Velvet Underground, Are You Experienced? by the Jimi Hendrix Experience, Da Capo by Love, Surrealistic Pillow by the Jefferson Airplane, and the self-titled debut by the Grateful Dead. Meanwhile, the children of the Baby Boom were beginning to celebrate a new youth-oriented counterculture--dubbed "hippie" by some--at extremely visible mass "happenings" such as the 14-Hour Technicolour Dream in London and the much-ballyhooed ongoing scene on the Haight-Ashbury in San Francisco. Leary issued his ill-considered call to "turn on, tune in, drop out," and LSD was officially outlawed in the United States. Inevitably, there was a backlash against the hype. The Haight produced as many tragic casualties as it opened minds, and cautionary tales--such as the drug-induced breakdowns of Pink Floyd co-founder Syd Barrett and the 13th Floor Elevators's Erickson--proliferated. By the turn of the decade, many bands were returning to simpler, more stripped-down sounds (witness the 1968 offerings of The Beatles [the "White Album"] and the Stones's Beggars Banquet). But by no means did psychedelia come to an end. The genre continued to mutate and evolve, flourishing whenever musicians set out to create imaginative new worlds in the studio. In the early 1970s, artists such as Brian Eno, the Barrett-less Pink Floyd, "space-rockers" Hawkwind, and German "Kraut-rock" groups such as Amon Dl II pioneered the use of analog synthesizers and expanded the notion of the recording studio as an instrument in and of itself on albums such as Eno's 1974 album Taking Tiger Mountain (By Strategy), Pink Floyd's Atom Heart Mother (1970), Hawkwind's Space Ritual (1973), and Amon Dl II's Phallus Dei (1969). At the same time, progressive rock bands such as Yes, Genesis, and Emerson, Lake and Palmer took advantage of the freedoms won during the first psychedelic era to make ever more complex, virtuosic, and fanciful concept albums, including Close to the Edge (1972), The Lamb Lie...
