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<title>Top Psychedelic Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link><description>Top Psychedelic Artists on Rhapsody Online</description><category>Psychedelic</category><language>en</language><ttl>720</ttl><pubDate>Fri, 18 Dec 2009 21:20:17 -0800</pubDate><image>
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<title>Top Psychedelic Artists on Rhapsody Online</title>
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<title>Pink Floyd</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:01 -0800</pubDate>
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<description><![CDATA[Early Pink Floyd recordings make space travel superfluous so long as we have keyboards here on Earth. Back when enigmatic lyricist and acid-eater extraordinaire Syd Barrett skippered the ship, the Floyd sounded something like Monty Python with instruments -- quirky, trippy and weird. Barrett made Bedlam seem a reasonable price to pay for such gems as "Bike," "Lucifer Sam," and the Space Rock tour-de-force "Astronomy Domine." Upon Barrett's departure, the only marginally less maniacal Roger Waters took on singing and songwriting duties. The band dug even deeper into labyrinthine song structures, but nothing prior had prepared the world for 1973s <i>Dark Side of the Moon</i>. The concept album par excellence, <i>Moon</i> utilizes a narrative lyric structure and musical leitmotifs to give the album a sense of coherence. These compositional strategies culminated in '79s harrowing magnum opus, <i>The Wall</I>, an unflinching look at England's soul -- its educational system, its flirtations with fascism, the conservatism leading up to Thatcher. After Waters' defection, the remaining members came down with a crippling case of the blands but decided to stick it out, releasing a series of flashy (note '95's <I>Pulse</i>), nostalgic commodities that basically sounded like David Gilmour solo efforts (even if they continued to sell like genuine Pink Floyd productions). In July 2005, David Gilmour, Nick Mason, Richard Wright and Roger Waters reformed for the Live 8 charity concert. Sadly, in July 2006, Syd Barrett died at the age of 60, from complications of diabetes.
- Chad Driscoll]]></description>
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<title>The Grateful Dead</title>
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<category>Jam Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:51 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Born out of the burgeoning West Coast hippie scene in San Francisco's Haight-Ashbury district during the late '60s, and inextricably linked to psychedelic experimentation, the Grateful Dead blended psychedelic folk music and a transformative live experience that grew into the largest, most devoted and longest lived cult following in the history of popular music. Deadhead culture rapidly became more ubiquitous than the music -- the Dead's friendly jams, laid-back tunes and open attitude towards bootlegging inspired a tightly knit community that followed the band around the country and traded tapes of concerts years after they'd been recorded. The Dead's concert performances live forever in the often-altered minds of those who attended show after show, and in thousands of hours of recorded material. The majority of these Dead bootlegs were recorded really well and sound like someone took the time to master and equalize them. Hardcore Deadhead classics like "Jack Straw" re-emphasize why the band's live shows were a musical phenomenon. Those who identified best with the <I>Workingman's Dead</I> and <I>American Beauty</I> LPs will be pleased to know that there is an overwhelming amount of well-recorded and downloadable live jams from that era when Jerry was younger, the songs were fresh, and the guitars sounded especially warm.]]></description>
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<title>The Beach Boys</title>
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<category>'60s Oldies</category>
<pubDate>Fri, 18 Dec 2009 12:08:01 -0800</pubDate>
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<description><![CDATA[In the early 1960s, the Beach Boys' Brian Wilson fused innovative chord arrangements with elastic-ranged vocal harmonies onto a foundation of Chuck Berry-inspired rock 'n' roll. The resulting music, set against a backdrop of surfing, girls, and cars, was unfortunately panned by the media as America's answer to Beatlemania. By the end of 1964, Wilson had retired from live performances to focus on composing and producing the band's recordings. Desperately trying to get the sounds from his head onto tape, the Beach Boys released the epic <i>Pet Sounds</i> in May of 1966. In the liner notes of this orchestrated pop masterpiece, Wilson admits that his aim was to write a "teenage symphony to God." Generally hailed as the greatest rock 'n' roll album ever, <I>Pet Sounds</I> struggled to attain the commercial success of the band's earlier suburban hymns. Although the Beach Boys (as well as Brian Wilson) went on to make many more successful albums, they never came close to approximating the innovative genius and transcendent, childlike innocence that was <i>Pet Sounds</i>.
- Eric Shea]]></description>
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<title>Jimi Hendrix</title>
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<category>Acid Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:53 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Jimi Hendrix was one of rock's few true originals. He was one of the most innovative and influential rock guitarists of the late '60s and perhaps the most important electric guitarist after Charlie Christian. His influence figures prominently in the playing styles of rockers ranging from Robin Trower to Vernon Reid to Stevie Ray Vaughan. A left-hander who took a right-handed Fender Stratocaster and played it upside down, Hendrix pioneered the use of the instrument as an electronic sound source. Players before Hendrix had experimented with feedback and distortion, but he turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began. His expressively unconventional, six-string vocabulary has lived on in the work of such guitarists as Adrian Belew, Eddie Van Halen, and Prince. But while he unleashed noise--and such classic hard-rock riffs as "Purple Haze," "Foxy Lady," and "Crosstown Traffic"--with uncanny mastery, Hendrix also created such tender ballads as "The Wind Cries Mary," the oft-covered "Little Wing," and "Angel," and haunting blues recordings such as "Red House" and "Voodoo Chile." Although Hendrix did not consider himself a good singer, his vocals were nearly as wide-ranging, intimate, and evocative as his guitar playing.
<br><br>
Hendrix's studio craft and his virtuosity with both conventional and unconventional guitar sounds have been widely imitated, and his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype. His songs have inspired several tribute albums, and have been recorded by a jazz group (1989's <I>Hendrix Project</I>), the Kronos String Quartet, and avant-garde flutist Robert Dick. Hendrix's musical vision had a profound effect on everybody from Sly Stone to George Clinton to Miles Davis to Prince to OutKast. Hendrix's theatrical performing style--full of unmistakably sexual undulations, and such tricks as playing the guitar behind his back (a tradition that went back at least to bluesman T-Bone Walker) and picking it with his teeth--has never quite been equaled. In the decades since Hendrix's death, pop stars from Rick James and Prince to Lenny Kravitz and Erykah Badu have evoked his look and style.
<br><br>
As a teenager growing up in Seattle, Hendrix taught himself to play guitar by listening to records by blues guitarists Muddy Waters and B.B. King and rockers such as Chuck Berry and Eddie Cochran. He played in high school bands before enlisting in the U.S. Army in 1959. Discharged in 1961, Hendrix began working under the pseudonym Jimmy James as a pickup guitarist. By 1964, when he moved to New York, he had played behind Sam Cooke, B.B. King, Little Richard, Jackie Wilson, Ike and Tina Turner, and Wilson Pickett. In New York he played the club circuit with King Curtis, the Isley Brothers, John Paul Hammond, and Curtis Knight.
<br><br>
In 1965 Hendrix formed his own band, Jimmy James and the Blue Flames, to play Greenwich Village coffeehouses. Chas Chandler of the Animals took him to London in the autumn of 1966 and arranged for the creation of the Jimi Hendrix Experience, with Englishmen Noel Redding on bass and Mitch Mitchell on drums.
<br><br>
The Experience's first single, "Hey Joe," reached Number Six on the U.K. chart in early 1967, followed shortly by "Purple Haze" and its double-platinum debut album, <I>Are You Experienced?</I> (Number Five, 1967). Hendrix fast became the rage of London's pop society. Though word of the Hendrix phenomenon spread through the U.S., he was not seen in America (and no records were released) until June 1967, when, at Paul McCartney's insistence, the Experience appeared at the Monterey Pop Festival. The performance, which Hendrix climaxed by burning his guitar, was filmed by D.A. Pennebaker for the documentary <I>Monterey Pop</I>.
<br><br>
Hendrix's next albums were major hits (<I>Axis: Bold as Love</I> [Number Three, 1968], <I>Electric Ladyland</I> [Number One, 1968]) and he quickly became a superstar. Stories such as one reporting that the Experience was dropped from the bill of a Monkees tour at the insistence of the Daughters of the American Revolution became part of the Hendrix myth, but he considered himself a musician more than a star. Soon after the start of his second American tour, early in 1968, he renounced the extravagances of his stage act and simply performed his music. A hostile reception led him to conclude that his best music came out in the informal settings of studios and clubs, and he began construction of Electric Lady, his own studio in New York.
<br><br>
Hendrix was eager to experiment with musical ideas, and he jammed with John McLaughlin, Larry Coryell, and members of Traffic, among others. Miles Davis admired his instinctiveness (and, in fact, planned to record with him), and Bob Dylan--whose "Like a Rolling Stone," "All Along the Watchtower," and "Drifter's Escape" Hendrix performed and recorded--later returned the tribute by performing "Watchtower" in the Hendrix mode.
<br><br>
As 1968 came to a close, disagreements arose between manager Chas Chandler and co-manager Michael Jeffrey; Jeffrey, who opposed Hendrix's avant-garde leanings, got the upper hand. Hendrix was also under pressure from Black Power advocates to form an all-black group and play to black audiences. These problems exacerbated already existing tensions within the Experience, and early in 1969 Redding left the group to form Fat Mattress. Hendrix replaced him with an army buddy, Billy Cox. Mitchell stayed on briefly, but by August the Experience was defunct. In summer 1969 the double-platinum <I>Smash Hits</I> (Number Six) was released.
<br><br>
In August 1969, Hendrix appeared at the Woodstock Festival with a large, informal ensemble called the Electric Sky Church, and later that year he put together the all-black Band of Gypsys--with Cox and drummer Buddy Miles (Electric Flag), with whom he had played behind Wilson Pickett. The Band of Gypsys' debut concert at New York's Fillmore East on New Year's Eve 1969 provided the recordings for the group's only album during its existence, <I>Band of Gypsys</I> (Number Five, 1970). (A second album of vintage tracks was released in 1986.) Hendrix walked offstage in the middle of their Madison Square Garden gig; when he performed again some months later it was with Mitchell and Cox, the group that recorded <I>The Cry of Love</I> (Number Three, 1971), Hendrix's last self-authorized album. With them he played at the Isle of Wight Festival, his last concert, in August 1970, a recording of which would see release in 2002. A month later he was dead. The cause of death was given in a coroner's report as inhalation of vomit following barbiturate intoxication. Suicide was not ruled out, but evidence pointed to an accident.
<br><br>
In the years since his death, the Hendrix legend has lived on through various media. Randi Hansen (who appeared in the video for Devo's 1984 cover of "Are You Experienced?") became the best known of a bunch of full-time Hendrix impersonators, even re-forming the Band of Gypsys with bassist Tony Saunders and Buddy Miles--who, briefly in the late '80s, was replaced by Mitch Mitchell.
<br><br>
Well over a dozen books have been written about Hendrix, including tones by both Redding and Mitchell; the most authoritative bio was generally considered to be David Henderson's <I>'Scuse Me While I Kiss the Sky</I>, while Charles R. Cross's <I>Room Full of Mirrors</I> delves deepest into Hendrix's early years in Seattle. And virtually every note Hendrix ever allowed to be recorded has been marketed on over 100 albums, some of which mine his years as a pickup guitarist, various bootlegs and legitimate live concerts and jam sessions, and even taped interviews and conversations. A controversial series produced by Alan Douglas, who recorded over 1,000 hours of Hendrix alone at the Electric Lady studio in the last year of his life, garnered attention through the mid-'90s. With the consent of the Hendrix estate, Douglas edited the tapes, erased some tracks, and dubbed in others, with mixed results. <I>Radio One</I> collected energetic live-in-the-studio performances by Hendrix and the Experience recorded for British radio in 1967; the later <I>BBC Sessions</I> mined the same material more thoroughly.
<br><br>
In 1990 the first of several Hendrix tribute albums, <I>If Six Was Nine</I>, was released. Former Free/Bad Company/Firm vocalist Paul Rodgers released another tribute (<I>The Hendrix Set</I>, 1993) and appeared on the all-star <I>Stone Free</I>, which featured Hendrix covers from musicians ranging from Eric Clapton to Buddy Guy to the Cure to Ice-T to classical violinist Nigel Kennedy.
<br><br>
In 1991 Hendrix's ex-girlfriend Kathy Etchingham, along with Mitch Mitchell and his wife Dee, began prodding Scotland Yard to reopen an investigation into their friend's death. England's attorney general finally agreed to the request in 1993; in early 1994 Scotland Yard announced it had found no evidence to bother pursuing the case any further. In 1993 an audio-visual exhibit of Hendrix's work called "JimI Hendrix: On the Road Again" toured college campuses and art galleries in the U.S., to enthusiastic--and predominately young--audiences.
<br><br>
In 1994 a 24-year-old Swede named James Henrik Daniel Sundquist claimed to have been conceived by the guitarist and Eva Sundquist during a 1969 Stockholm sojourn. Sundquist legally challenged Hendrix's father, James "Al" Hendrix, as the sole heir to the Jimi Hendrix estate, which was estimated to be worth at least $30 million. A year earlier, Al Hendrix, who in the mid-'70s had signed away the rights to portions of his son's work to various international conglomerates, had claimed that he'd been misled. With the financial aid of Paul Allen, the billionaire Hendrix fan who'd cofounded Microsoft with Bill Gates, he filed a federal lawsuit against those conglomerates and against the holding companies and lawyers connected to the estate. In 1995 he regained complete control of his son's estate, which included Jimi Hendrix's finished and unreleased recordings, as well as his musical compositions. This evolved into a series of CD reissues that were remastered from the original tapes. Having re-released CDs of the guitarist's entire catalogue, the Hendrix estate, under the Experience Hendrix imprint of MCA, also issued the album on which Hendrix was working at the time of his death, <I>First Rays of the New Rising Sun</I> (Number 49, 1997). <I>South Saturn Delta</I> (Number 51, 1997) delved further into the archives. <I>Experience Hendrix: The Best of Jimi Hendrix</I> (Number 133, 1998) followed, as did the double-CD <I>BBC Sessions</I> (Number 50, 1998), the Band of Gypsys-era <I>Live at the Fillmore East</I> (Number 65, 1999), <I>Live at Woodstock</I> (Number 90, 1999), and, in 2000, the four-CD/eight-LP <I>Jimi Hendrix Experience</I> box set. (Several other live discs were made available through an online imprint, Dagger Records.) Meanwhile Paul Allen amassed his cash to fund a modest Jimi Hendrix museum, which eventually blossomed into the $100 million Experience Music Project. Eight years in the making, the high-tech, interactive rock & roll museum - complete with a Jimi Hendrix Gallery - opened at the Seattle Center in 2000.
]]></description>
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<title>The Doors</title>
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<category>Classic Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:57 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[The mania Jim Morrison elicits decades after his death is just one of the many fascinating and seemingly eternal aspects of the Doors. Lest it be forgotten, the band also recorded some of the darkest and most challenging music of their time. What is so distinctive about the Los Angeles group is how it successfully melded rock, jazz-inspired improvisation and Weill-esque angularity into dramatic settings for Morrison's haunting baritone and acid-damaged poetry. Their amazing range set them apart from their psychedelic brethren, as they moved seamlessly from the propelling rock of "Break on Through" to the breathy beauty of "Indian Summer," the manic blues of "Five to One" and the Coltrane-flavored "Light My Fire." Whether you feel that Morrison was a brilliant and complex modern-day shaman or a second-rate poet who lost it to alcohol and pills, it's impossible to deny the long-lasting impact the Doors have had on rock 'n' roll. In 2002, following a 20 year hiatus in the wake of Morrison's death, Robby Krieger and Ray Manzarek reunited, enlisting ex-Cult singer Ian Astbury on lead vocals and shamanistic behavior duties. The band now calls itself Riders On the Storm.
- Will Lerner]]></description>
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<title>The Moody Blues</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:50 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Yes, they were part of the original British Invasion. And yes, they had a substantial hit in the 1980s. But the Moody Blues will always be remembered for their marriage of rock band and orchestra as heard on <I>Days of Future Passed</I>(1967). Embraced by flower children and art rock lovers alike, the album-story winds through a prototypical day before ending with their most famous song, "Nights in White Satin." Over the top? Absolutely. Pretentious? Possibly. So, the Moodies dropped the orchestra and placed more importance on keyboardist Mike Pinder's mellotron and the rest of the group's ability as multi-instrumentalists. The streamlined sound served them well, especially on songs such as the joyous rocker "Ride My See-Saw." After making a series of albums in this vein, the band went on hiatus, only to reemerge in the late 1970s. They never again broke new ground in popular music, but they did have enjoy a few more hits, most notably "Your Wildest Dreams" (1986). The band has continued frequent touring and the sporadic release of records into the present day, with <i>Keys of the Kingdom</i>, <i>Strange Times</i> and <i>December</i> appearing in 1991, 1999 and 2003, respectively.
- Will Lerner]]></description>
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<title>Jefferson Airplane</title>
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<category>Psychedelic</category>
<pubDate>Fri, 18 Dec 2009 12:08:55 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Jefferson Airplane's Psychedelic pop and Acid Rock songs helped put San Francisco on the musical map of the 1960s. The band was formed in 1965 with Signe Anderson as lead vocalist. She was soon replaced by Grace Slick of the Great Society and the new, improved Jefferson Airplane landed on a hit with "Somebody To Love" from their timely 1967 album, <i>Surrealistic Pillow</i> (the same lp that hit with the alleged druggie anthem "White Rabbit"). Loaded with swirling guitars and lysergic solos, this album provided part of the soundtrack to San Francisco's Summer of Love. The Jefferson Airplane was founded by Marty Balin, who left the band in 1971. Besides Anderson and Balin, many other notable musicians traveled on the Jefferson Airplane through a revolving door that once welcomed Alexander "Skip" Spence of Moby Grape as well as David Freiberg of the Quicksilver Messenger Service. Following a myriad of lineup changes, the band went through some name changes as well. Jefferson Airplane became Jefferson Starship and then Starship. Jefferson Starship's most celebrated appearance came in the form of a </i>Star Wars</i> made-for-television musical special that was aired shortly after the film's box office success. Hosted by Bea Arthur, the one-hour show featured much of the <i>Star Wars</i> cast as well as a now-endearing musical performance by Jefferson Starship. The band later had a hit in the '80s as Starship with "We Built This City," a MOR/AOR pop hit built with synthesizers, sound bites and the shelf-life of a soft-banana.]]></description>
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<title>The Byrds</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1172&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Folk-Rock</category>
<pubDate>Wed, 16 Dec 2009 11:55:18 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[The Byrds are one of rock 'n' roll's most underrated bands. There is so much more to The Byrds than the Folk Rock of "Turn! Turn! Turn! (To Everything There is A Season)" -- they were the first group to blend the harmonies and backbeat of British Invasion with the warm, lyrical blood of folk music. The sustenance to their sugar was the evocative mash of Roger McGuinn's trademark, chiming 12-string Rickenbacker, soaring, three-part, gossamer vocal harmonies, and innovative pairing of analog synthesizers with country music's elastic tonal twang provided by the Telecaster B-bender (a string-stretching device invented by the late, great Clarence White and Gene Parsons to approximate a pedal steel's fluid cry). The Byrds effortlessly flew like a feathered Lear jet through Dylan-esque musings, inner galactic Psychedelia, and Cosmic American Music soundscapes that helped bring country music to a wider audience.
- Eric Shea]]></description>
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<title>Donovan</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3835&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Folk-Rock</category>
<pubDate>Thu, 17 Dec 2009 10:45:22 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Donovan</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3835&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Generation X moviegoers thank him for producing Ione Skye, while <i>Details</i> readers are into his son's band Nancy Boy, but aging Aquarians know that Donovan was one of the key artists of the revolutionary 1960s. He started his career as Britain's answer to Bob Dylan, and his first two acoustic folk albums are charming, low-key winners; but he turned into a "Sunshine Superman" just in time for the Psychedelic revolution. If all you've heard from Donovan is "Mellow Yellow," do yourself a favor and check out his late '60s material. He remained a folk-popper at heart and the ultra-groovy production touches are completely in key with the current Indie scenes in America and Europe. Donovan's career didn't survive the post-Altamont age of '70s cynicism, but in 1996 he cut his album <i>Sutras</i> with Rick Rubin, showing that his flowery style is as groovadelic as ever.
- Eric Shea]]></description>
</item><item>
<title>Buffalo Springfield</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.38184&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Folk-Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:29 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38184&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Los Angelino folk rockers Buffalo Springfield were as integral to the West Coast canyon rock sound as the Byrds, but they were also politically active: they dared to criticize the establishment at a time when the youth revolution was hit hard by the Kent State massacre and the Berkeley campus riots. Neil Young, Stephen Stills, Jim Messina, Richie Furay, Bruce Palmer and Dewey Martin (from bluegrass hipsters the Dillards) came together as Buffalo Springfield in 1966, when Stills spotted Neil Young's hearse driving down Sunset Boulevard. Recognizing him from the Canadian coffeehouse folk scene, Stills flipped a U-turn and chased him down to see if he wanted to start a rock 'n' roll band. He did, and Buffalo Springfield was born. The band's sound reflected the early to mid-1960s, when college kids, beatniks and other free thinkers were gravitating from folk protest songs to rock. Like Dylan and the Byrds, their folk roots flirted with country rock and psychedelic undertones to create a sound laden with beautiful vocal harmonies. While the pacific "For What It's Worth" was the only commercially successful song, there could have been more to follow but the band lasted just two years, as the conflicting egos of multiple visionaries amounted to too many cooks in the kitchen. Nonetheless, in that short time Buffalo Springfield put a serious dent in the music world. Their fruitful family tree bore Neil Young's solo career, Stephen Stills' Manassas, Crosby Stills Nash & Young, Loggins & Messina, Poco and rootsy outfits including the Souther-Hillman-Furay Band. Buffalo Springfield's songs stand the test of time, influencing everyone from Big Star to the Beachwood Sparks and beyond.
- Eric Shea]]></description>
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<title>Traffic</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.42895&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:51 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Traffic</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.42895&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The original Traffic had two phases. At first it was a winsomely psychedelic pop band that blended blues, folk, rock, and R&B and was fronted by Steve Winwood and Dave Mason. This group recorded such FM-radio favorites as "Paper Sun" and "You Can All Join In." After Mason left, the band became Steve Winwood's vehicle for longer, moodier excursions that leaned closer to jazz and soul. This group was responsible for "Glad," "Freedom Rider," "Empty Pages," and "Rock & Roll Stew." Traffic was popular in both incarnations.
<br><br>
When the band formed in 1967, Steve Winwood was its best-known member because of his lead vocals with the Spencer Davis Group. Winwood left that band to found Traffic. He and his friends Chris Wood, Jim Capaldi, and Dave Mason wrote and rehearsed in a cottage in the English countryside. Traffic's debut LP, <i>Mr. Fantasy</i>, contained two British hits, "Paper Sun" and "Hole in My Shoe." But conflicts between Mason's pop style and Winwood's jazz ambitions flared up and in late 1967 Mason split, first joining up with Delaney and Bonnie Bramlett before pursuing a solo career. A 1968 film called <i>Here We Go Round the Mulberry Bush</i> contained some of Traffic's music, and the theme song was a minor hit.
<br><br>
Despite differences with Winwood, Mason helped cut Traffic, contributing the oft-covered "Feelin' Alright." But by 1968 he had left again. It looked like Traffic was finished in 1969, when Winwood joined Blind Faith with Eric Clapton, Ginger Baker, and Rick Grech. However, Blind Faith proved short-lived, and after a stint in Ginger Baker's Air Force in 1970 Winwood began recording his first solo album, the working title of which was <i>Mad Shadows</i>. Capaldi and Wood sat in on some sessions, and the LP became Traffic's fifth and most commercially successful album, John <i>Barleycorn Must Die</i> (Number Five, 1970), a gold album and a staple of "progressive" FM radio. The group then added Grech. The next year, before recording <i>Welcome to the Canteen</i>, Reebop Kwaku Baah was added on percussion. In addition, that live album featured Jim Gordon augmenting Capaldi on drums and a guest appearance by Mason. Despite the success of the gold album <i>The Low Spark of High-Heeled Boys</i> (Number Seven, 1971), Gordon and Grech departed.
<br><br>
Winwood was then stricken with peritonitis, and so the band was temporarily sidelined. Capaldi cut a solo album (<i>Oh! How We Danced</i>) in Muscle Shoals, Alabama, and in the process he recruited session players bassist David Hood and drummer Roger Hawkins into the band. They appeared on <i>Shoot Out at the Fantasy Factory</i> (Number Six, 1973) and with another Muscle Shoals musician, keyboardist Barry Beckett, on the live <i>Traffic on the Road</i> (Number 29, 1973). By the sessions for <i>When the Eagle Flies</i> (Number Nine, 1974), only the original trio of Winwood, Wood, and Capaldi plus bassist Rosco Gee were left. After that album's release, Winwood and Capaldi started their solo careers in earnest. Gee and Kwaku Baah joined Can. Wood died in 1983 in his London apartment after a long illness; Grech died seven years later of kidney and liver failure precipitated by a hemorrhage. Kwaku Baah died of a brain hemorrhage.
<br><br>
Winwood enjoyed the most successful solo career of any of his former band mates. In 1994 he and Capaldi joined forces for what was termed a Traffic reunion (Gee performed in the touring band), and under the group name released the critically well received <i>Far From Home</i> (Number 33, 1994). Shortly thereafter, they returned to their solo endeavors.]]></description>
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<title>The Beatles</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.61025&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>British Invasion</category>
<pubDate>Thu, 17 Dec 2009 10:45:15 -0800</pubDate>
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<description><![CDATA[The Beatles cast such a large shadow over their contemporaries -- even the most popular of them -- that sometimes it's difficult to distinguish what they actually contributed to the world of pop music and what they simply popularized. Something they definitely did do was open the floodgates for the British Invasion of the '60s, beginning, for all intents and purposes, with Ed Sullivan's portentous introduction in the beginning of 1964: "Ladies and gentlemen, the Beatles." Popular music has never been the same; at least that's definite. They were also one of the first bands to take rock 'n' roll and merge it with other forms like popular standards, folk (with a little help from Bob Dylan), blues, etc. And although they are often derided for their weaknesses as a true-blue, hard-living, hard-rocking, parent-frightening, cooler-than-all band, one need only compare the versions of "I Wanna Be Your Man" as done by the Fab Four and by the Rolling Stones; their early days in Hamburg taught them well the rules of blistering rock 'n' roll. At least their retreat from the stage was matched by a wealth of awesome material -- everything from the "Penny Lane" / "Strawberry Fields Forever" single to what was to be the band's death knell, "The End" off of <I>Abbey Road</I>, was arguably the most advanced popular music of the time. They had the resources, the talent, the producer ("fifth Beatle" George Martin) and the desire to push the boundaries of their music. Even more amazing is that it has maintained such a grip on the public's ear and imagination.
- Will Lerner]]></description>
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<title>Tommy James and the Shondells</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.9811&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Fri, 11 Dec 2009 11:41:04 -0800</pubDate>
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<description />
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<title>Jerry Garcia</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.39482&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Country Rock</category>
<pubDate>Wed, 16 Dec 2009 11:55:56 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Those of you who have never eaten Ben & Jerry's ice cream nor swapped cassette tapes should know that Jerry Garcia was the singer and spokesman for the Grateful Dead, one of the seminally psychedelic San Francisco rock 'n' roll bands that lasted from the mid-1960s to the mid-'90s. During the '70s, he released material under the moniker of the Jerry Garcia Band, as well. In the "other" band featuring Garcia's jazzy playing, the extended, snaky and instantly recognizable solos still took place -- only within a more focused context. With many covers in his repertoire, including songs by Bob Dylan and James Taylor, Garcia was able to stretch out and have fun, resulting in a soulful sound that mixed in bits of funk, folk and bluegrass. Adding to the rootsy feeling was a group of backing singers who created a '60s R&B vibe, offering sharp contrast to the Grateful Dead's broad, spaced-out jamming. Garcia also fronted a folkie bluegrass band by the name of Old & in the Way, releasing some impressive solo material before his death in 1995. His peaceful, gentle vocal inflections were easy on the ears, especially when he was singing watery harmonies. Garcia's innovative guitar playing consisted of infinite jams and fretboard noodling that would trail off like a lysergic hallucination. Fans and followers of his who understood this knew the man as Captain Trips. And those who love his sweet mountian bluegrass songs that he used to play with David Grisman might know him as the Grateful Dawg.
- Eric Shea]]></description>
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<title>Uriah Heep</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5349&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Hard Rock</category>
<pubDate>Thu, 10 Dec 2009 10:52:46 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Uriah Heep</rhap:artist>
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<description><![CDATA[With Uriah Heep's deep grinding Hammond, glittery falsetto vocal harmonies, Prog flirtations, bell-bottom guitar solos, and a whole lot of rock 'n' roll, it's easy to see why this band was such an underrated influence on the many bands that followed in their platform bootsteps.
- Eric Shea]]></description>
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<title>The Turtles</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.62089&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Sat, 12 Dec 2009 11:17:00 -0800</pubDate>
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<description><![CDATA[The Turtles' founding members Howard Kaylan and Mark Volman were members of Los Angeles High School 's a cappella choir. But these two vocal savants joined forces in an <i>instrumental</i> surf group dubbed the Nightriders. The Nightriders morphed into the Crossfires, then the Tyrtles, in homage to the Byrds, to whom they are often compared. "Happy Together," a song they found in a batch of demos, put them in the No. 1 spot. It was written by Gary Boner and Alan Gordon, and the Turtles (they dropped the "y") had the duo pen more songs for them. "She'd Rather Be with Me," "You Know What I Mean" and "She's My Girl" all landed them in the Top 20. A flirtation with psychedelic music yielded "Sound Asleep," the band's first song not to ease into the Top 40, which caused their record company to demand that they hire a producer that would report to the label. The result was "The Story of Rock and Roll," which flopped, but the follow-up "Elenore," written by the band, redeemed them -- briefly. After their label attempted to add Kaylan's and Volman's vocals to backing tracks, they rebelled and left the label in a huff, recording as Phlorescent Leech & Eddie, later shortened to Flo & Eddie.
- Jaan Uhelszki]]></description>
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<title>Funkadelic</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.2649&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Funk</category>
<pubDate>Fri, 11 Dec 2009 11:39:29 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[An immensely influential band that truly lived up to their name, Funkadelic was the brainchild of George Clinton, originally formed as a back-up group to support Clinton's early doo wop crew, the Parliaments (who eventually became Parliament). Blending expert musicianship, gut-bucket funk, and drug-fuelled experimentation, Funkadelic was introduced as a separate entity in 1970 (partially as a way to get around record contract constricts), when they released their self-titled debut LP. One of the group's key players (literally and figuratively) was keyboardist Bernie Worrell, whose psyched-out synth-scapes were a big part of their unique sound. Funkadelic's second album <I>Free Your Mind...And Your Ass Will Follow</I> dropped later that year and <I>Maggot Brain</I> soon followed, but it was their fourth full-length that really set the stage for major crossover success. The 1972 addition of legendary bassist Bootsy Collins, previously a member of James Brown's crack squad the J.B.s, was a huge pick-up and the core line-up of Bootsy, Bernie, and George shined incandescently on <I>America Eats Its Young</I>. The hit-or-miss album <I>Hardcore Jollies</I> appeared in 1975 (after the band signed with Warner Brothers) and included the only mildly successful single called "Undisco Kidd." All the while, Clinton and company were still performing, recording and releasing new records as Parliament. In 1978 things really exploded for both groups, Funkadelic released the undeniably classic LP <I>One Nation Under A Groove</I>, and hit number one with the title track. Almost simultaneously, Parliament also topped the charts with "Aqua Boogie" and "Flash Light." As the seventies came to a close, the group splintered with financial disagreements forcing several members out on their own. They put together a few more albums, but the initial magic seemed to be missing. Both Clinton and Bootsy began work on solo projects and ever-rotating members continued to tour for several decades as the P-Funk All Stars. Clinton's drug problems and legal woes continued through the years, but his music would play a crucial role in the development of hip-hop (especially on the West Coast), as various rap producers concocted new songs based on older Funkadelic tracks. In particular, Dr. Dre's landmark gangsta rap masterpiece <I>The Chronic</I> introduced a whole new generation to the wonders of P-Funk.
- Brolin Winning]]></description>
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<title>Procol Harum</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.43248&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:55 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Procol Harum</rhap:artist>
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<description><![CDATA[Procol Harum had a genuinely freakish history, transforming from successful R&B journeymen to progenitors of the prog-rock movement, thanks to a major hit with a melody cribbed from Johann Sebastian Bach that came out before they were even a proper band.<br><br>
The nascent art rockers began as members of the Paramounts, an R&B outfit featuring pianist Gary Brooker, drummer B. J. Wilson and guitarist Robin Trower. The band -- which the three friends had formed as 14-year-old schoolmates -- not only had a chart hit (with a cover of the Coaster's "Poison Ivy"), they also had the distinction of being named by the Rolling Stones as their favorite British R&B group. But after reaching a respectable #35 with "Poison Ivy," the band never again charted, and were eventually reduced to serving as a backing band for proto-pop stars Sandy Shaw and Chris Andrews.<br><br>
In September of 1966, the members went their separate ways, Trower and Wilson joining other bands and Brooker becoming a full-time songwriter with partner Keith Reid. Within a year, the songwriting duo had a prodigious body of work, and assembled a band they inexplicably dubbed the Pinewoods, with Brooker as pianist/singer, Matthew Fisher on organ, Ray Royer on guitar, Dave Knights on bass and Bobby Harrison on drums. Their first effort, produced by Denny (Joe Cocker, Bob Marley, Tom Petty) Cordell, was a brilliant yet esoteric scrap of poetry penned by Reid called "A Whiter Shade of Pale," which Brooker set to music loosely based on Bach's "Air for G String" from Suite No. 3 in D Major. By the time the recording was ready to be released, the Pinewoods had changed members, as well as their name -- taking their new moniker from either Steven's cat, or a rather loose translation of the Latin word, "procul," meaning "far from these things," which reflected the rather occult mood of the 1960s. Cordell sent a copy of this idiosyncratic single to infamous pirate station Radio London, and listeners responded enthusiastically after the very first spin, calling the station to demand more plays of the rather arcane sounding song. Decca Records, who hadn't yet released the single, recognized the demand for the record by pushing up the release date, getting discs into stores a month early. <br><br>
Problem was, this ad hoc band had only the one tune, and had never before played live. But they managed to put together a credible set list and opened for Jimi Hendrix at London's Saville Theatre in June of 1967, about the same time that "A Whiter Shade Of Pale" reached the top spot on the U.K. charts, where it remained for a full six weeks (it went on to peak at number five in the U.S.). By July, the song became the number one selling record in the world, and had initiated a new genre dubbed "classical rock." Heady with success, bandleader Brooker didn't crack open champagne bottles, but instead fired Royer and Harrison, replacing them with his old school chums-cum-band members Robin Trower and B.J Wilson, forming what would become Procul Harum's seminal line-up. A second single, "Homburg," was recorded with this entirely new line-up, and that too scurried up the charts, landing at a healthy number six, proving they were not left-field one hit wonders.<br><br>
After those initial successes, Procol Harum went on to record a string of ambitious concept albums much weightier than anything the Who attempted, tackling themes of insanity, death, sex, and spiritual regeneration. As the band entered the '70s, the line-up shifted, the subject matter became less macabre, and the band oddly inched their way back toward their R&B roots with 1977's <I>Procol Ninth</I>, produced by Jerry Lieber and Mike Stoller. The band continued to make credible albums which sadly sold fewer and fewer copies, until the group finally disbanded quietly in 1991 (though they frequently get together for reunion gigs, and Gary Brooker is an occasional participant in Ringo Starr's Allstars review).
- Jaan Uhelszki]]></description>
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<title>Spirit</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1388&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Tue, 15 Dec 2009 10:30:58 -0800</pubDate>
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<description><![CDATA[Randy California and his stepfather Ed Cassidy formed Spirit in 1967. Cassidy cut his teeth performing with legendary jazz musicians Art Pepper and Thelonius Monk; California's heritage was equally rich, having played with Jimi Hendrix in Jimmy James and the Blue Flames. These diverse backgrounds helped forge Spirit's sound -- a heady mix of Hard Rock and jazz, with some elements of blues and country thrown in. The band released a series of critically acclaimed albums in the late-1960s and early-'70s, though "I Got a Line On You" (1968) was their only chart hit. By 1971 various members had drifted in and out of the band; within a year Spirit had broken up. Sporadic reunions and live performances dotted the 1970s. California drowned in Hawaii in 1997.
- Linda Ryan]]></description>
</item><item>
<title>Dengue Fever</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.66039&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>World Pop</category>
<pubDate>Mon, 7 Dec 2009 10:13:41 -0800</pubDate>
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<description><![CDATA[There really isn't a name for what Dengue Fever is doing yet. Maybe "psychedelic ethno-rock," or "retro global pop" -- some special cocktail of words is needed to describe a sound that plucks from the flotsam and jetsam of global culture and crafts the freshest sound from the oddest materials: vintage organ, funk beats, surf and psychedelic rock. Then add in the ethereal howl of Bollywood singers, and a Cambodian lead singer singing in Khmer. Based in LA., members of Dengue Fever (who've played with everyone from Dieselhead to Beck) stumbled on some Cambodian rock from the 1960s and '70s and were so inspired they decided to start a tribute band, but they faced one stumbling block: they needed a singer. Singer Chhom Nimol had achieved pop stardom in Cambodia and was working the lucrative wedding circuit in Los Angeles when she auditioned. The fit was immediate and obvious, and they set down to recording the first CD. Their first release consisted mainly of faithful covers of what, to Nimol, was essentially classic (Cambodian) rock. Nimol proved to be the group's secret weapon: her voice defies gravity, floating up into the heady climes of Asian pop (where most western singers fear to tread) and redefining pop as we know it. Their second release, 2005's <I>Escape From Dragon House</I>, saw the group taking more license with their sound, straying into original territory while still staying true to their inspiration. The group somehow catches the spirit of the early rock revolution, the time when youth culture blossomed into its first innocently libidinous expression and people around the world took up instruments in an attempt to duplicate a sound that had migrated from Africa and matured on a Southern Californian beach.
- Sarah Bardeen]]></description>
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<title>The Pretty Things</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3949&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>British Invasion</category>
<pubDate>Fri, 18 Dec 2009 12:08:35 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">The Pretty Things</rhap:artist>
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<description><![CDATA[The coolest thing about the Pretty Things -- aside from the fact that guitarist Dick Taylor was an original member of the Rolling Stones, and that the aging group is still banned from the entire country of Australia -- is that they haven't stopped playing together since 1963. Probably the most underrated British Invasion band of the '60s, the Pretty Things have been cult heroes for nearly four decades, and it's a safe claim that their style of Psychedelic/Garage Rock has always been more innovative and eclectic than many of their more well-known contemporaries. The Pretty Things' live shows span the timeline of their musical journey. From their early, gritty, R&B shuffle-punk on through their lysergically acidic, warped carousel ride <i>SF Sorrow</i> (the first full-length concept album ever recorded), the Pretty Things have experimented with anything and everything. Their 1999 release <i>Rage...Before Beauty</i> is a solid and well-rounded recording that evinces the notion that the 1990s are, in fact, the 1960s turned upside down.
- Eric Shea]]></description>
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<title>George Harrison</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.55146&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Fri, 18 Dec 2009 12:08:11 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">George Harrison</rhap:artist>
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<description><![CDATA[The youngest member of the Beatles, George Harrison was often considered "the shy one." In fact, his strong voice was arguably the most underrated of the four. Lennon and McCartney often passed over many of Harrison's song submissions, recording only a small selection of his masterpieces per album (including "While My Guitar Gently Weeps" and "Here Comes The Sun"). When Harrison's first solo recording, <I>All Things Must Pass</I>, was released, many music critics felt that the triple album's fruitfulness was a direct result of Lennon and McCartney's neglect. In his work with the Beatles and solo, Harrison blended earthy Roots tones with droning eastern influences and cascading melodies. Compared to Lennon's barbed and bluesy grit or McCartney's jaunty pop sensibilities, the sound was organic and blooming, huge yet worldly. His songs unfolded unpredictably and took the listener to unfamiliar sonic regions. Music enthusiasts credit him for integrating eastern sounds into western music -- Harrison introduced the sitar and Indian ragas to pop music. He also spearheaded the Concert for Bangladesh in 1971, a music festival assembled to benefit Bengali refugees of the India-Pakistan war. Harrison passed away on Nov. 29, 2001, in Los Angeles after losing a prolonged battle with cancer.]]></description>
</item><item>
<title>Quicksilver Messenger Service</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.69092&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Wed, 16 Dec 2009 11:55:49 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Quicksilver Messenger Service</rhap:artist>
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<description><![CDATA[They story of Quicksilver Messenger Service, one of Haight-Ashbury's original psychedelic bands, is a muddled one to say the absolute least. At first Q.M.S. were to be the vehicle for proto-hippie troubadour and guru-like character Dino Valenti. But getting busted for marijuana in 1966 resulted in hard time. With their leader temporarily out of the picture, Quicksilver ditched folk-rock for LSD-inspired jamming that showcased guitarists John Cipollina and Gary Duncan. The duo exerted a considerable influence not only on the Allman Brothers' Duane and Dickey Betts, but also on any '70s hard-rock band boasting two ferocious leads. To hear a band every bit as groovy and "out there" as early Dead and Jefferson Airplane, simply crank Quicksilver's masterpiece <i>Happy Trails</i>, a sprawling and often orgiastic rebirth of the Bo Diddley groove. In 1970 Valenti returned to the fold, forcing the group to revert back to its original -- if inferior --sound. This led to a fracture after just two albums. Since the mid-'70s Quicksilver have gone through too many personnel changes, breakups and reunions to count. Usually, the only original member is the great and underappreciated Gary Duncan.
- Justin Farrar]]></description>
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<title>Big Brother and the Holding Company</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4255&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Acid Rock</category>
<pubDate>Tue, 15 Dec 2009 10:30:59 -0800</pubDate>
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<description><![CDATA[Although the late Janis Joplin made Big Brother and the Holding Company famous, her short stint in the band was both a blessing and a curse. Before Joplin, nobody really cared too much for the San Francisco acid rock band, and following her departure, nobody really cared too much for the San Francisco acid rock band (which continues to play in small clubs with a lead singer who likes to impersonate Joplin's gritty growl). But in their defense, Big Brother and the Holding Company could hold their own. They hit the Haight-Ashbury music scene with a loosey-goosey, psychedelic take on blues-rock. Early recordings reveal the band's ability to teeter back musically, making listeners feel like they're falling into a chair before suddenly snapping up when the band hits the groove harder than at the start. Truth be told, Big Brother weren't too excited about adding Joplin as their frontwoman, but San Francisco music promoter Chet Helms made a good case for it, and Joplin ended up kick-starting their career in a way they couldn't achieve on their own. Bob Dylan's manager, Albert Grossman, picked up their contract, and in 1968 they released <I>Cheap Thrills</I> for Columbia Records. Featuring underground comic book hero Robert Crumb's artwork on the sleeve, it became an instant classic. Joplin left the band to go solo at the end of '68, and they never enjoyed anything resembling the No. 1 chart success of <I>Cheap Thrills</I>.
- Eric Shea]]></description>
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<title>Peter Green</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.10489&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Fri, 13 Nov 2009 12:38:58 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Peter Green</rhap:artist>
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<description><![CDATA[Peter Green is best remembered as the original impresario behind Fleetwood Mac. He founded the band and then left, reportedly because they refused to donate all of the proceeds from their records to charity. Green was immediately deemed insane and encouraged to make other arrangements. During his brief tenure with the Mac, however, he delivered some of the finest blues guitar work in rock 'n' roll. His fluid playing style was smooth enough to charm a snake right out of its skin. Green's almost mythical status as an electric guitar demi-god has been heightened by his reclusiveness and his aura of deranged genius.
- Mike McGuirk]]></description>
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<title>Iron Butterfly</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.2979&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Acid Rock</category>
<pubDate>Fri, 23 Oct 2009 11:56:08 -0700</pubDate>
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<description><![CDATA[Iron Butterfly will forever be remembered as the first heavy metal band.
Their moment of glory is the song "In-A-Gadda-Da-Vida," a 17-minute epic
that features a sinister guitar riff doubled on keyboards, bearded, manly
vocals and a drum solo that at times seems longer than the actual song
itself. The ultimate 1960s acid rock song, it is difficult today to
understand what an impact such music could have had on young listeners to
whom the idea of heavy metal did not even exist. The rest of Iron
Butterfly's catalog is littered with awful Flower Child psyche-pop and
lame biker rock, but there are a few moments ("Iron Butterfly Theme,"
"Possession") where it becomes clear the band had an effect on the Grateful
Dead as well as the Doors, to name just two. As for true metal bands, Deep
Purple is the next link the chain as far as that goes, lifting the idea of
guitar and keyboards played on top of one another directly from Iron
Butterfly.
- Mike McGuirk]]></description>
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<title>Captain Beefheart</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3604&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Experimental</category>
<pubDate>Thu, 17 Dec 2009 10:43:50 -0800</pubDate>
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<description><![CDATA[<I>Trout Mask Replica</i>, Captain Beefheart's magnum opus, is either the greatest embodiment of Dada art on this side of the Atlantic, or a gluttonous indulgence (a parody even) of 1960s psychedelic excess. Compounded by his famous distaste for rehearsal and a predilection for syncopated rhythms, Don Van Vliet's bizarre songwriting sensibility makes this album -- as with nearly everything in the Beefheart oeuvre -- insurmountably odd. It's about as "accessible" on a first listen as Mt. Everest in a blizzard (during a Sherpa strike). Despite this difficulty, or perhaps because of it, his recordings possess cachet with critics and have had an incalculable effect on the direction of modern rock. Direct lines of influence can be drawn from Beefheart to eccentrics such as Tom Waits and Pere Ubu's David Thomas, while many musicians, whose work seems to have little in common with Van Vliet's, nonetheless cite him as a profound inspiration.
- Chad Driscoll]]></description>
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<title>Vanilla Fudge</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1069&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Thu, 17 Dec 2009 10:45:19 -0800</pubDate>
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<description><![CDATA[In the 1960s, Vanilla Fudge took pop songs that were in rotation on the radio, slowed down the tempo and added elements of both psychedelia and what would
later be termed heavy metal. The best example of this is their
floating, ultra heavy take on the Supremes' song "You Keep Me Hangin' On."
Play that one real loud and try not to put on a dramatic arm-waving lip-synch
show. It's impossible. The band was formed on Long Island in 1965 but
disbanded in 1970, after constant touring with the likes of Jimi Hendrix and Led Zeppelin and several hit singles under their belt. Bassist Tim Bogert and drummer Carmine Appice played with Jeff Beck for a time, releasing the mega-selling <i>Beck, Bogert and Appice</i> record in 1973. The pair then went on to form the hard-boogeying Cactus.
- Mike McGuirk]]></description>
</item><item>
<title>Love</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.17124&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Fri, 4 Dec 2009 13:20:16 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.17124&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[San Francisco psychedelic rock band Love enjoyed fleeting success while they were together in the late '60s but have long been considered one of the finest bands of the era on the strength of two of the six albums they put out: <i>Forever Changes</i> and <i>Da Capo</i>. Led by multi-instrumentalist songwriter Arthur Lee, Love stood out partially because Lee was an African American fronting a white band -- but more important was the imaginative, almost backward-through-a-mirror approach he took to writing rock 'n' roll songs. Love's 1966 semi-hit "7 and 7 Is" remains one of the most unique singles to come out of the decade -- as succinct as a punk song, with bullfighter guitars and hippily impenetrable lyrics courtesy of Lee. Lee also wrote folky love songs, messed with the blues (see the 19-minute "Revelation" on <i>Da Capo</i>) and wrote a song called "She Comes in Colors," a phrase the Stones lifted for "She's a Rainbow." The band disintegrated in 1970. Lee resurrected the name for one album in 1975 and, following a six-year prison term served in the 1990s on weapons charges, sporadically performed live with various versions of the band until his death in 2006.
- Mike McGuirk]]></description>
</item><item>
<title>Strawberry Alarm Clock</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1974&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Tue, 15 Dec 2009 10:30:59 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1974&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Strawberry Alarm Clock, like the Association, were a Los Angeles band that fell somewhere between folk-rock, psychedelia and goofy AM pop. They're generally considered a one-hit wonder, and their 1967 smash "Incense and Peppermints" virtually defines popular -- if utterly frivolous -- notions about the Summer of Love: <i>it's all rose-tinted granny glasses, trippy lights and sitars, man</i>. Believe it or not, Strawberry Alarm Clock cooked up a batch of far sillier-sounding tunes, including "Sit With the Guru" and, get this, "Rainy Day Mushroom Pillow." Despite a penchant for Cheez Whiz, the group created some wonderfully trippy ear candy that would go a long way to define the cheap but intoxicating wonder that is bubblegum pop. "Black Butter Present," for example, is no "Crimson and Clover," but it does boast some of the most over-the-top and unwieldy sound effects this side of <i>Magical Mystery Tour</i>. Obviously, the group didn't last long; after a handful of albums, including an excellent soundtrack for the Russ Meyer flick <i>Beyond the Valley of the Dolls</i>, Strawberry Alarm Clock called it a day. The only subsequent activity has been a smattering of oldies tours and one-off reunion gigs.
- Justin Farrar]]></description>
</item><item>
<title>13th Floor Elevators</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.445&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Tue, 13 Oct 2009 10:04:56 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.445&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Long considered a seminal band of the psychedelic era, 13th Floor Elevators, led by nutjob visionary Roky Erickson, are one of the very few groups able to rival the Velvet Underground in terms of influence, specifically the far-ranging breadth and longevity of that influence. Seemingly everyone from the Stooges to ZZ Top to Television to garage-rock depressives Cheater Slicks to modern acts like Sunburned Hand of the Man were inspired by the Elevators' first album, <i>The Psychedelic Sounds of the 13th Floor Elevators</i>, released in 1967. Subverting surf-guitar riffs with a no dollar recording, an avalanche of reverb, Erickson's acid-charred lyrics and a fluttering "electric jug" sound that pervades the album, <i>Psychedelic Sounds</i> remains a landmark of garage rock, psychedelia and punk-rock aesthetics. A trio of albums followed, but subsequent legal problems and constant police harassment finally submarined the band by 1969, when Erickson entered a psychiatric hospital to avoid a prison term for drug charges. Following his release, Erickson went on to a long and convoluted solo career.
- Mike McGuirk]]></description>
</item><item>
<title>The Chambers Brothers</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5326&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Thu, 26 Nov 2009 11:28:27 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5326&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Mostly noted for their '60s compilation-friendly hit "Time Has Come Today," the Mississippi-bred Chambers Brothers (four actual brothers) were a notable Funk-Rock band and one of the first to bring their Gospel tinged sound to rock radio. Heavily influenced by the wave of psychedelia, they peppered their records with curious sound effects and mild drug references ("All Strung Out Over You"). Opting to pursue a more rock route, they stiffened the edges when covering soul staples like "People Get Ready" or "In the Midnight Hour." They had hit their creative ceiling by the early '70s but remained influential by opening up a breeding ground for the cross-pollination of musical genres.
- Jon Pruett]]></description>
</item><item>
<title>It's A Beautiful Day</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.48438&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Sat, 9 May 2009 09:56:23 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.48438&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Left Banke</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4757&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Mon, 21 Sep 2009 09:29:27 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4757&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4757&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[According to many aging English men with intimidating record collections, the Left Banke were the very first band ever to be written up under the term "Baroque Rock." Rightly so, as rock 'n' roll's timeline suggests that this 1966-1968 East Coast outfit were possibly the only ones to continuously layer classical instrumentation and song melodies with a post-British Invasion influenced Folk Pop. Although Steve Martin (no relation to King Tut) had the delicate and passionate voice that made dreamers swoon, the Left Banke were actually born of keyboard player and songwriter Michael Brown, son of violinist and producer Hash Brown. The band's first hit, "Walk Away Renee," was easily their biggest (the Four Tops had a hit with it in 1968). The Left Banke broke up in 1969.
- Eric Shea]]></description>
</item><item>
<title>Os Mutantes</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.68479&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Tropicalia</category>
<pubDate>Sun, 13 Dec 2009 10:14:07 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Os Mutantes</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.68479&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[For any fan of psychedelic pop music, Bossa Nova and the combinations thereof, the last few years' resurgence in interest in the Mutantes back catalog and subsequent re-release of these records stands as one of the finer moments in music history. At the core of the Tropicalia movement in Brazil in the late '60s, the Mutantes militantly employed fuzzed-out guitars, an odd assortment of sound effects and eclectic, crazed vocals much to the dismay of a Brazilian government high on maintaining tradition. Their whacked-out Dadaist spirit is best exemplified on their self-titled debut in '68. Imagine a hybrid of "Sgt. Pepper," Arthur Brown and the Byrds as viewed after a peyote binge in Sao Paolo. Before the band's more long-winded elements came to fruition and their humor got the best of them, there was the psyched up fervor of their first three releases. Alas, their reckless humor, creativity, and complete cohesiveness as a band could only eventually wind up as one thing: prog rock.
- Jon Pruett]]></description>
</item><item>
<title>Country Joe &amp; The Fish</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.20912&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Acid Rock</category>
<pubDate>Wed, 1 Jul 2009 13:33:45 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.20912&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Much of Country Joe and the Fish's fame can be traced back to the 1970 documentary <i>Woodstock</i>. In theaters around the planet, heads and squares alike witnessed the band lead a sprawling pit of mud-caked rebels, rowdies and freaks through one of the most profane and satirical anti-war protest songs of all time: <i>And it's 1-2-3 what are we fighting for?/ Don't ask me -- I don't give a damn/ Next stop is VietnamÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¦</i> If you can peel back all the Summer of Love cliches, it's one of <i>the</i> classic moments in the history of American youth culture. At the same time, that all-too-brief moment forever tagged Country Joe (who once served in the Navy) as nothing more than a hippie novelty, something to be parodied and mocked. That's a shame, really. Not only was Country Joe McDonald an inventive songwriter, but the Fish were one of the psychedelic era's more complex outfits, exploring everything from dreamy folk-pop to Zappa-like freakery to jug-band shenanigans a la Jim Kweskin. The Fish could also jam (although no one would mistake them for the Grateful Dead or Quicksilver Messenger Service). Unfortunately, the group failed to maintain a stable lineup and fell apart not long after Woodstock.
- Justin Farrar]]></description>
</item><item>
<title>Tommy James</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.9143753&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Lite Rock</category>
<pubDate>Fri, 11 Dec 2009 11:41:03 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.9143753&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Electric Prunes</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.17249&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Fri, 23 Oct 2009 11:56:06 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Electric Prunes</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.17249&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.17249&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>The Seeds</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5470&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Sat, 21 Nov 2009 13:43:58 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Seeds</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5470</rhap:artist-rcid>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5470&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[One-hit-wonders the Seeds pushed "Pushin' Too Hard" into the top 40 in 1967, following up with a number of rote repetitions. Uniformly consisting of garage-y Farfisa organ, sitar-like twangy guitars and meandering vocals, none of their tunes would again pass muster on U.S. charts, and the act was soon relegated to Nuggets obscurity.
- Chad Driscoll]]></description>
</item><item>
<title>Blue Cheer</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1218&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Acid Rock</category>
<pubDate>Fri, 20 Nov 2009 12:51:26 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Blue Cheer</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1218</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1218&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1218&amp;variant=data&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[At one time, Blue Cheer was hyped as the loudest rock band on the planet. Rampant personnel changes stunted their progress but the band's first three albums remain essential listening for devotees of all music that is heavy. Basically inventing acid rock (and heavy metal, too) with their blistering rape of Eddie Cochran's "Summertime Blues" in 1968, these NorCal kids pretty much flattened all comers for the crown of world's heaviest band at the time. Their debut album, <I>Vincebus Eruptum</I> is marked by big, fat, revved-up blues riffs with dueling lead guitar solos that occupy totally separate spots in either speaker, and wholly over-the-top drum rolls that do the same thing. Other elements include unhealthy amounts of fuzz, dirty hippie "yeahs" at just the right moments, and a serious biker rock/LSD vibe. The name of the band even refers to a brand of the drug. <I>Vincebus Eruptum</I> makes Cream and Iron Butterfly and any other late '60s pre-metal band sound like Herman's Hermits by comparison. The original lineup (a trio) recorded the sprawling, more psychedelic <I>Outsideinside</I> before shrieky guitarist Leigh Stephens left and was replaced by loud guitar prophet Randy Holden, who offered three insanely heavy cuts to the group's third album <I>New! Improved! Blue Cheer</I>. By the time the group recorded a self-titled fourth album, bassist/singer Dickie Peterson was the only remaining original member. Recordings from this period are best collected on <I>Good Times Are So Hard To Find: The History of Blue Cheer</I>.
- Mike McGuirk]]></description>
</item><item>
<title>Status Quo</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1338&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Tue, 6 Oct 2009 09:54:04 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Status Quo</rhap:artist>
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<description><![CDATA[Quick, name the band: It's placed 30 albums in the British Top 20 (including four No. 1's) since 1972, but only hit the U.S. album chart once, with a record that peaked at No. 148 in 1976. It's also scored over 60 hit singles in England -- reportedly more than any other rock band -- yet it hasn't reached the U.S. singles chart for over four decades, despite continuing to make records. The only possible answer is Status Quo, known in the U.S. almost exclusively for the single "Pictures of Matchstick Men," which went to No. 12 in 1968. That classic's been covered by everyone from Camper Van Beethoven to Ozzy Osbourne, and its riff has been swiped by thousands. But by the early '70s, Status Quo had given up twee psych-pop for a pile-driving biker-boogie trudge that would serve them well for the next several generations and for scores of largely interchangeable but reliably songful albums beloved by Brits and ignored by Americans. If you need a U.S. parallel, think ZZ Top. But even ZZ didn't have a chart-topping single in their homeland -- and certainly not one where they collaborated with a soccer team, as the Quo did with Manchester United in 1994's "Come on You Reds."
- Chuck Eddy]]></description>
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<title>Camel</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Tue, 8 Dec 2009 09:16:46 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Camel</rhap:artist>
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<title>Moby Grape</title>
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<category>Acid Rock</category>
<pubDate>Mon, 2 Nov 2009 10:53:09 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Moby Grape</rhap:artist>
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<description><![CDATA[There are those who believe Moby Grape were the greatest of all the San Francisco acid-rock bands. Forming just after drummer Alexander "Skip" Spence left Jefferson Airplane in late '66, the Grape boasted three singer-songwriters: Jerry Miller, Bob Mosley and Spence (who ditched the skins for guitar). The band also possessed five-part harmonies and a triple-axe attack -- yeow. Unlike the Grateful Dead and their spacey improvisation, Moby Grape played tight, intricately crafted rock with manic energy. It's no understatement to hail the group's 1967 debut as the ancestral link between psychedelia, country rock, glam, power pop and punk. Unfortunately, those open-minded hippies weren't open enough to embrace such an innovative band, and the record flopped after a huge (some say misguided) promotional push from Columbia Records. Spence, a child of the times whose behavior grew increasingly erratic, surrendered full-time membership halfway through the making of the band's next record, a wildly bizarre opus titled <i>Wow!</i> Although fame never came, Moby Grape released a few more quality LPs, including the excellent <i>Truly Fine Citizen</i>, before slipping into semi-retirement in the mid-'70s.
- Justin Farrar]]></description>
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<title>Marmalade</title>
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<category>British Invasion</category>
<pubDate>Sat, 7 Nov 2009 11:26:32 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Marmalade</rhap:artist>
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<description><![CDATA[Sounding a lot like the Raspberries, Marmalade translated songs from the rock canon (especially Beatles songs) into a gentler format for mature audiences. Throughout the 1970s, they released a series of mellow, elevator-approved Vocal-Pop albums.
- Chad Driscoll]]></description>
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<title>The Sir Douglas Quintet</title>
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<category>Tex Mex</category>
<pubDate>Thu, 18 Jun 2009 09:08:28 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[The Sir Douglas Quintet was just one of the many incarnations of the late great Doug Sahm, who died unexpectedly in early 2000, a genre-defying, musical badass who was equally at home with country, Psychedelic Rock, R&B, all manner of Tex-Mex, and just about any other category of music you might want to throw at him. He began his career as a child prodigy singer/steel guitar player in the bars and clubs of his native San Antonio, Tex., before he reached his teens. He even sat in with Hank Williams shortly before the country legend kicked the bucket. Sahm formed the Sir Douglas Quintet in the mid-1960s and hit the charts twice with the classic pumping Farfisa sounds of "She's About A Mover" and "Mendocino." After the quintet split, Sahm continued to record prolifically, and actually reformed the group numerous times before his death. A formidable blues guitarist and stunningly soulful singer, Sahm's music was inextricably linked to Texas. In the '90s Sahm hooked up with Freddy Fender, Flaco Jiminez, and his old buddy Augie Meyers to form the Texas Tornados, a sort of border rock supergroup that enjoyed quite a bit of success. He will be missed.
- Tom Heyman]]></description>
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<title>Hawkwind</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Thu, 17 Dec 2009 10:45:25 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[This English band has undergone as many lineup changes as a soccer team over the last three decades, but it's still a comfort to have Hawkwind around. With albums titles such as <i>Warrior on the Edge of Time</i> and <i>The Chronicle of the Black Sword</i> -- an adaptation of Michael Moorcock's fantasy novels -- it should come as no surprise that the sonic air fluttering around their rock wings is a mix of early Metal, Prog, wild synths and drug-induced sci-fi surrealism. Hawkwind may be the favorite band of elves, trolls, warlocks, witches, druids and Smurfs, but a career-spanning compilation by them is a history of rock unto itself. Like a real-life Spinal Tap, Hawkwind mastered gritty Blues Rock, Roots rock and early Metal (their Top-5 British hit "Silver Machine" was belted out by Lemmy, who later went on to front Motorhead) before becoming a unique Progressive Rock band. Nearly every other 1970s Prog band has long since fallen by the wayside, but Hawkwind continue on. Perhaps chanting to the "Hairy Hosts of Hogar" was a good career move after all.
- Nick Dedina]]></description>
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<title>The Spiral Starecase</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.31278&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Fri, 23 Oct 2009 16:25:09 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Spiral Starecase</rhap:artist>
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<title>The Standells</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.62654&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Garage Rock Pioneers</category>
<pubDate>Tue, 15 Dec 2009 10:31:00 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Standells</rhap:artist>
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<title>Roky Erickson</title>
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<category>Psychedelic</category>
<pubDate>Fri, 5 Jun 2009 08:53:47 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Roky Erickson</rhap:artist>
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<description><![CDATA[Regardless of his abilities as a songwriter, Roky Erickson will forever be more famous for the details of his turbulent life. With legendary drug use, prison incarceration, and frequent stays in the nut house to his credit, his musical talents have often been obscured by a near-perfect record as a rock 'n' roll casualty/genius. After the 13th Floor Elevators were decimated by internal drug abuse and Texas-brand police harassment in the late 1960s, Erickson embarked on a convoluted, tragic solo career, rarely making it into the studio. Even when that feat was accomplished, he was often swindled out of the money owed him and his records sold poorly. Understandably, his music is not for the mainstream. With constant references to Satan, murderous, bloody imagery, and strands of creepy gibberish peppering his songs about how tough it is to be from the planet Mars, Erickson's work is tailor-made for that narrow section of society to which he appeals. While some of Erickson's material is for acolytes only (of which there are many), <i>Roky Erickson & the Aliens</i> (1980) features the same sort of demented Garage riffs and rock 'n' roll fervor that made songs such as "Roller Coaster" and "Fire Engine" so great. His latest efforts, acclaimed as a critical return to form, are of the acoustic variety and cover classics while also offering new, slightly more sedate material.
- Mike McGuirk]]></description>
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<title>The Move</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.27752&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss</link>
<category>Psychedelic</category>
<pubDate>Fri, 23 Oct 2009 11:56:06 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=153&amp;rws=%2Foldies%2Fpsychedelic%2Fartist-chart.rss">Top Psychedelic Artists on Rhapsody Online</source>
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<description><![CDATA[Before ELO, Jeff Lynne was in the Move, one of the first power-pop groups, with Bev Bevan and Roy Wood, both eventual members of ELO. Unknown in the U.S., the Move were one of the biggest bands of the '60s in Britain, from their first single, 1967's "Night of Fear," on into the early '70s. Today they are looked on by record geeks as one of the cooler, semi-obscure British bands of the '60s, and 1969's <i>Shazam</i> is one of those albums folks pay $30 for on eBay. Formed in Birmingham in 1965 by Wood and a collection of local stars, the Move took their cues from the Beach Boys, Moby Grape, the Beatles and soul music, packing slyly funny songs with startling guitar-work and vocal arrangements. The tactics used on ELO's "Roll Over Beethoven" were first employed by the Move, as "Night of Fear" was built on a motif lifted from Tchaikovsky's "1812 Overture." By the time of their 1971 album, <i>Message from the Country</i> (their last), the band (now with Lynne involved) was writing straight-up country songs and referencing Southern gospel. By then, legal issues and waning popularity ground their progress to a halt, and the sudden success of ELO put the final nail in the coffin.
- Mike McGuirk]]></description>
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