he learned from the experience as leading directly to his groundbreaking synthesizer, the Moog. Since the release of the film Theremin, An Electronic Odyssey in 1994, even though many theremin sounds can be approximated on many modern synthesizers, some musicians continue to appreciate the expressiveness, novelty, and uniqueness of using an actual theremin. The film itself has garnered excellent reviews, both theremin instruments and kits are available from manufacturers such as Moog Music Inc. Burns Theremins, Harrison Instruments, Inc. Theremaniacs LLC, PAiA Corporation USA, and Jaycar Electronics, the theremin is distinguished among musical instruments in that it is played without physical contact. The thereminist stands in front of the instrument and moves his or her hands in the proximity of two metal antennas, the distance from one antenna determines frequency, and the distance from the other controls amplitude. Higher notes are played by moving the hand closer to the pitch antenna, louder notes are played by moving the hand away from the volume antenna
20.
Art rock
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Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from teen entertainment to an artistic statement, influences may be drawn from genres such as experimental rock, avant-garde music, classical music, and jazz. The genres greatest level of popularity was in the early 1970s through British artists, art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within later popular music genres of the 1970s–90s, in the rock music of the 1970s, the art descriptor was generally understood to mean aggressively avant-garde or pretentiously progressive. Art rock is used synonymously with progressive rock. Historically, the term has been used to describe at least two related, but distinct, types of rock music, art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections. Its music was used within the context of concept records. Compared to progressive rock, art rock is more challenging, noisy and unconventional and less classically influenced, art rock can also to refer to either classically driven rock, or a progressive rock-folk fusion. S. Eliot than to Carl Perkins or Willie Dixon, the boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century. The first usage of the art rock, according to Merriam-Webster Online Dictionary, was in 1968. As pop musics dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. According to biographer Richard Williams, created a new concept, the producer as overall director of the creative process, Spector transformed rock music as a performing art to an art which could only exist in the recording studio, which paved the way for art rock. The Beach Boys leader Brian Wilson is also cited as one of the first examples of the music producer. Like Spector, Wilson was known as an eremitic studio obsessive who laboriously produced fantastical soundscapes through his mastery of recording technology. Biographer Peter Ames Carlin wrote that Wilson was the forerunner of a new kind of art-rock that would combine the transcendent possibilities of art with the accessibility of pop music. According to journalist Richard Goldstein, many musicians from California desired to be acknowledged as artists. They yearned for fame, as only needy people can, but they wanted to make art
21.
Hard rock
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Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage, psychedelic and blues rock movements. It is typified by a use of aggressive vocals, distorted electric guitars, bass guitar, drums. Hard rock developed into a form of popular music in the 1970s, with bands such as The Who, Led Zeppelin, Queen, Black Sabbath, Deep Purple, Aerosmith, AC/DC. During the 1980s, some rock bands moved away from their hard rock roots and more towards pop rock. Hard rock began losing popularity with the success of R&B, hip-hop, urban pop, grunge. Out of this movement came garage rock bands like The White Stripes, The Strokes, Interpol and, later on, in the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain highly successful recording careers. Hard rock is a form of loud, aggressive rock music, the electric guitar is often emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, and as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong drum and a backbeat on snare. The bass guitar works in conjunction with the drums, occasionally playing riffs, vocals are often growling, raspy, or involve screaming or wailing, sometimes in a high range, or even falsetto voice. In the late 1960s, the heavy metal was used interchangeably with hard rock. Heavy metal took on darker characteristics after Black Sabbaths breakthrough at the beginning of the 1970s, in the 1980s it developed a number of subgenres, often termed extreme metal, some of which were influenced by hardcore punk, and which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands frequently standing on the boundary of, other antecedents include Link Wrays instrumental Rumble in 1958, and the surf rock instrumentals of Dick Dale, such as Lets Go Trippin and Misirlou. In the 1960s, American and British blues and rock bands began to rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming. From the late 1960s, it common to divide mainstream rock music that emerged from psychedelia into soft. Soft rock was often derived from rock, using acoustic instruments and putting more emphasis on melody. In contrast, hard rock was most often derived from rock and was played louder. Blues rock acts that pioneered the sound included Cream, The Jimi Hendrix Experience, Cream, in songs like I Feel Free combined blues rock with pop and psychedelia, particularly in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz, blues and rock, from 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, The Jeff Beck Group
22.
Heavy metal music
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Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. Heavy metal lyrics and performance styles are associated with aggression. The first heavy metal such as Led Zeppelin, Black Sabbath. During the mid-1970s, Judas Priest helped spur the evolution by discarding much of its blues influence, Motörhead introduced a punk rock sensibility. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden, before the end of the decade, heavy metal fans became known as metalheads or headbangers. During the 1980s, glam metal became popular with such as Mötley Crüe. Since the mid-1990s popular styles have further expanded the definition of the genre and these include groove metal and nu metal, the latter of which often incorporates elements of grunge and hip hop. Heavy metal is characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound. Metal subgenres variously emphasize, alter, or omit one or more of these attributes, the typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are used to enhance the fullness of the sound. Deep Purples Jon Lord played an overdriven Hammond organ, in 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III, by the 1990s, in. almost every subgenre of heavy metal synthesizers were used. The electric guitar and the power that it projects through amplification has historically been the key element in heavy metal. The heavy metal guitar sound comes from a use of high volumes. Guitar solos are an element of the heavy metal code. That underscores the significance of the guitar to the genre, most heavy metal songs featur at least one guitar solo, which is a primary means through which the heavy metal performer expresses virtuosity. One exception is nu metal bands, which tend to omit guitar solos, with rhythm guitar parts, the heavy crunch sound in heavy metal. Palm muting the strings with the hand and using distortion. Palm muting creates a tighter, more sound and it emphasizes the low end
23.
Neo-psychedelia
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Neo-psychedelia is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the sounds of 1960s psychedelic music. After post-punk, neo-psychedelia flourished into a widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds. Neo-psychedelia may also include forays into pop, jangly guitar rock, heavily distorted free-form jams. A wave of British alternative rock in the early 1990s spawned the subgenres dream pop, neo-psychedelic acts borrowed a variety of elements from 1960s psychedelic music. Some emulated the psychedelic pop of bands like the Beatles and early Pink Floyd, others adopted Byrds-influenced guitar rock, or distorted free-form jams and sonic experimentalism of the 1960s. Some neo-psychedelia has been focused on drug use and experiences, and like acid house of the same age, projects transitory, ephemeral. Other bands have used neo-psychedelia to accompany surreal or political lyrics, in the view of author Erik Morse, The distinctions between British and American neo-psychedelia were best described as the differences between primitivism and primalism. Psychedelic rock declined towards the end of the 1960s, as bands broke up or moved into new forms of music, including heavy metal music, like the psychedelic developments of the late 1960s, punk rock and new wave in the 1970s challenged the rock music establishment. At the time, new wave was a term used interchangeably with the nascent punk rock explosion, in 1978, journalist Greg Shaw categorized a subset of new wave music as neo-psychedelia, citing Devo, to an extent. The new darling of the new press and opion-makers, yet nothing about it is remotely punk. Shaw wrote that in England, neo-psychedelia was known as punk, noting self-advertised psychedelic punk band. By 1978–79, new wave was considered independent from punk and post-punk, author Clinton Heylin marks the second half of year 1977 and the first half of year 1978 as the true starting-point for English post-punk. Some of the bands, including the Soft Boys, the Teardrop Explodes. The early 1980s Paisley Underground movement followed neo-psychedelia, originating in Los Angeles, the movement saw a number of young bands who were influenced by the psychedelia of the late 1960s and all took different elements of it. The term Paisley Underground was later expanded to others from outside the city. The late 1980s would see the birth of shoegazing, which, among other influences, reynolds referred to this movement as a rash of blurry, neo-psychedelic bands in a 1992 article in The Observer. With loud walls of sound, where individual instruments and even vocals were often indistinguishable, major shoegaze acts included Ride, Lush, Chapterhouse, and The Boo Radleys, who enjoyed considerable attention in the UK but largely failed to break through in the US
24.
Progressive rock
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Progressive rock is a broad subgenre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Prog is based on fusions of styles, approaches and genres, Prog saw a high level of popularity in the early-to-mid 1970s, but faded soon after. Conventional wisdom holds that the rise of rock caused this. Music critics, who labelled the concepts as pretentious and the sounds as pompous and overblown. Early groups who exhibited progressive features are described as proto-prog. In 1967, progressive rock constituted a diversity of loosely associated style codes, the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, in the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in music and the avant-garde since the mid 1970s. The term progressive rock is synonymous with art rock, classical rock, historically, art rock has been used to describe at least two related, but distinct, types of rock music. Similarities between the two terms are that they describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is likely to have experimental or avant-garde influences. Prog was devised in the 1990s as a term, but later became a transferable adjective. Although a unidirectional English progressive style emerged in the late 1960s, by 1967, critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. Author Kevin Holm-Hudson believes that rock is a style far more diverse than what is heard from its mainstream groups. They each do so largely unconsciously, academic John S. Cotner contests Macans view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Debate about the criteria and scope of the genre continues in the 2010s. In early references to the music, progressive was partly related to progressive politics, Cotner also says that progressive rock incorporates both formal and eclectic elements, It consists of a combination of factors – some of them intramusical, others extramusical or social. One way of conceptualising rock and roll in relation to music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic
25.
Shoegazing
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Shoegazing is a subgenre of indie rock, alternative rock, and neo-psychedelia that emerged in the United Kingdom in the late 1980s. The style is typified by the blurring of component musical parts—typically significant guitar distortion, feedback, the term was often used contemporaneously with dream pop. A loose label given to the scene and other affiliated bands in London in the early 1990s was The Scene That Celebrates Itself. In the 2000s, there was renewed interest in the genre among nu gaze bands, Shoegaze combines ethereal, swirling vocals with layers of distorted, bent, flanged guitars, creating a wash of sound where no instrument is distinguishable from another. Most bands drew from the music of My Bloody Valentine as a template for the genre, although co-founder Kevin Shields stated that the band had never used any chorus, Shoegazing was coined to describe dream pop bands. It originated in a review in Sounds for the newly formed band Moose in which singer Russell Yates read lyrics taped to the floor throughout the gig. The term was picked up by NME, who used it as a reference to the tendency of the guitarists to stare at their feet—or their effects pedals—while playing. According to AllMusic, The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed. The term was considered pejorative, especially by the English weekly music press who considered the movement as ineffectual, miki Berenyi explained, Shoegazing was originally a slag-off term. My partner, who was the guitarist in Moose, claims that it was levelled at his band. Apparently the journo was referring to the bank of pedals he had strewn across the stage that he had to keep staring at in order to operate. And then it just became a term for all those bands that had a big, sweeping, effects-laden sound. The most commonly cited precursors to shoegazing are the Cocteau Twins, the Jesus and Mary Chain, each bands music bridged the styles of garage rock, 1960s psychedelia and American indie bands like Dinosaur Jr. and Sonic Youth. Other artists that have identified as direct influences on shoegazing include the Velvet Underground, Sonic Youth, Hüsker Dü. Siouxsie and the Banshees was also an influence, initially on Cocteau Twins. Slowdive named themselves after a Siouxsie and the Banshees song of the same name, lush, a shoegaze contemporary, were originally called The Baby Machines, a line from a Siouxsie lyric. My Bloody Valentine emerged in the wake of that bands 1988 breakthrough, the Trouser Press Guide to 90s Rock mentions that A. R. Kane, the London duo. exerted a profound influence on the legion of trippy shoegazer guitar bands that would emerge a few years later in the UK
26.
Space rock
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Space rock is a subgenre of rock music that typically features lengthy, hypnotic sonic explorations and loose song structures. The term originally referred to a group of early 1970s progressive rock bands such as Hawkwind, mans entry into outer space provided ample subject matter for rock and roll and R&B songs from the mid-1950s through the early 1960s. It also inspired new sounds and sound effects to be used in the music itself, a prominent early example of space rock is the 1959 concept album I Hear a New World by British producer and songwriter Joe Meek. The album was inspired by the race and concerned mans first close encounter with alien life forms. Meek then went on to have a UK and US No 1 success in 1961 with Telstar, named after the newly launched communications satellite and its main instrument was a clavioline, an electronic forerunner of synthesizers. Space rock emerged from the late 1960s psychedelic music scene in Britain, in early 1971, Pink Floyd began writing the song that would become known as Echoes, from the 1971 album Meddle. The song was performed from April until September 1971, with a set of lyrics. Before the Meddle album released, the lyrics were changed to an aquatic theme, the Beatles song Flying, originally titled Aerial Tour Instrumental, was a psychedelic instrumental about the sensation of flying, whether in a craft or in your own head space. Jimi Hendrix is also an innovator of the genre, with such tracks as Third Stone from the Sun,1983. David Bowies Space Oddity is, apart from Telstar, probably the best example of a rock song achieving mainstream recognition. This hard-edged concert experience attracted a motley but dedicated collection of drug users, science-fiction fans. The science fiction author Michael Moorcock collaborated with Hawkwind on many occasions, in Europe, Hungarian band Omega was the biggest space rock band with albums Time Robber, Skyrover, Gammapolis and the German band Eloy. Apart from Hawkwind, Marc Bolan and his band T, like Hawkwinds Dave Brock, Bolan used pentatonic guitar progressions to design riffs. By the early 1990s, the space rock came to be used when describing numerous American. In the mid-1990s, a number of built on the space rock styles of Hawkwind. Some of these bands were signed to Cleopatra records, which proceeded to release numerous space rock compilations. Starting in 1997, Daevid Allen of Gong, along with members of Hawkwind and other rock bands, started to perform with Spirits Burning. The Strange Daze festivals from 1997–2001 showcased the American space rock scene in three-day outdoor festivals, a Michigan-based space rock scene included Burnt Hair Records, Darla Records, and bands such as Windy & Carl, Mahogany, Sweet Trip, Füxa and Auburn Lull
27.
Acid rock
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Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. Acid rock is defined by distorted guitars, lyrics with drug references. Distinctions between other genres can be tenuous, it may also encompass certain garage rock, 1960s punk, proto-metal and heavy, the style may distinguish itself from other psychedelic styles by having a harder, louder, or heavier sound. Developing mainly from the American West Coast, acid rock did not focus on novelty recording effects or whimsicalness as much as subsequent British psychedelia, rather, American groups emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. Some of the bands in the genre include 13th Floor Elevators, the Charlatans, the Grateful Dead, Count Five, the Beatles. Of the last three groups, their 1966 songs Psychotic Reaction, Tomorrow Never Knows, and East-West were especially influential. As the movement progressed into the late 1960s and 1970s, elements of rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock. Rock journalist Nik Cohn called it a meaningless phrase that got applied to any group. It was originally used to describe the music for acid trips in underground parties in the 1960s. The term is regularly deployed interchangeably with psychedelic rock and this would mean psychedelic rock that is heavier, louder, or harder. As a hard rock variant of psychedelia, acid rock evolved from the 1960s garage punk movement, percussionist John Beck defines acid rock as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues-based hard rock bands, musicologist Steve Waksman wrote that the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous. Many bands associated with acid rock aimed to create a movement based on love and peace. David P. Szatmary states, a legion of rock bands, playing what became known as acid rock, when played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience. Their stage performance involved the use of lights to reproduce LSDs surrealistic fragmenting or vivid isolating of caught moments. The Acid Test experiments subsequently launched the entire psychedelic subculture, other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. According to Laura Diane Kuhn, the form of psychedelic rock known as acid rock developed from the late 1960s California music scene
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Psychedelic soul
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It came to prominence in the late 1960s and continued into the 1970s, playing a major role in the development of funk and disco. Pioneering acts included Sly and the Family Stone, Jimi Hendrix, mainstream acts that developed a psychedelic sound included the Supremes and Stevie Wonder. Acts that achieved notability with the sound included the Chambers Brothers, the 5th Dimension, Edwin Starr, and George Clintons Funkadelic and Parliament ensembles. Following the lead of Jimi Hendrix in psychedelic rock, in the late 1960s psychedelia began to have a impact on African American musicians. Influenced by the civil movement, it had a darker. Other Motown acts soon followed into psychedelic territory, including established performers like the Supremes with Reflections, Love Child, psychedelic influences could also be heard in the work of Stevie Wonder and in Marvin Gayes socially conscious work from Whats Going On. George Clintons 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. And Your Ass Will Follow, and Maggot Brain, and Parliament album Osmium, producing over forty singles, including three in the US top ten, and three platinum albums. Acts like Earth, Wind & Fire, Kool & the Gang, and Ohio Players, who began as psychedelic soul artists, incorporated its sounds into funk music and eventually the disco which partly replaced it
29.
Stoner rock
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Stoner rock or stoner metal is a rock music fusion genre that combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock. The term desert rock is used interchangeably with the term stoner rock to describe this genre, however. Stoner rock is typically slow-to-mid tempo and features a distorted, groove laden bass-heavy sound, melodic vocals. The genre emerged during the early 1990s and was pioneered foremost by the Californian bands Kyuss, the descriptor stoner rock may originate from the title of the 1997 Roadrunner Records compilation Burn One Up. Desert rock is used interchangeably as a descriptor, and was coined by a MeteorCity Records intern. Due to the similarities between stoner and sludge metal, there is often a crossover between the two genres and this hybrid has traits of both styles, but generally lacks stoner metals laid back atmosphere and its usage of psychedelia. Bands such as Weedeater, High on Fire and Electric Wizard creatively fuse both styles, the involvement of cannabis in the creation of stoner rock/metal can range between bands in the genre. Bands such as Sleep have involved the concept of cannabis to be part of the core of their albums, dopesmoker by Sleep received controversy because the 60-minute song is about cannabis, which resulted in conflict with Sleeps record company. Bands such as King Caravan and Sea of Green have come under terms with this statement. Similarly, Matt Pike from the band High on Fire stated, Its a very strong scene, I might use the word stoner in my lyrics, but I think were metal, dude. Id say I was crossover metal, actually, or progressive metal and its kind of a tough thing to lump into a category, but I guess we get the stoner-rock label because of the whole pot thing. Like most subgenres of music, the origins of rock are hard to trace. Nevertheless, several known progenitors and signature songs are credited with helping to shape the genre. Blue Cheer is considered one of the pioneers of the style, as AllMusic author Greg Prato puts it, When talks about stoner rock come up, one band that tends to get overlooked is Blue Cheer. Rolling Stone claims, What stoner rock delivers, slowed down and magnified, is the riff, led Zeppelin and Black Sabbath were the first to make a monolith of it. Sir Lord Baltimore have been called the godfathers of rock and Leaf Hound have been cited for influencing countless bands in the stoner rock movement, including Kyuss. Primevils album Smokin Bats at Camptons has been called a touchstone of stoner rock, jim DeRogatis has said that stoner rock bands are reaching back for inspiration to the psychedelic, proto-metallic jamming of bands like Cream, Black Sabbath, Deep Purple, and Hawkwind. Black Sabbaths Master of Reality is often cited as the first album of the genre, soundgarden, who released their first album in 1988, are typically associated with grunge, but have also been called the standard-bearers of stoner rock during the 1990s
30.
San Francisco Sound
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The San Francisco Sound refers to rock music performed live and recorded by San Francisco-based rock groups of the mid-1960s to early 1970s. It was associated with the community in San Francisco during these years. San Francisco is a port city, a city that at the time was big enough. Hence, it could support a scene, according to journalist Ed Vulliamy, A core of Haight Ashbury bands played with each other, for each other, for free and at Chet Helmss Avalon Ballroom and Bill Grahams Fillmore. The Bay-Area-based jazz critic and columnist Ralph J. Gleason had established the first journal devoted to jazz, Gleason was open to new pathways. He admired San Franciscos new music scene in the mid-1960s, mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history. Gleason shortly became one of the founders of the U. S. national rock-scene fan journal Rolling Stone. The new sound, which melded many musical influences, was heralded in the live performances of the Jefferson Airplane. According to writer Douglas Brinkley, celebrated author Hunter S. Acoustic music had had an avid following far and wide, the entire tone of the new subculture was different. According to biography author Robert Greenfield, Jon McIntire points out that the contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold, the new music was loud and community-connected, bands sometimes presented free concerts in Golden Gate Park and happenings at the citys several psychedelic clubs and ballrooms. The many bands that formed signalled a shift from one subculture to the next, monterey, California is about 120 road miles south of San Francisco. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. By 1967, fresh and adventurous improvisation during live performance was one characteristic of the San Francisco Sound, a louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature. This questing bass quality has been characterized as a roving style. In jazz it had been pioneered by numerous musicians—and such bassists as Charles Mingus, Scott LaFaro. A musician who was a example of this, Jack Casady of Jefferson Airplane pioneered the approach. Phil Lesh, bassist with the Grateful Dead, furthered this sound, Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet
31.
British underground
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This is about the 1960s cultural movement. For the tube system, see London Underground. The British counter-culture or underground scene developed during the mid 1960s and its primary focus was around Ladbroke Grove and Notting Hill in London. During the 1960s, the Beatnik writers engaged in symbiotic evolution with freethinking academics including experimental psychologist Timothy Leary and it had been depicted in Colin MacInnes novel Absolute Beginners, about street culture at the time of the Notting Hill Riots in the 1950s. John Hopkins, a member of the board of International Times for example, was trained as a physicist at Cambridge. Police harassment of members of the underground became commonplace, particularly against the underground press, according to Farren, Police harassment, if anything, made the underground press stronger. It focused attention, stiffened resolve, and tended to confirm that what we were doing was considered dangerous to the establishment, rex, and his partner Steve Peregrin Took, who remained in Ladbroke Grove and continued to perform benefit gigs in the anti-commercial ethos of the UK underground. Within Portobello Road stood the Mountain Grill greasy spoon café which in the late 1960s and early 1970s was frequented by many UK underground artists such as Hawkwind featuring, at the time, Lemmy. It was of sufficient import to the members of the UK underground that in 1974 Hawkwind released an album titled Hall Of The Mountain Grill, mick Farren said, The underground movement was also symbolised by the use of drugs. The types of drugs used were varied and in cases the names and effects were unknown as The Deviants/Pink Fairies member Russell Hunter, working at International Times. People used to send in all kinds of drugs and things, pills and powders, stuff to smoke. Theyd always give them to me to try to find out what they were, part of the sense of humour of the underground, no doubt partly induced by the effects of both drugs and radical thinking was an enjoyment at freakin out the norms. Mick Farren recalls actions sure to elicit the required response, at least two magazines—Gandalfs Garden and Vishtaroon—adopted this overground style. Gandalfs Garden was also a place at Worlds End, Chelsea. The first issue of Gandalfs Garden urged that we should seek to stimulate our own inner gardens if we are to save our Earth and it was edited by Muz Murray who is now called Ramana Baba and teaches yoga. He had previously chosen the bands track The Hedgehogs Song as his piece of popular music on the radio programme Desert Island Discs). The critic Ian MacDonald said, Much that appeared to be profane in Sixties youth culture was quite the opposite, counterculture of the 1960s Hungry Generation James Haynes Joe Boyd - White Bicycles - Making Music in the 1960s The Sound of Ladbroke Grove punk77. co
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Experimental rock
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Experimental rock is a subgenre of rock music which pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. From its inception, rock music was experimental, but it wasnt until the late 1960s that rock artists began creating extended, in 1967, the genre was as commercially viable as pop music, but by 1970, most of its leading players had incapacitated themselves in some form. In Germany, the krautrock subgenre merged elements of improvisation and psychedelic rock with avant-garde, later in the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, and electronic music. Funk, jazz-rock, and fusion rhythms became integrated into experimental rock music. The first wave of 1980s experimental rock groups had few precedents for their sound. Later in the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness, during the 1990s, a loose movement known as post-rock became the dominant form of experimental rock. As of the 2010s, the experimental rock has fallen to indiscriminate use, with virtually every modern rock band being categorized under prefixes such as post-, kraut-, psych-. Although experimentation had always existed in music, it wasnt until the late 1960s that new openings were created from the aesthetic intersecting with the social. In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. In addition, The Quietus Ben Graham described duos the Silver Apples, calling attention to the very recordedness of the album. This would also be reflected in contemporary experimental rock LPs, such as the Beach Boys Pet Sounds and Smile, the Whos The Who Sell Out and Tommy. The Velvet Underground were a group in experimental rock, according to Rosenberg. Peppers inspired a new consideration for experimental rock as commercially viable music, as progressive rock developed, experimental rock acquired notoriety alongside art rock. By 1970, most of the musicians which had been at the forefront of rock had incapacitated themselves. Groups such as Can, Faust, Neu, the ideas of minimalism and composers such as Stockhausen would be particularly influential. During this era, funk, jazz-rock, and fusion rhythms became integrated into experimental rock music, some groups who were categorized as post-punk considered themselves part of an experimental rock trajectory, with This Heat as one of the prominent players. Anderson claims that the no wave scene represented New York’s last stylistically cohesive avant-rock movement, steve Redhead noted the resuscitation of New Yorks avant-rock scene, including artists such as Sonic Youth and John Zorn, in the 1980s. In the late 1980s, avant-rock pursued a frazzled, psychedelia-tinged, blissed out aesthetic that differed from the self-consciousness, the UK shoegaze scene was seen by some as a continuation of an experimental rock tradition
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Folk rock
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Folk rock is a musical genre combining elements of folk music and rock music. In its earliest and narrowest sense, the referred to a genre that arose in the United States. The genre was pioneered by the Los Angeles band the Byrds, the term folk rock was coined by the U. S. music press to describe the Byrds music in June 1965, the month in which the bands debut album was issued. A distinct, eclectic style of folk was created in Britain and Europe in the late 1960s by Pentangle, Fairport Convention. In a broader sense, folk rock includes later similarly inspired musical genres, Folk rock is a musical genre combining elements of folk music and rock music. In its earliest and narrowest sense, the referred to a genre that arose in the United States. The style was influenced by the Beatles and other British bands. The term folk rock was coined by the U. S. music press to describe the Byrds music in June 1965, the month in which the bands debut album was issued. In a broader sense, folk rock includes later similarly inspired musical genres and movements in the English-speaking world and, to a lesser extent, as with any genre, the borders are difficult to define. Of these, the first two owed direct debts to protest folk singers such as Woody Guthrie and Pete Seeger, along with the leftist Popular Front culture of the 1930s. The Weavers mainstream popularity set the stage for the revival of the 1950s and early 1960s. By 1951, however, the group had fallen afoul of the U. S, red Scare of the McCarthy era, and as a result they disbanded in 1952. The group reformed in 1955, releasing the influential album The Weavers at Carnegie Hall in 1957, before disbanding for a time in 1964. The crystal-clear harmony singing and liberal outlook that characterized American folk rock during the mid-1960s sprang directly from the music, while this urban folk revival flourished in many cities across the U. S. Like the 1950s Beat Generation before them, the vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture, across the Atlantic, a parallel folk revival was occurring in the UK during the 1950s and early 1960s. However, it wasnt until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream, skiffle was a blend of jazz, folk, and country blues, with roots in African-American folk music and the post-war British jazz scene. This renewed popularity of folk music forms in Britain led directly to the folk movement. Among the leading lights of the folk movement were Bert Jansch and John Renbourn
34.
Freak scene
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Freak Scene is a song by American alternative rock band Dinosaur Jr. the opening track on the groups third studio album Bug. Written and produced by frontman J Mascis, the song was recorded at Fort Apache Studios by engineers Paul Q, Freak Scene was released as a single on SST Records in the United States and was also Dinosaur Jr. s first release on Blast First in the United Kingdom. The band also made a video to promote the single. Music journalist Everett True writes that Freak Scene invented the slacker generation, J. plays the guitar like he skis, effortlessly and fully in control. The song slows down, catches on fire, whispers sweet harmony, so fucked. youd see it, J. sings with heavy resignation. Dont let me fuck up will you, J. pleads, helpless in his slumber. Because when I need a friend, its still you, Freak Scene is rated as one of the best songs by Dinosaur Jr. In his review of Bug, Stephen Thomas Erlewine of Allmusic called the track the masterpiece of the record, a surprisingly catchy song encapsulating the appeal and pitfalls of indie rock within three minutes. The single reached number seven in the UK Indie Chart, Freak Scene would eventually be covered by pop-punk band Blink-182 on their debut demo Flyswatter. Freak Scene has been ranked the number 1 song in the All Time Indie Top 50, both songs written by J Mascis. Freak Scene –3,35 Keep the Glove –2,52 Freak Scene song review at Allmusic Freak Scene single review at Allmusic Freak Scene release information at Keeblin. com
35.
Haight-Ashbury
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Haight-Ashbury is a district of San Francisco, California, named for the intersection of Haight and Ashbury streets. It is also called The Haight and The Upper Haight, the neighborhood is known for its history of, and being the origin of hippie counterculture. The street names commemorate two early San Francisco leaders, Pioneer and exchange banker Henry Haight and Munroe Ashbury, a member of the San Francisco Board of Supervisors from 1864 to 1870. Both Haight and his nephew as well as Ashbury had a hand in the planning of the neighborhood, the Haight-Ashbury district is noted for its role as a center of the 1960s hippie movement. The earlier bohemians of the movement had congregated around San Franciscos North Beach neighborhood from the late 1950s. Many who could not find accommodation there turned to the quaint, relatively cheap, the Summer of Love, the 1960s era as a whole, and much of modern American counterculture have been synonymous with San Francisco and the Haight-Ashbury neighborhood ever since. Before the completion of the Haight Street Cable Railroad in 1883, what is now the Haight-Ashbury was a collection of isolated farms and acres of sand dunes. The Haight cable car line, completed in 1883, connected the east end of Golden Gate Park with the geographically central Market Street line and the rest of downtown San Francisco. The cable car, land grading and building techniques of the 1890s and it was one of the few neighborhoods spared from the fires that followed the catastrophic San Francisco earthquake of 1906. The Haight was hit hard by the Depression, as was much of the city, residents with enough money to spare left the declining and crowded neighborhood for greener pastures within the growing city limits, or newer, smaller suburban homes in the Bay Area. During the housing shortage of World War II, large single-family Victorians were divided into apartments to house workers, others were converted into boarding homes for profit. By the 1950s, the Haight was a neighborhood in decline, many buildings were left vacant after the war. Deferred maintenance also took its toll, and the exodus of middle class residents to newer suburbs continued to many units for rent. In the 1950s, a freeway was proposed that would have run through the Panhandle, the Haight Ashbury Neighborhood Council was formed at the time of the 1959 revolt. HANC is still active in the neighborhood as of 2008, the bohemian subculture that subsequently flourished there took root, and to a great extent, has remained to this day. The mainstream medias coverage of life in the Haight-Ashbury drew the attention of youth from all over America. Hunter S. Thompson labeled the district Hashbury in The New York Times Magazine, the Haight-Ashbury district was sought out by hippies to constitute a community based upon counterculture ideals, drugs, and music. This neighborhood offered a concentrated gathering spot for hippies to create an experiment that would soon spread throughout the nation
36.
Hippie
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The word hippie came from hipster and was initially used to describe beatniks who had moved into New York Citys Greenwich Village and San Franciscos Haight-Ashbury district. The term hippie was first popularized in San Francisco by Herb Caen, the origins of the terms hip and hep are uncertain. By the 1940s, both had become part of African American jive slang and meant sophisticated, currently fashionable, fully up-to-date, the Beats adopted the term hip, and early hippies inherited the language and countercultural values of the Beat Generation. In the United Kingdom in 1970, many gathered at the gigantic Isle of Wight Festival with a crowd of around 400,000 people, in later years, mobile peace convoys of New Age travelers made summer pilgrimages to free music festivals at Stonehenge and elsewhere. In Australia, hippies gathered at Nimbin for the 1973 Aquarius Festival, piedra Roja Festival, a major hippie event in Chile, was held in 1970. Hippie fashion and values had an effect on culture, influencing popular music, television, film, literature. Since the 1960s, many aspects of culture have been assimilated by mainstream society. The religious and cultural diversity espoused by the hippies has gained widespread acceptance, lexicographer Jesse Sheidlower, the principal American editor of the Oxford English Dictionary, argues that the terms hipster and hippie derive from the word hip, whose origins are unknown. The term hipster was coined by Harry Gibson in 1944, by the 1940s, the terms hip, hep and hepcat were popular in Harlem jazz slang, although hep eventually came to denote an inferior status to hip. In Greenwich Village in the early 1960s, New York City, young counterculture advocates were named hips because they were considered in the know or cool, as opposed to being square. In the April 27,1961 issue of The Village Voice, An open letter to JFK & Fidel Castro, Norman Mailer utilizes the term hippies, in questioning JFKs behavior. In a 1961 essay, Kenneth Rexroth used both the hipster and hippies to refer to young people participating in black American or Beatnik nightlife. According to Malcolm Xs 1964 autobiography, the hippie in 1940s Harlem had been used to describe a specific type of white man who acted more Negro than Negroes. Andrew Loog Oldham refers to all the Chicago hippies, seemingly in reference to black musicians, in his rear sleeve notes to the 1965 LP The Rolling Stones. The word hippie was also used in reference to Philadelphia in at least two songs in 1963, South Street by The Orlons, and You Cant Sit Down by The Dovells. In both songs, the term is applied to residents of Philadelphias South Street, in that article, Fallon wrote about the Blue Unicorn Cafe, using the term hippie to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district. New York Times editor and usage writer Theodore M. Bernstein said the paper changed the spelling from hippy to hippie to avoid the ambiguous description of clothing as hippy fashions. Even the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the Cynics were also early forms of hippie culture
37.
Psychedelic folk
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Psychedelic folk is a loosely defined form of psychedelia that originated in the 1960s. It retains the acoustic instrumentation of folk, but adds musical influences common to psychedelic music. Psychedelic folk generally favors acoustic instrumentation although it incorporates other instrumentation. Chanting, early music and various folk music influences are often found in psych folk. Much like its counterpart, psychedelic folk is often known for a peculiar, trance-like. Its lyrics are concerned with such subjects as the natural world, love and beauty. The first musical use of the term psychedelic is thought to have been by the New York-based folk group The Holy Modal Rounders on their version of Lead Bellys Hesitation Blues in 1964. Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s that experimented with recording techniques, including backward tapes. His nineteen-minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations, Other songs from Faheys The Great San Bernardino Birthday Party & Other Excursions also used unsettling moods and dissonances that took them beyond the typical folk fare. In 1967, he performed with the rock band Red Krayola at the Berkeley Folk Festival which was recorded. Among other descriptions, their performance has been likened to the very weirdest parts of late-60s Pink Floyd pieces, similarly, folk guitarist Sandy Bulls early work incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes. His 1963 album Fantasias for Guitar and Banjo explores various styles and instrumentation, later albums, such as 1968s E Pluribus Unum and his live album Still Valentines Day 1969, which use experimental recording techniques and extended improvisation, also have psychedelic elements. In the mid 1970s psychedelia began to fall out of fashion, in Britain folk groups also tended to electrify as did acoustic duo Tyrannosaurus Rex which became the electric combo T. Rex. This was a continuation of a process by which progressive folk had considerable impact on mainstream rock, anti-folk Freak folk Jam bands Neofolk Ptolemaic Terrascope – a psychedelic folk & rock magazine PsychedelicFolk
38.
Raga rock
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Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. More recently, scholars have included British rock music from the 1960s and 1970s that utilizes South Asian musical materials and instruments, raga rock is not normally considered a specific genre of music, but rather a general aspect of any rock significantly influenced by Indian classical music. Since Indian influences are primarily limited to 1960s rock, most raga rock is limited to that decade, ragas are specific melodic modes used in classical music of South Asia. Thus, any songs with obvious Indian influences may be deemed raga-rock although the term is frequently used to refer to much more explicitly Indian musical outings. A major influence on raga rock was the Indian classical raga music of Bengali sitarist Ravi Shankar, the Byrds March 1966 single Eight Miles High and its B-side Why were also influential in originating the musical subgenre. However, in his 1968 Pop Chronicles interview, Byrds member Roger McGuinn denied that Eight Miles High was in fact raga rock, the Beatles song Norwegian Wood, which first appeared on the bands 1965 album Rubber Soul, was the first Western pop song to incorporate the sitar. Harrisons interest in Indian music popularized the genre in the mid-1960s with songs such as Love You To and Tomorrow Never Knows, Within You Without You, in the early 1970s, the British progressive rock band Quintessence began to mix elements of Indian classical music with rock and jazz. Later in the decade, guitarist John McLaughlin and his band Shakti introduced a version of raga rock over the course of three albums. The album, which fused Indian music with rock, funk, hip hop and country music, featured the UK #1 single Brimful of Asha and a cover of The Beatles Norwegian Wood sung entirely in Punjabi. In 1996, the British rock group Kula Shaker, which featured Top 10 raga rock hits including Tattva and Govinda, both of which included Sanskrit lyrics. The Brian Jonestown Massacre released the albums Their Satanic Majesties Second Request in 1996 and Give It Back. in 1997, some scholars approach raga rock and other uses of non-Western musical materials in Western popular music from sociological perspectives, especially as a manifestation of Orientalism. Common themes include use, sexual exploration, and spirituality. Bellman and other scholars suggest that the Orient once again becomes a Western fantasy land, mediated to mass audiences of the mid and late twentieth century through Rock. Behind the Sun by Red Hot Chili Peppers If Only Tonight We Could Sleep
39.
Psychedelia
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Psychedelia is a name given to the subculture of people, originating in the 1960s, who often use psychedelic drugs such as LSD, mescaline and psilocybin. The term is used to describe a style of psychedelic artwork. Psychedelic art and music typically try to recreate or reflect the experience of altered consciousness, the term psychedelic is derived from the Ancient Greek words psychē and dēloun, translating to soul-revealing. Psychedelic states may be elicited by various techniques, such as meditation, sensory stimulation or deprivation, when these psychoactive substances are used for religious, shamanic, or spiritual purposes, they are termed entheogens. The term was first coined as a noun in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. Seeking a name for the experience induced by LSD, Osmond contacted Aldous Huxley, Huxley coined the term phanerothyme, from the Greek terms for manifest and spirit. This mongrel spelling of the word psychedelic was loathed by American ethnobotanist Richard Evans Schultes, but championed by Timothy Leary, who thought it sounded better. In the same period Lysergic acid diethylamide, better known as LSD, or acid, began to be used in the US and UK as an experimental treatment, initially promoted as a potential cure for mental illness. There had long been a culture of use among jazz and blues musicians, and use of drugs had begun to grow among folk and rock musicians. By the mid-1960s, the psychedelic life-style had already developed in California, and this was particularly true in San Francisco, due in part to the first major underground LSD factory, established there by Owsley Stanley. Leary was a proponent of the use of psychedelics, as was Aldous Huxley. However, both advanced widely different opinions on the use of psychedelics by state and civil society. Leary promulgated the idea of such substances as a panacea, while Huxley suggested that only the cultural and intellectual elite should partake of entheogens systematically, in the mid-1960s the use of psychedelic drugs became widespread in modern Western culture, particularly in the United States and Britain. The movement is credited to Michael Hollingshead who arrived in America from London in 1965 and he was sent to the U. S. by other members of the psychedelic movement to get their ideas exposure. Resurgences of the style are common in the modern era, in science, hallucinogen remains the standard term. Advances in printing and photographic technology in the 1960s saw the traditional lithography printing techniques rapidly superseded by the printing system. Many artists in the late 1960s and early 1970s attempted to illustrate the psychedelic experience in paintings, drawings, illustrations, in the modern era, computer graphics may be used to produce psychedelic effects for artwork. The counterculture music scene frequently used psychedelic designs on posters during the Summer of Love, many of these works are now regarded as classics of the poster genre, and original items by these artists command high prices on the collector market today
40.
Psychedelic art
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Psychedelic art is any art or visual displays inspired by psychedelic experiences and hallucinations known to follow the ingestion of psychoactive drugs such as LSD and psilocybin. The word psychedelic means mind manifesting, by that definition, all artistic efforts to depict the inner world of the psyche may be considered psychedelic. In common parlance psychedelic art refers above all to the art movement of the late 1960s counterculture, psychedelic visual arts were a counterpart to psychedelic rock music. Fantastic, metaphysical and surrealistic subject matter Kaleidoscopic, fractal or paisley patterns Bright and/or highly contrasting colors Extreme depth of detail or stylization of detail, also so called Horror vacui style. The psychedelic art movement is similar to the surrealist movement in that it prescribes a mechanism for obtaining inspiration, whereas the mechanism for surrealism is the observance of dreams, a psychedelic artist turns to drug induced hallucinations. Both movements have strong ties to important developments in science, whereas the surrealist was fascinated by Freuds theory of the unconscious, the psychedelic artist has been literally turned on by Albert Hofmanns discovery of LSD. The early examples of art are literary rather than visual, although there are some examples in the Surrealist art movement, such as Remedios Varo. It should also be noted that these came from writers involved in the Surrealist movement, antonin Artaud writes of his peyote experience in Voyage to the Land of the Tarahumara. Henri Michaux wrote Misérable Miracle, to describe his experiments with mescaline, aldous Huxleys The Doors of Perception and Heaven and Hell remain definitive statements on the psychedelic experience. Albert Hofmann and his colleagues at Sandoz Laboratories were convinced immediately after its discovery in 1943 of the power, for two decades following its discovery LSD was marketed by Sandoz as an important drug for psychological and neurological research. Hofmann saw the potential for poets and artists as well. Early artistic experimentation with LSD was conducted in a clinical context by Los Angeles–based psychiatrist Oscar Janiger, Janiger asked a group of 50 different artists to each do a painting from life of a subject of the artists choosing. They were subsequently asked to do the painting while under the influence of LSD. The two paintings were compared by Janiger and also the artist, the artists almost unanimously reported LSD to be an enhancement to their creativity. Ultimately it seems that psychedelics would be most warmly embraced by the American counterculture, beatnik poets Allen Ginsberg and William S. Burroughs became fascinated by psychedelic drugs as early as the 1950s as evidenced by The Yage Letters. They knew that altered states of consciousness played a role in Eastern Mysticism and they were hip to psychedelics as psychiatric medicine. LSD was the perfect catalyst to electrify the eclectic mix of ideas assembled by the Beats into a cathartic, mass-distributed panacea for the soul of the succeeding generation. Leading proponents of the 1960s psychedelic art movement were San Francisco poster artists such as, Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley and their psychedelic rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art
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