American vs English pschedelic rock

It depends where ...in London , Manchester, Newcastle, Liverpool, Birmingham, Brighton, Glasgow and a few other main cities in Britannia it was not a problem to find acid...but in cities of 100 000 people and less it was clearly more easy to find acid in american little cities

 

After watching this thread grow, and the debate get good, I have made my own decision. Here is how I score it....

Sounds like there is a pretty even split among the popular music, and also in the obscure albums and bands.

Both sides are helped by allies, there are a couple european bands kickin in for england, and a mix of canadian and mexican influences for the americans.

Stones and Beatles are hard to fight off, but with the money to throw the americans are about even in record sales for the genre I imagine, perhaps based on the sheer number of american bands that put out albums.

Woodstock was huge, Isle of Wight not far behind, both had memorable festivals

Both sides claim Hendrix, negating each other there!

Clapton still plays for the Brits, the remnants of the Dead still on the field for the US side.

In the theaters, HAIR takes the stage productions, the Beatles movies take the motion picture category.

Actor Peter Fonda is great in Easy Rider, Peter Sellers evens the category, both having the best psych in their soundtracks.

Top of the Pops and others, Smothers Brothers/Dick Cavett in the TV category, another tie

For me, the tie breaker would have to come down to one guy to put his side over the top. Had to be a great musician, who helped the scene grow, and was an influence on the style at the time, outspoken, popular, and totally unique.

Frank Zappa...nobody, nowhere, ever had anything like him.
so....
America wins by a nose!

 

Wow, Samson, that was actually a pretty solid argument.

 

thats only for acid but you forgot the rest of the popular drugs.

 

American Bands = CCR,Jefferson Airplanes, Hendrix ,The Doors, Spirit,CSN,Joe Walsh, Grand Funk Railroad,Quick Silver Messanger Service,The beach boys, Chamber Brothers, Janis J, Santana,Alice Cooper, BTO, Allman Brother Band,Mountain, 3 Dog nights, The BYRDS <-IM not sure here" Turtles, Associations, and you cant forget Mowtown that had another big list of artist.

 

not to mention many other american bands like Iron Butterfly that had maybe 1 real winner song but the song but had a large impact on the rest. Spirit = Mechanical World. and the roots of rock are right here in america not england.

 

1. SLY AND THE FAMILY STONE
What could be more San Francisco? Black. White. Boys. Girls. Soul. Rock. Hints of the Beatles and Bob Dylan alongside echoes of Ray Charles and James Brown.

Sly was his own greatest hit -- a Vallejo church kid and doo-wop wannabe who produced Beatlesque hits for white teens and became the boss soul man of Bay Area black radio before launching his own group.

Sly and the Family Stone changed the way music was played -- from the way Stevie Wonder sang to the funky rumblings behind Miles Davis. They pointed the future of jazz to Herbie Hancock and made the Temptations grow up. There would be no Prince if there hadn't been a Sly Stone. Michael Jackson is such a fan, he bought the publishing rights.

The black prince of Woodstock may have succumbed to his private demons, but his music lives on in the reverberations. They're still heard vividly -- original, brilliant and dangerous enough to be scary.

Definitive Song: ``I Want to Take You Higher'' (1969)

2. CREEDENCE CLEARWATER REVIVAL
John Fogerty's childhood recollections of a South he only imagined from his El Cerrito home made Creedence the great American rock band that the Band was supposed to be but never was. Dismissed as a Top 40 band by hipsters living in the golden age of FM, Cree dence had the last laugh: Those swampy hits outlasted their detractors to become classics.

Definitive Song: ``Born on the Bayou'' (1969)

3. THE GRATEFUL DEAD
House band for the dawning of the psychedelic era, the Dead started out playing for Ken Kesey's Merry Pranksters parties and wound up being the cosmic consciousness of a nation of Deadheads. In the late, great Jerry Garcia, the band had a centrifuge whose music could span Chuck Berry, Django Reinhardt, Bill Monroe and Ornette Coleman in a single set. With a mandate to explore the widest possibilities of ensemble rock improvisation, the Dead pushed the music into places it never went before. Or since.

Definitive Song: ``Dark Star'' (1970)


6. JEFFERSON AIRPLANE
As impossible as it may have been to just throw together all those disparate elements -- Marty Balin's pseudo-soul folksinging, the warbly contralto of Grace Slick, guitarist Jorma Kaukonen's brilliant blues finger picking, Jack Casady's experimental bass playing, Paul Kantner's stoney polemics -- on the nights it came together, nothing else was ever like an Airplane flight.

Definitive Song: ``Somebody to Love'' (1967)

7. SANTANA
Carlos Santana's ``Supernatural'' success this year marks 30 years as the undisputed champ of global rock. He is one of the few true stylists on the electric guitar. His original, Woodstock-era group was inducted into the Rock and Roll Hall of Fame in 1998.

Definitive Song: ``Incident at Neshubar'' (1975)



10. MOBY GRAPE
Famously, Columbia released five singles from the debut album simultaneously. Such pressure was bound to take its toll, and it did. Legal trouble, Skip Spence's hospitalization for mental illness at Bellevue, and the band's never-ending disputes with manager Matthew Katz made the group one of the biggest underachievers of the '60s. Still, the Grape's best moments of high-strung acid-folk-rock defined the decade.

Definitive Song: ``Omaha'' (1967)



13. THE TUBES
The Tubes were the greatest rock band in the world for a second, although nobody outside San Francisco knew it. They simultaneously spoofed and celebrated '70s excess. Typically, the band's only big chart success was a slick, wimpy ballad played with Hollywood sidemen (``She's a Beauty''). But Quay Lewd, the faux English rock star teetering on towering platform boots, reigned supreme.

Definitive Song: ``White Punks on Dope'' (1975)

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15. NEIL YOUNG
The gentle California strummer (``I Am a Child'') has also been appointed the Godfather of Grunge for his electric guitar fetish (``Like a Hurricane''). He's rock's consummate curmudgeon, and also its voice of compassion. His star-studded annual Bridge School concerts have set the standard for benefit shows and have become the most eagerly anticipated concert events in the Bay Area.
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Definitive Song: ``Rockin' in the Free World'' (1989)
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19. VAN MORRISON
His Marin County years -- from ``And His Band and Street Choir'' (1970) through ``Inarticulate Speech of the Heart'' (1983) -- form the heart of his peerless body of work. And one of the best things about living in the Bay Area during those years was Morrison's frequent appearances at small clubs. He was playing somewhere around town almost every week for years.

Definitive Song: ``Bright Side of the Road'' (1979)
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20. SONS OF CHAMPLIN
This band of Marin County natives was the real deal, one of the best unknown bands of its time. Its 1969 debut -- a double-record set on which neither pictures nor even the musi cians' names appear -- is a pinnacle of hippie rock. But after more than a dozen years of plugging away with one of the best bands in the world, vocalist Bill Champlin called it quits and moved to Los Angeles. There he won Grammy awards as a songwriter the first two years and joined multiplatinum popsters Chicago, although he returned in 1997 for a sentimental reunion with the original Sons.

Definitive Song: ``Freedom'' (1969)
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22. STEVE MILLER BAND
Some people call him Maurice because he speaks of the mysterious pompitous of love. From his Fillmore days with the Steve Miller Blues Band (Dallas boyhood buddy Boz Scaggs on guitar) to his high-flying '70s hits, Miller was always one of the most conscientious careerists of the San Francisco rockers. But he made a lot of great sides along the way.

Definitive Song: ``The Joker'' (1973)
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23. BIG BROTHER AND THE HOLDING COMPANY
Janis Joplin never sounded better than she did backed by the four wacky fellows she started out with. She never topped the Monterey Pop Festival performance that anchored her legend. And guitarist James Gurley could be one of the most underrated forces of nature in rock history.

Definitive Song: ``Ball and Chain'' (1968)
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24. DOOBIE BROTHERS
Most popular band in the country for a minute or two. A tricky but successful lead singer switch at the peak of popularity took the band's music in a more urbane direction and extended its shelf life many years.

Definitive Song: ``China Grove'' (1973)
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26. BOZ SCAGGS
He defined San Francisco for more than a decade, spanning the free-form FM radio of the late '60s (the majestic 12-minute blues ``Loan Me a Dime,'' featuring Duane Allman) and the blue-eyed soul-disco of the late '70s (``Lowdown,'' ``Lido Shuffle''). Part owner of the nightclub mainstay Slim's.

Definitive Song: ``Loan Me a Dime'' (1969)
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29. JOURNEY
Inventors of the power ballad and champions of the '80s baseball park concert, Journey ruled the world for an instant. One of MTV's early video moments was Steve Perry shaving his mustache. Even if they'll never admit it, many of today's young, hip rockers started out playing air guitar to Journey records.

Definitive Song: ``Open Arms'' (1982)
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Definitive Song: ``Free Your Mind'' (1992)
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33. QUICKSILVER MESSENGER SERVICE
On any given night, they were better than the Dead. Although flashy guitarist John Cipollina was nominally the chief attraction, guitarist Gary Duncan was the band's real tightrope walker, a jazzy jammer who could hold his own with the best. Vastly underrated band remembered mostly these days -- sigh -- for Dino Valente's puerile ``Have Another Hit'' and not the band's glory days at the Fillmore.

Definitive Song: ``Pride of Man'' (1969)
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34. CHARLES BROWN
His smooth, urbane '40s piano and ballad stylings didn't make Brown an obvious candidate for the guitar-driven blues renaissance of 1968, although his signature ``Driftin' Blues'' found its way into the repertoires of Eric Clapton, Paul Butterfield and others. When his turn finally came in the late '80s, Charles was ready -- living in Berkeley senior housing, working as a janitor, but practicing three hours a day. When the money started rolling in, he moved downstairs. One of music's real greats and one of life's real gentlemen.

Definitive Song: ``Somebody to Love'' (with Bonnie Raitt) (1992)
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36. HOT TUNA
Taking public what were essentially their hotel-room jam sessions after Jefferson Airplane concerts, childhood friends guitarist Jorma Kaukonen and bassist Jack Casady have continued this extraordinary collaboration through four decades. Considering how long some of their shows can be -- clocked at more than eight hours one epic night -- they might just be warming up for the next century.

Definitive Song: ``Candy Man'' (1971)
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38. JOHN LEE HOOKER
The man who made the guitar a threat. Now 80, he recently marked the 50th year of his breakthrough R&B smash ``Boogie Chillun.'' After stints in swinging London and on the hippie circuit with Canned Heat, Hooker is enjoying his third or fourth career renaissance, which began with 1989's Grammy-winning ``The Healer.'' He's been a Bay Area man since 1970.

Definitive Song: ``Boom Boom'' (1963)
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44. FLIPPER
Born of the punk band Negative Trend, San Francisco's Flipper ruled the underground in 1982 with their beyond-hard-core masterwork ``Sex Bomb.'' It was the perfect paean to life on California's underbelly: loud, sloppy and brilliantly dumb.

Definitive Song: ``Sex Bomb'' (1982)
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51. KINGSTON TRIO
More than a few of the rock musicians who put San Francisco on the map in the '60s started out strumming along to Kingston Trio albums. Plus, they showed the Beach Boys how to dress.

Definitive Song: ``A Worried Man'' (1959)
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Definitive Song: ``Can You Ha
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63. THE YOUNGBLOODS
The group recorded the quintessential hippie anthem while still in New York, but moved to Marin County soon thereafter. Before the solo career of leader Jesse Colin Young descended into banality, this vigorous little band turned out some effective folk-rock inventions, although it never got past the one big hit.

Definitive Song: ``Get Together'' (1967)
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64. ELECTRIC FLAG
After his stint with the Paul Butterfield Blues Band made him America's premier star guitarist, Mike Bloomfield moved to Mill Valley and put together this landmark band, whose first appearance was the historic 1967 Monterey Pop Festival. Besides the dubious distinction of giving the world Buddy Miles, the Flag cut a killer first album, before Bloomfield retired to playing the blues in North Beach clubs and Mitchell Brothers porn movies.

Definitive Song: ``Groovin' Is Easy'' (1968)
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65. ELVIN BISHOP
With the incendiary soul belter Jo Baker by his side, the ex-Paul Butterfield Blues Band guitarist ruled the Bay Area club scene when that still mattered. His greatest hit came later (``Fooled Around and Fell in Love''), with future Starship vocalist Mickey Thomas no less. But Bishop's moment had already come and gone.

Definitive Song: ``Rock Bottom'' (1972)
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82. IT'S A BEAUTIFUL DAY
Ethereal hippie rock at its most limpid and transcendental, It's a Beautiful Day flew on the Mediterranean sound of David LaFlamme's violin and the sunny harmonies of LaFlamme and the late Patti Santos. Management problems made the band lifelong litigants and relegated the former Fillmore headliner to footnote status.

Definitive Song: ``White Bird'' (1969)
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85. EDDIE MONEY
An NYPD dropout who came west to sing in rock bands, Ed Mahoney never lost the common touch. His debut album launched two Top 10 hits, and the Money man was on his way. Ah, the luck of the Irish.

Definitive Song: ``Two Tickets to Paradise'' (1978)
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, including ``Let's Talk About Girls.'' Recently reunited for a garage-rock festival in New York.

Definitive Song: ``Are You Gonna Be There (At the Love-In)''
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97. NEW RIDERS OF THE PURPLE SAGE
What started as a project for Jerry Garcia to learn pedal steel guitar ended up as the longest-running act in hippie country-rock.

Definitive Song: ``Panama Red'' (1973)
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99. JEFFERSON STARSHIP
``Miracles'' was really the last gasp of the old Airplane, but by the mid-'80s, a different band with a similar name was making the exact hollow, empty pop Airplane originally rebelled against.

 

-u can notice that my english list was not finish (the "etc...")

-and notice too that you put Neil Young as reprezenting the USA but Neil is Canadian and you put Van Morisson too but the Man is from Ireland

- i will repeat something essential_

UK 60 millions citizens
US 270 millions citizens

So it seems to be clear who is Superior in music with less cards on hands

 

in fact they are probably equal...

...uhm but the greatest band of rock n roll history on earth are from england...for the rest is quite equal

 

You got everything right "But" Santana was using Cuban rythem and Beat thru out the late 60s and early 70s it got nothing of mexican only the fact that he was a mexican. He was able to mix the famous cuban rythem with rock music and no one have been able to match him since not even Gloria .

 

only santana later work in the later 1980s and 1990s did the mexican influence kick in . never the less hes famous early stuff is Cuban rythem.

 

what do neil young, the turtles, john lee hooker, ... have to do with psychedelic music?

 

Re-visiting The Doors briefly, i can say that when i first heard them (quite a few years ago now) I liked their stuff, its not too shabby. However, what I have found with them is that none of their albums have any longevity, meaning that I find that the true test of a quality album is one that you can listen to repeatedly over a period of time, without it totally pissing you off and becoming tedious.

Only the very best albums do this, the fact that the doors has this affect on me shows that (in my opinion) most of the doors material lacks any real depth or underlying quality, so whilst the music is generally ok, its not great.

They're pretty much an over-hyped pop group with a quirky, dashingly handsome (not without talent) frontman. Mr Morrison is probably the difference between lots of psychadelic rock bands that were around at the time and the doors comparitively massive commercial success.

 

they all drop acid = next

 

You want be super critical then hear this i just like morrison huge cock and the way it bulge thru those leather pants.

 

• Rick Doblin recalls his own first acid trip. As it took effect, he heard an air raid siren and was convinced his life was over. He rushed outside to "live it up" and suddenly realized he had never noticed the world's beautiful colors. "I was in this exhilarated, exalted state," he recalled recently for the Associated Press. "I felt like all of my senses were opening up in a way I wasn't aware of." Doblin, now 39 and founder of the Multidisciplinary Association for Psychedelic Studies Inc., or MAPS, is among researchers who advocate medical use of hallucinogens. They will gather this weekend to mark the anniversary. The three-day Psychedelic Summit will feature talks by Leary; Laura Huxley, wife of the late author and LSD experimenter Aldous Huxley; and Paul Krassner, editor of The Realist. It will focus on the use of mind-altering drugs in mental health therapy and substance abuse treatment. And where better to hold the summit than San Francisco, where acid trips fueled the psychedelic '60s and made the city's hippie-crowded Haight-Ashbury district an international symbol of the times. The government refused to approve psychedelic drugs research until recently, when the Food and Drug Administration authorized a study on the effects of using LSD for substance abuse treatment. So the british had nothing to do with it they just fallow the flow later.​

 

so? this thread is about bands making psychedelic music, not bands dropping psychedelic drugs.

 

no this threat is about americans vs british period. and they lost.

 

This thread is about American psychedelia vs British psychedelia, not music in general..