He tried practically every musical genre, from R&B and pop to country and acid rock.
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Sly and the Family Stone pioneer a sound that applies the hazy grooves of acid rock to the funk of James Brown.
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To address the lack of available entertainment in-country, Armed Forces Radio Vietnam added additional "acid rock" programming in the years after 1967.
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Mr. Stambler's encyclopedia, published by St. Martin's Press in 1974, covered a wide swath of music history, from Acid Rock to the Zombies, in an easy-to-read style.
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Unlike his paid work, it wasn't a record that was commissioned by or for anyone else, and he drew heavy inspiration from the sounds of acid rock introduced to him by Kachulis.
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"When they brought in rock, hard rock and acid rock, I thought God was trying to tell me it was my turn to get off the stage," she once told an interviewer.
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On top of that, somewhat unexpectedly, the film also features a performance from Swedish acid rock, 'we raided the tribal festival fashion section of Urban Outfitters then ripped it to shreds' band Goat.
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Throughout its six tracks, Millevoi channels the countrified acid-rock twang of the Meat Puppets while under the sonic influence of the atmospheric guitar heroics Young explored on Jim Jarmusch's Dead Man soundtrack.
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It was an odd title for an even stranger LP, a concept record about the battle between heaven and hell, set to acid rock guitars, the early sounds of the Moog, and the Canadian artist's homemade synthesizers.
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Psychedelic Witchcraft's new album, The Vision, sounds almost exactly how you'd expect a record from a band with a name like theirs to sound: vintage 70s rock with a fuzzy low end, a few hits of acid rock, and the expected occult overtones.
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Paak and his bayonet-sharp backing band, The Free Nationals artfully brokered a peace between Sly & The Family Stone-style funk, teardrop Curtis Mayfield soul, bludgeoning Beat Scene bass music, acid rock, disco-house swampy Dungeon Family spiritual hip-hop, and even jammy Bonnaroo grooves. .
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Sing of happy, not sad ... The man whose vocal style and songwriting birthed '60s acid rock, helped spawn '70s punk and inspired the most important progressive bands of the '80s -- a man whose musical progeny stretches from ZZ Top to R.E.M. -- is listening full blast to ... the Carpenters.
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Their pastoral folk rock—based heavily on the traditional, with flourishes of 70s acid rock and an extremely English mien—seemed tailor-made for Het Patronaat's graceful beams and stained glass windows, and even their guitarist's endearingly corny jokes about Geordie Shore prefacing the old murder ballad "Geordie" couldn't shake us out of the moment and the magical vibes.
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Many acid rock bands would subsequently become heavy metal bands. The influence of acid rock was evident in the sound of heavy metal in the 1970s. Iron Butterfly's "In-A- Gadda-Da-Vida" is sometimes described as an example of the transition between acid rock and heavy metal or the turning point in which acid rock became "heavy metal". "In-A-Gadda-Da-Vida" serves a notable example of 1960s and early 1970s acid rock or heavy psychedelia, and the band would continue to experiment with distorted, "fuzzy", heavy psychedelia into the 1970s.
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The music by Gert Wilden combined beat lounge and acid rock.
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Heavy metal evolved from psychedelic music and added psychedelic/acid rock to the basic structure of blues rock. In the 1960s, the heavy, blues-influenced, psychedelic hard rock sound of bands such as the Jimi Hendrix Experience, Deep Purple, and Cream was classified as acid rock. Other acid rock groups such as Blue Cheer, Iron Butterfly, and Vanilla Fudge served as examples of early heavy metal, or proto-metal, creating stripped-downed, loud, intense, and "fuzzy" acid rock or hard rock. Bands such as Blue Cheer, Cream, and the hard rock group The Amboy Dukes have all been described as "leading practitioners" of the harder variant of psychedelic rock known as "acid rock".
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At a time when rock music began to turn back to roots-oriented soft rock, many acid rock groups instead evolved into heavy metal bands. As its own movement, heavy metal music continued to perpetuate characteristics of acid rock bands into at least the 1980s, and traces of psychedelic rock can be seen in the musical excesses of later metal bands. In the 1990s, the stoner metal genre combined acid rock with other hard rock genres such as grunge, updating the heavy riffs and long jams found in the acid rock and psychedelic-influenced metal of bands such as Black Sabbath, Blue Cheer, Hawkwind, and Blue Öyster Cult. In addition to hard rock and heavy metal, acid rock also gave rise to the progressive rock movement.
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Pepper's Lonely Hearts Club Band was a major influence on American acid rock groups.
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This involves use of explosives and injection of chemicals to increase acid-rock contact.
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In 1968, Life magazine referred to the Doors as the "kings of acid rock". Other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. The blues rock group the Paul Butterfield Blues Band are also credited with spawning the harder acid rock sound, and their 1966 instrumental "East-West", with its early use of the extended rock solo, has been described as laying "the roots of psychedelic acid rock" and featuring "much of acid-rock's eventual DNA". The Beatles' June 1967 album Sgt.
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Jimi Hendrix performing in 1967 Acid rock often encompasses the more extreme side of the psychedelic rock genre, frequently containing a loud, improvised, and guitar-centered sound. Alan Bisbort and Parke Puterbaugh write that acid rock "can best be described as psychedelia at its rawest and most intense ... Bad trips as well as good, riots as well as peace, pain as well as pleasure - the whole spectrum of reality, not just the idyllic bits, were captured by acid rock." "Acid rock" has also been described as more heavily electric and containing more distortion ("fuzz") than typical psychedelic rock. By the late 1960s, in addition to the deliberate use of distortion and feedback, acid rock was further characterized by long guitar solos and the frequent use of electronic organs.
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Classic Rock magazine described the downer rock culture revolving around the use of Quaaludes and the drinking of wine. Later the term would be replaced by "heavy metal".Kevin Holm-Hudson, Progressive Rock Reconsidered, (Routledge, 2002), Earlier on, as "heavy metal" emerged partially from heavy psychedelic rock, also known as acid rock, "acid rock" was often used interchangeably with "heavy metal" and "hard rock". “Acid rock” generally describes heavy, hard, or raw psychedelic rock.
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American psychedelic rock and garage bands such as the 13th Floor Elevators epitomized the frenetic, darker and more psychotic sound of American acid rock, a sound characterized by droning guitar riffs, amplified feedback, and guitar distortion. Hoffman writes that acid rock lacked the recording studio "gimmickry" that typified the more Beatles-influenced strain of psychedelic rock, though acid rock experimented in other ways with electrified guitar effects. Tonal distortion was also one of the defining characteristics of the San Francisco Sound. The acid rock of the San Francisco Sound heavily incorporated musical improvisation, jamming, repetitive drum beats, experimental sound and tape effects, and intentional feedback.
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Musicologist Steve Waksman stated that "the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous",Waksman (2001), p. 262 while percussionist John Beck defined "acid rock" as synonymous with hard rock and heavy metal. Apart from "acid rock", the terms "heavy metal" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous.Du Noyer (2003), pp.
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Former Atlantic Records executive Phillip Rauls recalls: "I was in the music business at the time, and my very first recognition of acid rock ... was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [song's theremin] sent so many musicians back to the studio to create this music on acid." Jefferson Airplane, early 1966 According to Laura Diane Kuhn, the heavier form of psychedelic rock known as acid rock developed from the late 1960s California music scene. The Charlatans were among the first Bay Area acid rock bands, though Jefferson Airplane was the first Bay Area acid rock band to sign a major label and achieve mainstream success. By July 1967, Time magazine wrote, "From jukeboxes and transistors across the nation pulses the turned-on sound of acid-rock groups: the Jefferson Airplane, the Doors, Moby Grape".
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Both Iron Butterfly's 1968 album In-A-Gadda-Da-Vida and Blue Cheer's 1968 album Vincebus Eruptum have been described as influential in the transition of acid rock into heavy metal. Heavy metal's acid rock origins can further be seen in the loud acid rock of groups such as Steppenwolf, who contributed their song "Born to Be Wild" to the soundtrack of the 1969 film Easy Rider, which itself glamorized the genre. Ultimately, Steppenwolf and other acid rock groups such as Cream, the Jimi Hendrix Experience, and Led Zeppelin paved the way for the electrified, bluesy sound of early heavy metal. Black Sabbath, 1970 By the early 1970s, bands such as Deep Purple, Led Zeppelin and Black Sabbath combined the loud, raw distortion of acid rock with occult lyrics, further forming a basis for the genre now known as "heavy metal".
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16 The variant or subgenre of psychedelic rock often known as "acid rock" was particularly influential on heavy metal; acid rock is often defined as a heavier, louder, or harder variant of psychedelic rock, or the more extreme side of the psychedelic rock genre, frequently containing a loud, improvised, and heavily distorted guitar-centered sound. Acid rock has been described as psychedelic rock at its "rawest and most intense," emphasizing the heavier qualities associated with both the positive and negative extremes of the psychedelic experience rather than only the idyllic side of psychedelia. American acid rock garage bands such as the 13th Floor Elevators epitomized the frenetic, heavier, darker and more psychotic sound of acid rock, a sound characterized by droning guitar riffs, amplified feedback, and guitar distortion, while the 13th Floor Elevators' sound in particular featured yelping vocals and "occasionally demented" lyrics.
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When defined specifically as a hard rock variant of psychedelia, acid rock is distinguished as having evolved from the 1960s garage punk movement, with many of its bands eventually transforming into heavy metal acts. Percussionist John Beck defines "acid rock" as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues- based hard rock bands. Musicologist Steve Waksman wrote that "the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous".
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Environmental groups have expressed concern that Acid Rock Drainage and the human footprint created by mining activities will degrade the Wilderness.
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Frank Hoffman notes that: "Psychedelia was sometimes referred to as 'acid rock'. The latter label was applied to a pounding, hard rock variant that evolved out of the mid-1960s garage-punk movement. ... When rock began turning back to softer, roots-oriented sounds in late 1968, acid-rock bands mutated into heavy metal acts."Hoffmann, Frank (ed.) (2004).
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The Amboy Dukes' primary genres were psychedelic rock, acid rock and hard rock. The band is also considered to be proto-punk.
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Such American groups did not focus on the novelty recording effects or whimsy of British psychedelia, and instead emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. As the movement progressed into the late 1960s and 1970s, elements of acid rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the stoner metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock and psychedelic-influenced metal.
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Historically, the acidic discharges from active or abandoned mines were called acid mine drainage, or AMD. The term acid rock drainage, or ARD, was introduced in the 1980s and 1990s to indicate that acidic drainage can originate from sources other than mines.Dowding, B. & Mills, C,: Natural acid rock drainage and its impact upon background metal concentrations, InfoMine.com. Accessed 23 September 2013.
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In the late 1960s a different KTBT was on-air in Garden Grove, CA at 94.3; with a format of Acid-Rock the World's First Acid-Rock Station; owned by Tel-Audio Incorporated. The owner used the station as a tax write-off; and every time it began showing a profit, he changed the format. It later was sold and became KIKF country 94.3.
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Bands such as Count Five, with their 1966 song "Psychotic Reaction", as well as other groups featured on Nuggets, would eventually epitomize the overlap between 1960s garage rock and psychedelic punk, or acid rock. As one of the first successful acid rock songs, "Psychotic Reaction" also contained the characteristics that would come to define acid rock: the use of feedback and distortion replacing early rock music's more melodic electric guitars. Another group included on the Nuggets album, the 13th Floor Elevators, began as a straight garage rock band before becoming one of the original early acid rock bands and the innovators of psychedelic rock in general, with a sound consisting of distortion, often yelping vocals, and "occasionally demented" lyrics. Their debut album, The Psychedelic Sounds of the 13th Floor Elevators, featuring the garage rock hit "You're Gonna Miss Me", was among the earliest psychedelic rock albums.
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However, this acid rock drainage didn't come from a mine; rather, it was produced by oxidation of pyrite-rich rock which was unearthed during a road cut and then used as filler material in the I-99 construction. A similar situation developed at the Halifax airport in Canada. When the phenomena is the result of earth-moving operations other than mining it is sometimes called "acid rock drainage".
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14, 118. With roots in blues rock and psychedelic/acid rock drum playing, heavy metal drummers play with emphatic beats, and overall loudness using an aggressive performing style.
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The earliest known use of the term "garage punk" appeared in Lenny Kaye's track-by-track liner notes for the 1972 anthology compilation Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, which prominently featured both acid rock and garage rock. Musicologist Simon Frith cites Nuggets as a showcase for the garage psychedelia of the 1960s and the transition between early 1960s garage rock and the more elaborate acid rock of the late 1960s. This acid rock present in the Nuggets anthology has been described as an offshoot of 1960s punk rock. At the time, the term "punk rock" referred to the garage rock of the 1960s, such as that present in the Nuggets compilation.
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The Grateful Dead's Jerry Garcia believed that acid rock is music you listen to while under the influence of acid, further stating that there is no real "psychedelic rock" and that it is Indian classical music and some Tibetan music "designed to expand consciousness". The term has often been deployed interchangeably with "psychedelic rock", particularly during the genre’s nascence.; ; ; According to Per Elias Drabløs, "acid rock is generally considered a subgenre of psychedelic rock", while Steve and Alan Freeman state the two terms are more or less synonymous, and that "what is usually referred to as acid rock is generally the more extreme end of that genre". This would mean psychedelic rock that is heavier, louder, or harder.
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Proceedings of the 7th International Conference on Acid Rock Drainage (ICARD), March 26–30, 2006, St. Louis MO. or otherwise. None of these other names have gained general acceptance.
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Originating in the early 1960s, garage punk was a mainly-American movement that involved R&B-inspired; garage bands powered by electric guitars and organs. It was mainly the domain of untrained teenagers fixated on sonic effects, such as wah-wah and fuzz tone, and relied heavily on riffs. The music later blurred into psychedelia. American garage bands who began to play psychedelic rock retained the rawness and energy of garage rock, incorporating garage rock's heavy distortion, feedback, and layered sonic effects into their versions of psychedelic music, spawning "acid rock".. Bisport and Puterbaugh, defining acid rock as an intense or raw form of psychedelia, include "garagey" psychedelia under the label of "acid rock" due in part to its "energy and intimation of psychic overload".
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Iron Butterfly's 1968 song "In-A-Gadda-Da-Vida" is sometimes described as an example of the transition between acid rock and heavy metal or the turning point in which acid rock became "heavy metal", and both Iron Butterfly's 1968 album In-A-Gadda-Da-Vida and Blue Cheer's 1968 album Vincebus Eruptum have been described as laying the foundation of heavy metal and greatly influential in the transformation of acid rock into heavy metal.Bukszpan (2003), p. 288. In this counterculture period MC5, who began as part of the Detroit garage rock scene, developed a raw distorted style that has been seen as a major influence on the future sound of both heavy metal and later punk music.Bukszpan (2003), p. 141.
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Newgarden was replaced by Katie Gentile after the release of Run On's debut album. No Way, released in 1997, found the band exploring acid rock and Indian music territories while remaining rooted in classic rock.
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Reviewer Joel Hunt described the band as "inventive." A review in Brooklyn Rocks described the 2LP Monoliths & These Flowers Never Die as a "brain-melting slab of acid rock" similar to Hawkwind and Spacemen 3.
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For example, a paper presented in 1991 at a major international conference on this subject was titled: "The Prediction of Acid Rock Drainage - Lessons from the Database"Ferguson, K.D. and Morin, K.A. The Prediction of Acid Rock Drainage - Lessons from the Database. Proceedings: Second International Conference on the Abatement of Acidic Drainage. Sept 16 to 18, 1991, Montreal, Quebec. Both AMD and ARD refer to low pH or acidic waters caused by the oxidation of sulfide minerals, though ARD is the more generic name.
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The following is a list of artists described as general purveyors of the acid rock genre. Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. The style is generally defined by heavy, distorted guitars, lyrics with drug references, and long improvised jams. Its distinctions from other genres can be tenuous, as much of the style overlaps with 1960s punk, proto- metal, and early heavy, blues-based hard rock.
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A group of Flower Power demonstrators, 1967 Many bands associated with acid rock aimed to create a youth movement based on love and peace, as an alternative to workaholic capitalist society. David P. Szatmary states, "a legion of rock bands, playing what became known as 'acid rock,' stood in the vanguard of the movement for cultural change." Szatmary also quotes from the San Francisco Oracle, an underground newspaper published between 1966 and 1968, to explain how rock music was perceived at that time and how the acid rock movement emerged: "Rock music is a regenerative and revolutionary art, offering us our first real hope for the future (indeed, for the present)." When played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience.
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Yellow boy in a stream receiving acid drainage from surface coal mining. Rocks stained by acid mine drainage on Shamokin Creek Acid mine drainage, acid and metalliferous drainage (AMD), or acid rock drainage (ARD) is the outflow of acidic water from metal mines or coal mines. Acid rock drainage occurs naturally within some environments as part of the rock weathering process but is exacerbated by large-scale earth disturbances characteristic of mining and other large construction activities, usually within rocks containing an abundance of sulfide minerals. Areas where the earth has been disturbed (e.g.
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Acid rock drainage occurs naturally within some environments as part of the rock weathering process but is exacerbated by large-scale earth disturbances characteristic of mining and other large construction activities, usually within rocks containing an abundance of sulfide minerals. Areas where the earth has been disturbed (e.g. construction sites, subdivisions, and transportation corridors) may create acid rock drainage. In many localities, the liquid that drains from coal stocks, coal handling facilities, coal washeries, and coal waste tips can be highly acidic, and in such cases it is treated as acid mine drainage (AMD).
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By 1966, the New York City garage band the Blues Magoos were referring to their wailing blues rock as "psychedelic music", and their hard variant of psychedelic rock, with its roots in the garage movement, would be increasingly labeled "acid rock".
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According to Kevin T. McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on December 4, 1965, the date of the second Acid Test held by author Ken Kesey. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments". The Acid Test experiments subsequently launched the psychedelic subculture. Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on their 1966 album Revolver, especially with the track "Tomorrow Never Knows", as having "opened the doors" to acid rock.
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In 2013, Crary was included in the books Resonances: Noise and Contemporary Music, published by Bloomsbury Publishing,Goddard, Michael et al (2013) Resonances: Noise and Contemporary Music, Bloomsbury Academic, and The Music Documentary: Acid Rock to Electropop, published by Routledge.Halligan, Benjamin et al (2013) The Music Documentary: Acid Rock to Electropop, Routledge, Crary was included in the 2014 book Fight Back: Punk, Politics and Resistance, published by Manchester University Press.The Subcultures Network (2014) Fight Back: Punk, Politics and Resistance, Manchester University Press, In 2015, Crary was included in the book Tranquillo, non importa, published in Italy by Edizioni Sette Città.
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Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, and extended instrumental segments. Some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called "raga rock". In the 1960s, there existed two main variants of the genre: the more whimsical, surrealist British psychedelia and the harder American West Coast acid rock. While "acid rock" is sometimes deployed interchangeably with the term "psychedelic rock", it also refers more specifically to the heavier and more extreme ends of the genre.
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The name of the show reflected the era in which it was created. Beaker Street was an oblique reference to LSD. The program featured Acid rock and its name alluded to the fact that "Acid" ( i.e., LSD ) was created in a laboratory beaker.
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Blue Mountain Eagle was a short-lived American psychedelic/acid rock group that evolved out of New Buffalo Springfield in August 1969 and recorded a lone album for Atlantic/Atco Records, which they were personally signed to by label founder Ahmet Ertegun.
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The song's ambiance is heightened by the striking imagery which outlines a need for sanctuary, escape, and pleasure. Critic Doug Sundling noted that "The Soft Parade", with its display of acid rock and sunshine pop influences, is more diverse than any other Morrison composition.
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A combo organ (Vox Continental) using transistors. It's light, compact and portable. By the 1960s, electronic organs were ubiquitous in all genres of popular music, from Lawrence Welk to acid rock (e.g. the Doors, Iron Butterfly) to the Bob Dylan album Blonde on Blonde.
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James Martin Gurley (December 22, 1939 – December 20, 2009) was an American musician. He is best known as the principal lead guitarist of Big Brother and the Holding Company, a psychedelic/acid rock band from San Francisco which was fronted by singer Janis Joplin from 1966 to 1968.
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The band has explored a wide range of genres, including psychedelic rock, garage rock, acid rock, progressive rock, psychedelic pop, indie rock neo-psychedelia and thrash metal.Reilly, Nick (21 June 2019). "King Gizzard & The Lizard Wizard announce thrash metal album ‘Infest The Rats’ Nest’", NME. Retrieved 28 May 2020.
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Uriah Heep's music has predominantly been described by critics and journalists as progressive rock and heavy metal, with influences from acid rock, blues, and folk. Uriah Heep's distinctive features have always included a massive keyboard sound, strong vocal harmonies and (in the early years) David Byron's quasi-operatic vocals.
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Erik Keith Brann (born Rick Davis; August 11, 1950 – July 25, 2003), also known as Erik Braunn, was an American guitarist with the 1960s acid rock band Iron Butterfly. He is featured on the band's greatest hit, the 17-minute In-A- Gadda-Da-Vida (1968), recorded when he was 17.
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Also, the cracks through the rocks created by shifting blocks allow ground water to infiltrate into the working tunnels. This ground water increased the potential for acid rock drainage from the mine.Steve Blodgett (2002) Subsidence Impacts at the Molycorp Molybdenum Mine Questa, New Mexico. Center for Science in Public Participation. Web.
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Bílinite (Fe2+Fe23+(SO4)·22H2O) is an iron sulfate mineral. It is a product of the oxidation of pyrite in water. It is an acidic mineral that has a pH of less than 3 and is harmful to the environment when it comes from acid rock drainage (Keith et al., 2001).
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In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of- Marshalls" approach was seminal to the development of the later heavy metal sound.McMichael (2004), p. 112 The combination of blues rock with psychedelic rock and acid rock formed much of the original basis for heavy metal.Weinstein (1991), p.
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Randy Holden (born July 2, 1945) is an American guitarist best known for his involvement with the West Coast acid rock group Blue Cheer on their third album, New! Improved! (1969). Additionally, he is a painter. His album Population II from 1970 is considered to be one of the earliest examples of doom metal.
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Sub-surface mining often progresses below the water table, so water must be constantly pumped out of the mine in order to prevent flooding. When a mine is abandoned, the pumping ceases, and water floods the mine. This introduction of water is the initial step in most acid rock drainage situations.Acid mine drainage in Portugal.
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In 1979 she started to make fast-edited video collages from footage appropriated while working for a TV post-production unit.Catherine Elwes, Video Art: A Guided Tour, I.B.Tauris, 2005, p108. In 1982 Birnbaum created the piece titled PM Magazine/Acid Rock with appropriated video from the nightly T.V. Show, PM Magazine, and a segment of a Wang Computers commercial.
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Strawberry Alarm Clock is a psychedelic rock band formed in 1967 with origins in Glendale, California, a city near Los Angeles. They are best known for their 1967 hit single "Incense and Peppermints". Strawberry Alarm Clock, who have been also categorized as acid rock, psychedelic pop, and sunshine pop, charted five songs, including two Top 40 hits.
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Created for Documenta 7 as part of a four channel video installation, PM Magazine/Acid Rock underscores the themes of consumerism, T.V., and feminism in Birnbaum's work through the use of pop images and a recomposed version of "L.A. Woman" by the Doors. She participated in the 1985 Whitney Biennial.Margot Lovejoy, Digital Currents: Art in the Electronic Age, Routledge, 2004, p129.
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An assessment of HDS-type lime treatment processes – efficiency and environmental impact. In: ICARD 2000. Proceedings from the Fifth International Conference on Acid Rock Drainage. Society for Mining, Metallurgy, and Exploration, Inc. Vol II, 1027-1034 Generally, the products of the HDS process also contain gypsum (CaSO4) and unreacted lime, which enhance both its settleability and resistance to re-acidification and metal mobilization.
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Bliss Mackie had worked as a Coca-Cola truck driver and a manager of a department store. In early 1968 Peter Brown (Seattle) became the first drummer in the group. Joe Cavender played with an acid rock group. In 1968, the band moved to Los Angeles and recorded the single "I Can’t Make It Anymore" for Dot Records with limited success.
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Chrome is an American rock band founded in San Francisco in 1976 by musician Damon Edge and associated with the 1970s post-punk movement. The group's raw sound blended elements of punk, psychedelia, and early industrial music, incorporating science-fiction themes, tape experimentation, distorted acid rock guitar, and electronic noise.Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984.
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Blue Öyster Cult is a hard rock band, whose music has been described as heavy metal, psychedelic rock, occult rock, biker boogie, acid rock, and progressive rock. They have also been recognized for helping pioneer genres such as stoner metal and speed metal. The band has also experimented with additional genres on specific albums. An example of this is Mirrors (1979).
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Many of the acid rock bands of San Francisco began by playing acoustic folk and blues. The Smothers Brothers television shows featured many folk performers, including the formerly blacklisted Pete Seeger. Bonnie Koloc is a Chicago-based American folk music singer-songwriter who made her recording debut in 1971. In 1968 Melanie, released her first album in 1968 with several popular songs with a folk/pop blend.
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In Canada, work to reduce the effects of acid mine drainage is concentrated under the Mine Environment Neutral Drainage (MEND) program. Total liability from acid rock drainage is estimated to be between $2 billion and $5 billion CAD. Over a period of eight years, MEND claims to have reduced ARD liability by up to $400 million CAD, from an investment of $17.5 million CAD.
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The Sonic Dawn is a psychedelic rock band, based in Copenhagen, Denmark. They are known as a prolific live act, having toured the European continent numerous times, and have released three full-length albums internationally. The Sonic Dawn describe their sound as "a psychedelic mixture of styles, from jazzy sitar pop to heavy acid rock." They have recently appeared alongside artists such as Graveyard and Brant Bjork.
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Other Way Out remains popular to this day in the psychedelic and progressive rock communities, and has gone through eight reissues since its original release. Subsequent albums have explored many branches of psychedelia, including space rock, acid rock, stoner rock, neo-psychedelia, and psych pop. Their music has been compared to, influenced, or praised by prominent artists such as Monster Magnet, Nirvana, Spiritualized, and Spacemen 3.
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Kingston Wall was a psychedelic/progressive rock group from Helsinki, Finland, originally formed in 1987. Influenced by such artists as Jimi Hendrix, Led Zeppelin and Pink Floyd, the group combined eastern themes, mysticism and vivid psychedelia with acid rock. The band consisted of Petri Walli (guitars, lead vocals), Jukka Jylli (bass, backing vocals) and Sami Kuoppamäki (drums, percussion). Walli took the most active role in the band.
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" --Jan Zarebski, Record Collector, April 2007. "It’s good to know that some rare and collectable British rock albums are rare and collectable for all the right reasons – i.e. they’re bloody marvellous." --Peter Dogget, Record Collector, 1993 "This has to be one of the most under-rated albums of all time, a perfect mixture of west coast acid rock with dark lilting English folk, it’s timeless and beautiful.
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Some accordions have all buttons for both hands. Accordions are used in Zydeco, hot jazz (a type of swing), and many folk and traditional musics. Accordions are becoming less common in North America but they remain popular in Europe. acid rock : A style of rock music from the late 1960s and early 1970s which emphasized psychedelic imagery, unusual sound effects, and distorted guitar playing.
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Jenny Diski, The Sixties (2009) pp. 23, 31 At the same time, she immersed herself deeply in the culture of the 60s, from the Aldermaston marches to the Grosvenor Square protests,Diski, The Sixties pp. 28, 69 from drugs to free love, from jazz to acid rock,Diski, The Sixties pp. 33–44 and a flirtation with the ideas and methods of R. D. Laing.
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An environmental acid rock drainage (ARD) baseline report was submitted in 1999. Report authors noted the importance of agriculture of the Rio Huasco valley, whose river and tributaries are glacier fed. Three surface water courses drain the Pascua Mine hill, the Rio Del Estrecho on the northwest side, Rio El Toro on the southwest side, and Arroyo Turbio on the east side. The continental divide of South America separates these rivers.
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San Francisco acid rock generally took a non-commercial approach to song-writing: it often involved almost free jazz-like, free-form hard rock improvisations alongside distorted guitars, and lyrics often were socially conscious, trippy, or anti-establishment. Many of the musicians in the scene, including bands such as the Charlatans and the Quicksilver Messenger Service, became involved in Ken Kesey's LSD-driven psychedelic scene, known as the Merry Pranksters.
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The Lost Tapes is a two disc compilation album by the San Francisco psychedelic-acid rock band, Big Brother and the Holding Company with Janis Joplin as their lead singer. The material featured here contains twelve previously unreleased Big Brother tracks from 1966 when Joplin first joined Big Brother up until before she left. The second disc was originally released as a live album in 1966 entitled Live In San Francisco.
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Debbie, the ex-prom queen, plays the drums and percussion; Mark, the minister of music at his church, is a pianist and accordionist; Mary, a rabid fan of women's roller derby remembered for her portrayal of Anita in a local production of West Side Story, plays the violin, saxophone, flute, and slide whistle; and Mike, a former member of an acid rock band, is a master of the synthesizer and vibraslap.
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The Electric Lucifer is an album by Bruce Haack combining acid rock and electronic sounds. AllMusic describes it as "a psychedelic, anti-war song cycle about the battle between heaven and hell." Haack used a Moog synthesizer and his own home-built electronics, including an early prototype vocoder. It was originally released on LP in 1970 and has been re-mastered and re-released on CD several times.
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Kiselina at Discogs The album featured hard rock sound, but also featured psychedelic and acid rock elements. The album also featured several acoustic songs composed by Nemeček. Kiselina featured Sloba Marković on keyboards, and three songs featured Miša Aleksić (at the time member of SOS) on bass guitar. The album also featured S Vremena Na Vreme members Ljuba Ninković and Vojislav Đukić, Drago Mlinarec, and DAG members on backing vocals.
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Furthermore, the album incorporates acid rock and especially krautrock, being inspired by 1970s bands that had influenced Cope before such as Can, Faust, and Neu!, although this time the influence was larger. Uncut wrote that the album contains a "mad scramble" of krautrock, pop and techno dance music, while Jim DeRogatis called it psychedelic rock. Cavanagh highlights its array of "blowouts", melodic pop, funk, and "a mad rush instrumental".
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Hill was a member of the 1960s acid rock and blues group American Blues with his brother Dusty and drummer Frank Beard. Before the formation of ZZ Top, Rocky left the trio and subsequently played in blues bands for John Lee Hooker, Lightnin' Hopkins (for whom he played bass),John Nova Lomax. "The Anti-Clapton: Rocky Hill Hopes to Find a Smooth Patch on his Rocky Road". Houston Press. July 11, 2002.
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In cases where drainage from a mine is not acidic and has dissolved metals or metalloids, or was originally acidic, but has been neutralized along its flow path, then it is described as "neutral mine drainage",Global Acid Rock Drainage Guide (GARD Guide) INAP: The International Network for Acid Prevention. Accessed 23 September 2013. "mining-influenced water"Gusek, J.J., Wildeman, T.R. and Conroy, K.W. 2006. Conceptual methods for recovering metal resources from passive treatment systems.
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The original intention was to include a bonus EP in the Then Play On album. The EP was to be compensation for the fact that Jeremy Spencer barely appeared on the album. The EP consisted of Spencer's parodies of doo wop ("Ricky Dee and the Angels"), Alexis Korner, country blues ("Texas Slim"), acid rock ("The Orange Electric Squares"), and John Mayall. It was finally released on Fleetwood Mac's The Vaudeville Years compilation in the 1990s.
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The band's music was influenced by West African music, calypso, soul, jazz, and ska, and saxophonist/founder Paddy Corea had a background in playing ska music. The music they heard during a trip to Morocco lead to a change in their style. The band's music has predominantly been described as progressive rock, soul, jazz rock and funk. It has also been described as acid rock, psychedelic soul, jazz fusion, and world music.
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Raymond Louis "Ray" Kennedy (November 26, 1946 – February 16, 2014) was an American singer, songwriter, musician and record producer, based in Los Angeles. His works span multiple genres including R&B;, pop, rock, jazz, fusion, acid rock, country and many others. He co-wrote "Sail On, Sailor", one of The Beach Boys' mid-career hits, as well as two hits for The Babys: "Everytime I Think of You" and "Isn't It Time".
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At Easegill, the limestone cliffs support rigid buckler fern, limestone polypody and mossy saxifrage. Downstream from here, in a steep wooded gorge, there are eleven species of fern and such plants as wood forget-me-not, hairy rock-cress, wall lettuce, sanicle and whitlow grass. In contrast, the more acid rock at Aygill supports wood rush, hard fern and beech fern. The steep slopes around some potholes have similar "woodland"-type flora.
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French notes that "Beck has been cited as inspiring both Paul McCartney's guitar solo on 'Taxman' and the Paul Butterfield Band's 'East-West'". Butterfield's 1966 instrumental has been identified as an important influence on the developing extended-jam acid rock scene. Butterfield guitarist Mike Bloomfield claimed that Beck's use of controlled feedback in Yardbirds' songs influenced Jimi Hendrix's approach. Shadwick adds that Hendrix closely studied Beck's sonic approach on "Shapes of Things".
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According to author Kevin McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on 4 December 1965, the date of the second Acid Test held by novelist Ken Kesey and the Merry Pranksters. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments". The Acid Test experiments subsequently launched the entire psychedelic subculture.
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Poster for the Mantra-Rock Dance event held at San Francisco's Avalon Ballroom in January 1967. The headline acts included the Grateful Dead, Big Brother and the Holding Company and Moby Grape. In 1967, psychedelic rock received widespread media attention and a larger audience beyond local psychedelic communities. From 1967 to 1968, it was the prevailing sound of rock music, either in the more whimsical British variant, or the harder American West Coast acid rock.
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The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia".
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He expanded on his praise in The New York Times later that year: Years later, AllMusic's Fred Thomas said "the Grateful Dead reached their true peak of psychedelia" with the album, embellishing "the exploratory jamming and rough-edged blues-rock of their live shows" with "overdubbed choirs, electronic sound effects, and layers of processed vocal harmonies." According to Adam Bouyamourn of The National, the album's "iconoclastic acid rock … combined free jazz, improvisation and psychedelia".
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Unlike many of the tracks on the album, this recording features the full line-up of the Experience with Hendrix, Noel Redding, and Mitch Mitchell. Hendrix also plays a makeshift kazoo made with a comb and tissue paper in tandem at points with his lead guitar, and backing vocals are performed by Redding along with Dave Mason. With its hard rock riff, the song is an example and mixture of blues and acid rock.
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Up to now they were known for an acid rock sound which was reasonably happy. The change of theme resulted in an album which didn't go straight to #1 like their previous two albums, . The album was nevertheless certified Gold.Charts in France: Certifications Niagara (Accessed: Aug 10, 2006) On the personal side, the relationship between Muriel Moreno, the flamboyant singer, and Daniel Chenevez, the guitar and keyboard player, was not as it used to be.
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About half of the coal mine discharges in Pennsylvania have pH under 5.USGS > Pennsylvania Water Science Center > Coal-Mine-Drainage Projects in Pennsylvania Accessed 17 April 2012. However, a portion of mine drainage in both the bituminous and anthracite regions of Pennsylvania is alkaline, because limestone in the overburden neutralizes acid before the drainage emanates. Acid rock drainage has recently been a hindrance to the completion of the construction of Interstate 99 near State College, Pennsylvania.
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Twinemen is an alternative rock band based in Cambridge, Massachusetts, USA created by former members of the bands Morphine and Face to Face. The group includes Dana Colley (saxophone / vocals), Billy Conway (percussion / vocals / sometimes acoustic guitar), and Laurie Sargent (lead singer / lead guitar). Various bass players, including former Face to Face guitarist Stuart Kimball, also perform with the band on the road and in the studio. Twinemen's music includes a mix of jazz, blues, acid rock, and lounge.
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The bands listed below, though often associated with garage rock, are also associated with other genres such as acid rock, psychedelia, blues rock, power pop, 1970s punk rock, hard rock, bubblegum, glam, prog rock, art rock or even heavy metal. Many British bands between 1965–1968 have been retrospectively referred to as "Freakbeat" and between 1974-1979 as pub rock. Like garage rock, much of the music made by acts such as these has been characterized as proto-punk.
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The Bosstown Sound was promoted as harnessing the hallucinogenic essence of psychedelia, also known at the time as acid rock. Numerous bands were involved, but the groups Ultimate Spinach, the Beacon Street Union, and Orpheus were the most prominent. The Boston music scene briefly captured the interest of the youth culture, and recordings by bands from Boston achieved positions on the Billboard 200 chart. However, by the end of 1969, the campaign faltered, its advertisements rejected by listeners.
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We decided to get high on the music, or get out of the business." Going against the grain at the times, Creedence eschewed the acid-inspired free-form jams favored by many rock bands, for tightly-structured roots music with an unmistakable rockabilly edge. "I didn't like the idea of those acid-rock, 45-minute guitar solos," Fogerty explained to Uncut's David Cavanagh in 2012. "I thought music should get to the point a little more quickly than that.
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"Journey to the Center of the Mind" featured a psychedelic rock, garage rock, hard rock and acid rock sound. The song features lyrics written by the Dukes' second guitarist Steve Farmer, and melody written by Ted Nugent. The song was recorded with a higher budget than their past recordings. During the recording of the song there was a lot of tension between the band members, and a few of the members quit after the album was released.
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These later became accepted as distinct genera (the former only temporarily; see synonymy below), the latter under the name Pseudevernia. In 1974, Krog published an account of three Northern Hemisphere Hypogymnia species that grow on acid rock in arctic and alpine habitats. These species, namely H. atrofusca, H. intestiniformis, and H. oroarctica, make up the H. intestiniformis group. This biologically discontinuous assemblage of species was segregated from Hypogymnia by Trevor Goward under the genus name Brodoa in 1986.
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Bardo Pond are an American psychedelic rock band formed in 1991, and who are currently signed to London-based label Fire Records. The current members are Michael Gibbons (guitar), John Gibbons (guitar), Isobel Sollenberger (flute and vocals), Clint Takeda (bass guitar) and Jason Kourkounis (drums). Bardo Pond's music is often classified as space rock, acid rock, post-rock, shoegazing, noise or psychedelic rock. Some Bardo Pond album titles have been derived from the names of esoteric psychedelic substances.
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This is a timeline documenting the formative events in heavy metal music before 1970. Since the dawn of rock music in the 1950s and continuing through the 1960s, various artists pushed the boundaries of the genre to emphasize speed, aggression, volume, theatricality, and other elements that became staples of the heavy metal style. In the late 1960s, this experimentation coalesced into various rock subgenres like hard rock, acid rock, and psychedelic rock, which were all influential in the development of heavy metal.
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In modern usage, the term acid rock, although sometimes used as a synonym, normally now refers specifically to a high-silica-content (greater than 63% SiO2 by weight) volcanic rock, such as rhyolite. Older, broader usage is now considered archaic. That usage, with the contrasting term "basic rock", was based on an incorrect idea, dating from the 19th century, that "silicic acid" was the chief form of silicon occurring in rocks. The term "felsic" combines the words "feldspar" and "silica".
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This introduction of water is the initial step in most acid rock drainage situations. Tailings piles or ponds, mine waste rock dumps, and coal spoils are also an important source of acid mine drainage. After being exposed to air and water, oxidation of metal sulfides (often pyrite, which is iron-sulfide) within the surrounding rock and overburden generates acidity. Colonies of bacteria and archaea greatly accelerate the decomposition of metal ions, although the reactions also occur in an abiotic environment.
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"Acid rock" has often been loosely defined, especially in its early history. In 1969, as the genre was still solidifying, rock journalist Nik Cohn called it a "fairly meaningless phrase that got applied to any group, no matter what its style". It was originally used to describe the background music for acid trips in underground parties in the 1960s (e.g. the Merry Pranksters' "Acid Tests") and as a catchall term for the more eclectic Haight- Ashbury bands in San Francisco.
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Brian Goss (October 5, 1970) is an American guitarist, songwriter and composer who is known for being a member of the bands Dripping Goss and Warzone. He is currently the guitarist for The Noise. Not conforming to any strict style, Goss has contributed to the hardcore, punk and acid rock scenes throughout the late eighties and nineties. Goss has been a longtime musical collaborator with Simon Felice (Felice Brothers) and has played with members of Television, Guns N' Roses and The Misfits.
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Although some of the 1960s bands performed covers of songs by hard rock pioneers like Cream and Jimi Hendrix Experience, hard rock gained large popularity in the early 1970s with the works of progressive rock bands Pop Mašina, YU Grupa and Smak. Pop Mašina, formed in 1971, was one of the first Serbian and Yugoslav bands to move away from rhythm and blues towards harder sound. Their sound featured progressive, hard, psychedelic and acid rock elements. Pop Mašina disbanded in 1977.
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The Palm Desert Scene is a group of related bands and musicians from Palm Desert, Southern California. Their hard rock sound – often described as desert rock – contains elements of psychedelia, blues, heavy metal, punk rock, acid rock, alternative rock, and other genres. It often features distinctive repetitive drum beats, a propensity for free-form jamming, and "trance-like" or "sludgy" grooves. The involved musicians often play in multiple bands simultaneously, and there is a high rate of collaboration between bands.
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Vice magazine said, "The record belongs in the long and storied lineage of Mexican garage bands, from the garden path acid rock of Los Ovnis to the Beatles-esque jams of Los Locos."Noisey 047: Rey Pila Vice Magazine April 7, 2011. Solórzano enlisted long-time friends Andrés Velasco, Rodrigo Blanco and Miguel Hernández to play the first album live, and they ended up as full-time members of the band. By the end of 2011, Rey Pila had formally become a quartet.
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David Miotke (b. December 15, 1944, Chicago, Illinois) is an American keyboard player and singer, who under the name Dave Michaels, was best known as co- founder of the '60s acid rock band H. P. Lovecraft. Miotke studied at Northwestern University earning a bachelor's degree in music theory and composition and a master's degree in applied piano. While an undergraduate in 1967, and performing under the name Dave Michaels, he joined folk singer George Edwards in forming the band H. P. Lovecraft.
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Creation of Sunlight was an American psychedelic rock band formed originally as a cover group in Long Beach, California, in 1968. Though much of the group's history was initially unknown—even their name was obscured—overtime they have come to the attention of psychedelic music enthusiasts for their sole album, which was released in 1969. The Creation of Sunlight's sound incorporated different aspects of their California contemporaries, such as the cheery nuance of sunshine pop and harder-edge acid rock.
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The fissile shales are also easily eroded, presenting additional civil and environmental engineering challenges. A horizontal drilling rig for natural gas in the Marcellus formation in eastern Lycoming County, Pennsylvania. Exposures from cut and fill road construction in Virginia and Pennsylvania have resulted in localized acid rock drainage due to oxidation of the pyrite inclusions. The newly exposed shale on the cut face weathers rapidly, allowing air and water into the unexcavated rock, resulting in acidic surface runoff after precipitation events.
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Ridgeway began the mine reclamation process in 1999 after processing the last of the gold ore from the mine. The mine tailings (waste rock) needed to be contained and the North and South pits had to be flooded. The tailings at the Ridgeway mine are a pyrite-bearing rock which, when exposed to water and oxygen, causes acid rock drainage and environmental damage. Ridgeway designed an impoundment for the tailings that seals them off from both runoff (water) and the atmosphere (oxygen).
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Unlike other teen music show hosts, Cole danced to the music he played on his shows; he was also unafraid to book lesser-known performers. In 1968, at the height of his show's popularity, Cole left the show, unhappy with the shift in pop music to psychedelic acid rock and heavy metal. His memoir of the early years of rock and roll and live television, Sh-Boom! The Explosion of Rock 'n' Roll (1953-1968) has been published by Morgan James.
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The song has received mixed reviews. Allmusic described the song as rolling with "layered guitars", with McCulloch experimenting vocally for a "rough-edged spiral of psychedelics and '60s pop flair" and chose the song as an AMG pick from the Flowers album. CanEhdian.com described the single as having "both the style and beat that seems to be needed for commercial success". NME was less positive, describing it as "a dead-on pastiche of the swirling, Doors-y acid rock" and "not a great song".
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Jus Oborn of Electric Wizard Stoner metal or stoner doom describes doom metal that incorporates psychedelic rock and acid rock elements. Stoner metal is often heavily distorted, groove-laden bass-heavy sound, making much use of guitar effects such as fuzz, phaser, or flanger. Stoner bands typically play in slow-to-mid tempo, employing the usage of melodic vocals and "retro" production. It was pioneered in the early–mid-1990s by bands such as Kyuss, Sleep, Acid King, Electric Wizard, Orange Goblin, and Sons of Otis.
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Using Bacteria such as Acidithiobacillus ferrooxidans to leach copper from mine tailings has improved recovery rates and reduced operating costs. Moreover, it permits extraction from low grade ores - an important consideration in the face of the depletion of high grade ores.Kundu et al. 2014 "Biochemical Engineering Parameters for Hydrometallurgical Processes: Steps towards a Deeper Understanding" Some examples of past projects in biotechnology include a biologically assisted in situ mining program, biodegradation methods, passive bioremediation of acid rock drainage, and bioleaching of ores and concentrates.
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JPT Scare Band is an American rock band. It took its name from its members first initials and their "scary" acid rock sound. Although the band did not release their first album until the early 1990s, they had formed in the early 1970s and made numerous recordings on a reel to reel tape deck in a basement. Songs from the album, Sleeping Sickness, went into fairly heavy rotation on FM stations WFMU and WNYU in New York, which played a role in lifting JPT up from obscurity.
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Ball is the third studio album by the rock band Iron Butterfly, released on January 17, 1969. After the enormous success of In-A-Gadda-Da-Vida, Iron Butterfly modified its acid-rock sound somewhat and experimented with more melodic compositions. The band's trademark heavy guitars, however, are still evident on such tracks as "In the Time of Our Lives" and "It Must Be Love". The album reached number 3 on the Billboard 200 charts, making Ball more immediately successful than In-A-Gadda-Da-Vida.
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Having been inspired by his father Bill's early '70s acid rock band Grok and previous group The Verdicts, Joy began playing music as a teenager. In 1986 he co-founded Moss Icon which is known as an early influence on the hardcore punk rock splinter genre known as "emotive hardcore" or emo. Moss Icon were active until 1991, briefly in 2001, and occasionally since 2007. In 1990 Joy played guitar in Breathing Walker, a band containing members of Moss Icon as well as other musicians.
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After completing her GCSEs, Melua attended the BRIT School for the Performing Arts in the London Borough of Croydon, undertaking a BTEC with an A-level in music. When studying at the school, Melua began to write songs and met her future manager and producer, Mike Batt. While performing at BRIT School showcase, Melua caught the eye of songwriter and producer Mike Batt. Batt was originally looking for an acid-rock band, bass player and a singer capable of singing "jazz and blues in an interesting way".
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In 1965, its debut album, The Paul Butterfield Blues Band was released. AllMusic's Michael Erlewine commented, "Used to hearing blues covered by groups like the Rolling Stones, that first album had an enormous impact on young (and primarily White) rock players." The second album East West (1966) introduced extended soloing – the 13 minute instrumental title track included jazz and Indian raga influences – that served as a model for psychedelic and acid rock. In 1965, avid blues collectors Bob Hite and Alan Wilson formed Canned Heat.
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Greg Wall and Frank London originally met at the New England conservatory (where they both studied jazz) and reconnected in New York, when they both begun learning Hasidic music to play wedding gigs supporting themselves. A lot of that music made its way into Hasidic New Wave recordings. Their focus became the Hasidic "nigunim", meditative chants, which they played in wrapped in jazz / acid rock arrangements. The latest Hasidic New Wave release is the retrospective 5-CD boxset, out from Tzadik Records in late 2012.
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It has since been buried by a thickening-to-the-east wedge of post- mineralization-age Tertiary sedimentary and volcanic sedimentary rocks.Pebble Project Metal Leaching/Acid Rock Drainage Characterization DRAFT Sampling and Analysis Program, SRK Consulting for Northern Dynasty, June 2005 The age of mineralization at Pebble was reported in 2001 to extend for several million years between 86 million years ago and 89.5 MYA. Metallic minerals identified at Pebble include pyrite, chalcopyrite, molybdenite, and bornite, along with minor covellite, chalcocite, digenite and magnetite.
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Encyclopedia of Recorded Sound, Routledge, p. 1725 One of the most influential bands in forging the merger of psychedelic rock and acid rock with the blues rock genre was the British power trio Cream, who derived a massive, heavy sound from unison riffing between guitarist Eric Clapton and bassist Jack Bruce, as well as Ginger Baker's double bass drumming.Charlton (2003), pp. 232–33 Their first two LPs, Fresh Cream (1966) and Disraeli Gears (1967), are regarded as essential prototypes for the future style of heavy metal.
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Another reviewer stated that Zalatnay adapted typical American rock music into the Hungarian milieu, with an acid rock/blues sound and particularly powerful vocals. By this time, Zalatnay's musical career had been largely forgotten in Hungary, and her personal life and appearances on Hungarian reality TV were mostly of interest to local tabloids. The 2007 compilation revived interest in her music and she resumed live performing. In 2017, she returned to the Erkel Theatre in Budapest, the site of her early performances for Táncdalfesztivál, for a seventieth birthday concert.
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Many acid rock discharges also contain elevated levels of potentially toxic metals, especially nickel and copper with lower levels of a range of trace and semi-metal ions such as lead, arsenic, aluminium, and manganese. The elevated levels of heavy metals can only be dissolved in waters that have a low pH, as is found in the acidic waters produced by pyrite oxidation. In the coal belt around the south Wales valleys in the UK highly acidic nickel-rich discharges from coal stocking sites have proved to be particularly troublesome.
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Lyric references to drug use were also common, as exemplified in Jefferson Airplane's 1967 song "White Rabbit" and Jimi Hendrix Experience's 1967 song "Purple Haze". Lyrical references to drugs such as LSD were often cryptic. At a time when many British psychedelic bands played whimsical or surrealistic psychedelic rock, many 1960s American rock bands, especially those from the West Coast, developed a rawer or harder version of psychedelic rock containing garage rock energy. When contrasted with whimsical British psychedelia, this harder American West Coast variant of psychedelic rock has been referred to as acid rock.
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They were known to play "as fast as they could" and with lots of guitar solos, but their style has not much in common with Speed Metal. Their music was instead partly inspired by American acid rock, but also heavy and blues based like a mixture of some early Uriah Heep hits like "Bird of Prey" and "Easy Livin", Cream and Led Zeppelin . November started in 1968 at Tegelhögen, a youth club in Vällingby (a Stockholm suburb). At this club Christer Stålbrandt and Björn Inge played together with two friends as The Imps.
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Family is an English rock band, active from late 1966 to October 1973, and again since 2013 for a series of live shows. Their style has been characterised as progressive rock, as their sound often explored other genres, incorporating elements of styles such as folk, psychedelia, acid rock, jazz fusion, and rock and roll. The band achieved recognition in the United Kingdom through their albums, club and concert tours, and appearances at festivals.[ AllMusic – Family biography] The band's rotating membership throughout its relatively short existence led to a diversity in sound throughout their different albums.
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Charles Ethan Kenning (born August 19, 1943 in Chicago, Illinois) is an American singer, songwriter and musician who performed as George Edwards when he led 1960s acid rock band, H. P. Lovecraft. He was adopted as a child and brought up under the name George Edwards. He reverted to his birth name of Ethan Kenning in his mid-30s. H. P. Lovecraft, An interview with George Edwards, Ptolemaic Terrascope, 1991 In the mid-1960s he performed folk and blues music in clubs in Chicago and as a session singer with Dunwich Records.
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Other members of Creed's band have included Bill Roth, Paul Della Pelle, and Rey Washam on drums, Paul "Bean" Kirk and Mark Duran on bass, and a mysterious woman named "Z" on keyboards. The music is usually mid-tempo to slow-tempo space rock, hard rock, acid rock. The popular band Butthole Surfers, among many others, have cited Helios Creed as a major influence. Creed also worked with the band, contributing guitar to their album Independent Worm Saloon, and the Surfers' Gibby Haynes and Jeff Pinkus collaborated on several of Creed's albums.
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Although the song was a hit with local audiences, record labels were not interested and the band endured months of failed auditions. But Count Five pressed on, revising and reworking "Psychotic Reaction" until Double Shot decided to take a chance on the song, though it ended up hedging its bet with some last-minute cutting and splicing. "Psychotic Reaction" is a garage rock, acid rock, psychedelic rock and proto- punk song. The song contains a repetitious rhythm that eventually changes to a faster beat, an electric guitar playing a hypnotic melody going up the scales.
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AllMusic described the album as "creative, tantalizing electronic pop." The New York Times wrote that "Debut often recalls the early '70s jazz-fusion of bands like Weather Report. But where these fusionists combined jazz harmony with funk and acid rock, Björk marries her scat-vocalese and off-kilter melodies with the futuristic textures and programmed percussion of today's techno and acid house. The Faces Mandi James felt Debut was "a delightful fusion of thrash metal, jazz, funk and opera, with the odd dash of exotica thrown in for good measure.
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The song's sequence in the Yellow Submarine film has been recognised for its adventurousness in conveying a hallucinogenic experience. Although several Beatles biographers dismiss the track as aimless, "It's All Too Much" has received praise from many other commentators. Peter Doggett considers it "one of the pinnacles of British acid-rock", while Rob Sheffield of Rolling Stone rates it among "the top five all-time psychedelic freakouts in rock history". Former Gong guitarist Steve Hillage adopted the song during his early years as a solo artist in the late 1970s.
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One such partnership resulted when McMahon was invited to join Timothy Leary's 1980 lecture tour for a few gigs. McMahon formed a band with some musicians he met in San Francisco: Mark Isham, Kurt Wortman, and Pat Cooley. They performed under the name The Yidaki Brothers and they did their own improvised acid rock take on the subjects of some of McMahon's stories. Another notable combination was with punk electronics group Indoor Life whose songs of urban frustration "buried in cement" were dominated by the sound of a trombone fed through a synthesizer.
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Rainfall in the desert area ranges between zero and 50mm per year. It is estimated that the water demand will triple in the coming two decades mainly due to mineral exploitation in the area. Herders worry that Oyu Tolgoi is draining the region's water supply, since it uses more than a billion gallons of water a month. In addition, there is a substantial risk of acid rock drainage from the mine, from tailings storage facilities and from any overburden or waste rock stored on the surface and not deposited back into the mine.
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East-West reached number 65 in the album chart. The 13-minute instrumental track "East- West" incorporates Indian raga influences and some of the earliest jazz-fusion and blues rock excursions, with extended solos by Butterfield and guitarists Mike Bloomfield and Elvin Bishop. It has been described as "the first of its kind and ... the root from which the acid rock tradition emerged". Live versions of the song sometimes lasted nearly an hour, and performances at the San Francisco Fillmore Auditorium "were a huge influence on the city's jam bands".
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Much of the same concept goes into the development of the humorous "Share A Little Joke" track. "Chushingura" ends the A-side and is the shortest of all the album's tracks. It is a brief experimental electronic composition that contains no lyrics, but the fuzz distortion is highly associated with acid rock and the After Bathing At Baxter's track "A Small Package of Value Will Come to You, Shortly". Although brief, "Chushingura" was pioneering in the way it was one of the first to attempt electronic music on a rock album.
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The song displays many varied musical styles, including jazz, blues, salsa, rock and roll, acid rock, and pop. The same debut album includes an instrumental guitar piece titled "Free Form Guitar", which consisted largely of feedback and heavy use of the Stratocaster's tremolo arm. The album liner notes indicate that the nearly seven-minute piece was recorded live in the studio in one take, using only a Fender Dual Showman amplifier pre-amped with a Bogen Challenger P.A. amp. The guitar's neck was held together with a radiator hose clamp.
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Psychedelic music may also aim to enhance the experience of using these drugs. Psychedelic music emerged during the 1960s among folk and rock bands in the United States and the United Kingdom, creating the subgenres of psychedelic folk, psychedelic rock, acid rock, and psychedelic pop before declining in the early 1970s. Numerous spiritual successors followed in the ensuing decades, including progressive rock, krautrock, and heavy metal. Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, and stoner rock as well as psychedelic electronic music genres such as acid house, trance music, and new rave.
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The mine's massive spiraling cavity was already sympathetic to Smithson's aesthetics and he did not plan to alter it. At the circular bottom of the open pit, the proposal called for four dividing crescent rises. During heavy rains, these would turn into jetties rising from the collected pool of water. Smithson designed the collected pool of water at the bottom as the most striking color element in the pit because it would be bright yellow due to the toxic runoff, or acid rock drainage (also known as yellow boy).
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New Train features Grateful Dead member Jerry Garcia playing pedal steel guitar and Merl Saunders (frequent collaborator with Garcia and the Dead) on keyboards on "Venutian Lady" and "New Train",New Train CD liner notes. and the a cappella group The Persuasions singing on "Gonna Move" and "Let's Move and Groove." Stylistically, the album runs the gamut from straight-up rock and roll (on the original version of "Jet Airliner") to folk to acid rock (on the Jimi Hendrix- esque "Cosmic Mirror") to Rhythm and Blues on the standout track "Gonna Move". The Grateful Dead-inspired "Venutian Lady" echoes their hit "Bertha".
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The album is often considered within the canon of psychedelic rock. The Encyclopedia Britannica states that the Beach Boys introduced psychedelic elements with the album, calling it "expansive" and "haunting". Although Vernon Joyson felt the album contained acid rock gestures, he chose to omit the Beach Boys and Pet Sounds from his book The Acid Trip: A Complete Guide to Psychedelic Music on the basis that they "essentially predated the psychedelic era." Bret Marcus of Goldmine believed that the album is psychedelic pop, even though most people hesitate to name the Beach Boys in discussions of psychedelic music.
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Sulfuric acid is produced at the open-pit mine when water, such as rain, snow melt or groundwater, interacts with the waste rock. This sulfuric acid leaches contaminants from surrounding rock, such as arsenic, copper, nickel, zinc, chromium, aluminum and iron. This acid rock drainage ARD, with a low pH, and high concentrations of dissolved sulfate and metals, flows into the surrounding watershed and has adverse effects on water quality through deposition of metal-rich precipitates, which cascade through the ecosystem affecting algae, insect, and fish. The site is unvegetated and is susceptible to erosion due to several long steep slopes.
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King Crimson have been described musically as progressive rock, art rock, and post-progressive, with their earlier works being described as proto-prog. Their music was initially grounded in the rock of the 1960s, especially the acid rock and psychedelic rock movements. The band played Donovan's "Get Thy Bearings" in concert, and were known to play the Beatles' "Lucy in the Sky with Diamonds" in their rehearsals. However, for their own compositions, King Crimson (unlike the rock bands that had come before them) largely stripped away the blues-based foundations of rock music and replaced them with influences derived from classical composers.
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With the release of Cosmo's Factory in July 1970, Creedence Clearwater Revival hit their commercial zenith. It was their fifth album in two years and became an international smash, topping the album charts in six countries. The band also toured Europe in 1970, playing the Royal Albert Hall to enthusiastic audiences, and had emerged as the most popular band in America by largely ignoring the trippy acid rock indulgences that were typical of the era. However, despite the band's infectious blend of rockabilly, folk, and R&B;, some peers and rock critics dismissed them as a singles band with no substance.
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Released by Sundazed Records in 1995, Born to Be Burned garnered reasonable reviews, with most critics noting the power and confidence of Grace Slick's voice but also commenting on the relative lack of professionalism exhibited by the rest of the band. Most reviewers noted that the album would predominantly be of interest to fans of Grace Slick and Jefferson Airplane or connoisseurs of the San Francisco Bay Area acid rock scene. Many of the tracks found on Born to Be Burned were later included on the Big Beat Records' compilation album, Someone to Love: The Birth of the San Francisco Sound.
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Considered one of the UK's first psychedelic music groups, Pink Floyd began their career at the vanguard of London's underground music scene, appearing at UFO Club and Middle Earth (club). According to Rolling Stone: "By 1967, they had developed an unmistakably psychedelic sound, performing long, loud suitelike compositions that touched on hard rock, blues, country, folk, and electronic music." Released in 1968, the song "Careful with That Axe, Eugene" helped galvanise their reputation as an art rock group. Other genres attributed to the band are space rock, experimental rock, acid rock, proto- prog, experimental pop (while under Barrett), psychedelic pop, and psychedelic rock.
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Mackenzie performing in 2016 Quarters!, King Gizzard's sixth full-length album, was released on 1 May 2015. The album features four songs, each running for ten minutes and ten seconds, making each song a quarter of the album. Drawing upon jazz-fusion and acid rock, the album's more laid-back sound was described as "unlike anything they've released before" and as "an album more likely to get your head bobbing and hips shaking as opposed to losing footwear in a violent mosh". Later in the year, on 13 November 2015, the band released its seventh full-length album, Paper Mâché Dream Balloon.
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After three tours in Vietnam, "Dave Rabbit" and his friends launched Radio First Termer from a secret studio in a Saigon brothel. The station broadcast for 63 hours over 21 nights (between 1 January 1971 and 21 January 1971). The station played "hard acid rock" such as Steppenwolf, Bloodrock, Three Dog Night, Led Zeppelin, Sugarloaf, the James Gang, and Iron Butterfly, bands which were popular among the troops but largely ignored by the American Forces Vietnam Network. The music was mixed with antiwar commentary, skits poking fun at the U.S. Air Force and Lyndon B. Johnson, and raunchy sex and drug oriented jokes.
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The album led to Haack and Nelson demonstrating how to operate synthesizers on Mister Rogers' Neighborhood in 1968. The album has been described as psychedelic in style, and edges towards the acid rock-influenced style that Haack and Nelson explored on subsequent releases like The Electric Lucifer (1970). Writer Joseph Morpurgo described the album as "a series of cross-genre digital experiments." Although the record is stylistically different than previous Dance, Sing & Listen releases, it remains similar in that Haack and Nelson provide songs, stories, dances and other activities for children to respond to, in order to encourage learning enrichment.
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"Leigh 2009, p. 219. The album would only chart in the US and Sweden, peaking at 58 on the Billboard 200 and 35 on the Sverigetopplistan chart, with the singles released from the album failing to chart. Pleasant Dreams received mixed reviews from critics, with many pointing out that the high quality sound production made the band stray from their roots even more so than the change in style. Stephen Thomas Erlewine, senior editor for AllMusic, noted that Gouldman steers the band's style away from "bubblegum, British invasion, and surf fetishes" and toward "acid rock and heavy metal.
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Music critic Jim DeRogatis views the LP as an early work in the psychedelic rock genre, which accompanied the emergence of counterculture ideology in the 1960s. Through its individual tracks, Revolver covers a wide range of styles, including acid rock, chamber music, R&B;, raga rock, musique concrète, as well as standard contemporary rock and pop. In Rodriguez's view, the influence of Indian music permeates the album. Aside from the sounds and vocal styling used on much of the recording, this influence is evident in the limited chord changes in some of the songs, suggesting an Indian-style drone.
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Groep 1850 (also known as Group 1850) was a Dutch psychedelic rock band that was founded in 1964 in The Hague. The band, despite never achieving success outside the Netherlands, are now considered one of the most innovative acid rock bands from the era. They first used the name Klits, but were renamed Groep 1850 in 1966 when their debut single, "Misty Night" / "Look Around", appeared on the tiny Yep label. Though few copies were pressed, it established them as one of The Netherlands most original bands (alongside the Outsiders and Q65) and they soon signed to Philips.
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Echard writes that in 1966, "the psychedelic implications" advanced by recent rock experiments "became fully explicit and much more widely distributed", and by the end of the year, "most of the key elements of psychedelic topicality had been at least broached." DeRogatis says the start of psychedelic (or acid) rock is "best listed at 1966". Music journalists Pete Prown and Harvey P. Newquist locate the "peak years" of psychedelic rock between 1966 and 1969. In 1966, media coverage of rock music changed considerably as the music became reevaluated as a new form of art in tandem with the growing psychedelic community.
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Playback was an album recorded by The Appletree Theatre in 1967. The project was set up by brothers Terry and John Boylan. It was written, directed and performed by the Boylan brothers, supported by leading jazz session musicians including Larry Coryell and Eric Gale. Playback was essentially a loosely woven concept album, divided into three acts, an overture, and an epilogue, with full-length pop songs such as "Hightower Square" and "I Wonder If Louise Is Home" linked by vocal narratives and snatches of music, including elements of jazz, acid rock, and classical music, sometimes given distorted sonic treatment.
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Elsewhere, Leptosols can be found on hard rocks or where erosion has kept pace with soil formation or removed the top of the soil. In the FAO soil classification for the UNESCO Soil Map of the World (1974) the Leptosols on calcareous rock were called Rendzinas, those on acid rock were Rankers. The very shallow, less than 10 cm deep, Lithic Leptosols in mountain regions are the most extensive Leptosols on Earth. Distribution of Leptosols Leptosols are unattractive soils for rainfed agriculture because of their inability to hold water,Leptosols but may sometimes have potential for tree crops or extensive grazing.
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Lowery was born in San Antonio, Texas, the son of a career Air Force father. He has described his parents as "a hillbilly and an English working-class woman." His family moved around a great deal during his youth before finally settling in Redlands, California, where he attended high school. He became involved in music as a member of the band Sitting Ducks, who played a mixture of punk and acid rock, along with what Lowery described as "fake Russian-sounding music." Sitting Ducks subsequently evolved into Camper Van Beethoven, formed in 1983 in Santa Cruz, California.
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Blue Cheer's debut album has widely been held in high regard by critics. Writing for music website AllMusic, Mark Deming described Vincebus Eruptum as "a glorious celebration of rock & roll primitivism run through enough Marshall amps to deafen an army", praising the band's "sound and fury" as one of the founding movements of heavy metal. Pitchfork reviewer Alexander Linhardt gave the album nine out of a maximum ten points, noting that the album was less structured than its successor, Outsideinside. It has also been described by Billboard as "the epitome of psychedelic rock", while VH1 called it an "acid rock masterwork".
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Afterward, the band Shizuka was formed with the joining of Jun Kosugi (drums) and Tomoya Hirata (bass), who was later replaced with Tetsuya "Seven" Mugishima (bass). Throughout its history, the band had many lineup changes but Shizuka and Maki remained together until Shizuka died in early 2010. Shizuka's musical style was characterized by variations of psychedelic music, acid rock, folk music, free improvisation, and noise rock, some of which were influences from the underground rock scene in Japan. Maki Miura, who was once a member of Les Rallizes Dénudés and Fushitsusha, played a major role in the band's sound as the lead guitarist.
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Acidic runoff disrupts aquatic ecosystems, and highly acidic soil contaminated by this runoff will not support vegetation, which is unsightly, and can lead to problems with soil erosion. Natural decomposition of the shale into smaller fragments can affect slope stability, necessitating shallower slopes that require more material be disturbed in cut and fill work, exacerbating the acid rock drainage problem. The cut material cannot be used as fill beneath roads and structures due to volumetric expansion, compounding the problem. The Tioga ash beds contain bentonite clay which presents a landslide hazard in the unexcavated rock as well.
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Camper Van Beethoven was preceded by several related garage bands based in Redlands, including Sitting Duck and the Estonian Gauchos (featuring future Cracker guitarist Johnny Hickman). These bands included future Camper Van Beethoven members bassist and vocalist David Lowery, guitarist and multi-instrumentalist Chris Molla, and often drummer Bill McDonald as well. The Estonian Gauchos and a late incarnation of Sitting Duck also included another future Camper Van Beethoven member, bassist Victor Krummenacher, whose joining allowed Lowery to switch to rhythm guitar. Sitting Ducks played a mixture of punk and acid rock, along with what Lowery described as "fake Russian-sounding music".
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The group's early musical style consisted of blues rock, acid rock and psychedelic rock. They then went on to join the hard rock and progressive rock movement. The band served as the rhythm section alongside a string orchestra for the 1975 Jimmy Helms Pye LP, Songs I Sing. The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s. By the 2010s the band had a settled lineup again, as well as Del Bromham, Pete Dyer returned and Stuart Uren (bass) and Karl Randall (drums) were regularly gigging as Stray.
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The water could not be consumed by humans either. Although mining at Britannia Creek stopped in 1974, runoff and rainwater that flow through the mine's abandoned tunnels combine with oxygen and the high sulfide content of the waste rock to create a condition called acid rock drainage (ARD). As a result of ARD, Britannia Creek became severely polluted. And, for close to a century prior to December, 2001, polluted run-off was being deposited directly into Howe Sound via Jane Creek and Britannia Creek; as much as 450 kilograms (close to one thousand pounds) of copper was entering Howe Sound daily.
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Lead guitarist Jim Foster was an original guitarist for Adrenalin OD. Vocalist/Guitarist Steve Miller was guitarist/vocalist in the Gutter Kids and the Crash Street Kids (who were signed to Atlantic Records, but dropped before the album came out). Bassist Dan Canzonieri was in Melvis Kepper, Empire Hideous (with Mike Hideous, short time singer for The Misfits). Dan also played with The Shadow Project and Christian Death, both bands featuring original vocalist Rozz Williams. Founding member of Electric Frankenstein, Rhythm Guitarist Sal Canzonieri, was in Noise Rock/Post Punk Acid Rock band The Thing, from the mid-1980s into the early-1990s.
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Subtitled Explorations into Microtonal Tuning, Volume 1, the album is recorded in quarter tone tuning, where an octave is divided into 24 (logarithmically) equal-distanced quarter tones; it was originally conceived to play on a baglama, so the band members used instruments specifically modified for microtonal tuning, as well as other Middle-Eastern instruments like the zurna. The name "Flying Microtonal Banana" comes from Stu Mackenzie's custom-built yellow guitar, fitted with additional microtonal frets. The album has been described as psychedelic rock, acid rock and experimental rock, with elements of krautrock and Middle Eastern/Turkish music.
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Country Joe and the Fish was an American psychedelic rock band formed in Berkeley, California, in 1965. The band was among the influential groups in the San Francisco music scene during the mid- to late 1960s. Much of the band's music was written by founding members Country Joe McDonald and Barry "The Fish" Melton, with lyrics pointedly addressing issues of importance to the counterculture, such as anti-war protests, free love, and recreational drug use. Through a combination of psychedelia and electronic music, the band's sound was marked by innovative guitar melodies and distorted organ- driven instrumentals which were significant to the development of acid rock.
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Growing up in Tucson, Arizona, Michael Stearns started practicing guitar at 13. At 16, he played in a surf music band, sometimes backing artists such as The Lovin' Spoonful and Paul Revere & the Raiders. Evolving to acid rock, he began composing music on multiple instruments in 1968 and, while in university and in the Air Force, spent a few years studying electronic music synthesis, the physics of musical instruments, and accumulating equipment (musical instruments, tape recorders...) for his first studio. The studio opened in Tucson, Arizona in 1972 where he produced jingles and commercials for local radio and television, and nationally released jingles for Schlitz Beer and Greyhound Bus Lines.
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Despite sharp criticism from music critics upon release, overtime the album, now regarded as an acid rock classic, has become a cult favorite among psychedelic aficionados and is the highlight of the Bosstown Sound. Following in the trend set by the first three Bosstown groups on their label, MGM Records released other material by local groups such as Chamaeleon Church and Kangeroo. Attempting to cash-in on the sudden craze, other major labels like Elektra Records and ABC Records signed their own assortment of bands native to the city. Among them was Eden's Children, which released a Jimi Hendrix-inspired album in 1968 that charted in the Billboard 200 at 196.
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Caroline Davey's vocals were frequently compared to Grace Slick. Chambers' guitar playing was influenced by the likes of Jimi Hendrix and Syd Barrett, and the band were part of the late-1980s/early 1990s British acid rock revival alongside bands like Spacemen 3, Sun Dial and The Bevis Frond. The rarity of their deliberately lo-fi cassette tape releases meant that it was only with the advent of the internet that their albums reached a wider audience and developed a cult following after the group had already split. Caroline Davey also sang with the bands Cherokee Mist and Mandragora and continues to perform as a solo artist.
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The band's music is often compared to Hüsker Dü, Meat Puppets, and The Wipers, all of which they are influenced by. The band's other influences include Black Flag, Neil Young, Sonic Youth, The Velvet Underground, The Rolling Stones, The Gun Club, Creedence Clearwater Revival, Townes Van Zandt and Jimi Hendrix. The band's music is characterized by its fuzzy and melodic guitars, and lo-fi aesthetics, which can be likened to late-60's acid rock, 70's punk and hard rock, and 80's SST Records releases. The band has also occasionally been labeled as "grunge", a label which the frontman Alex Coxen adamantly dismisses.
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"Psychotic Reaction" is a song by the American garage rock band Count Five, released in June 1966 on their debut studio album of the same name. It peaked at No. 5 on the Billboard Hot 100, and was among the first successful acid (or psychedelic) rock songs, containing the characteristics that would come to define acid rock: the use of feedback and distortion replacing early rock music's more melodic electric guitars. In Canada, the song reached No. 3 on October 31, 1966. The song was included in the Rock and Roll Hall of Fame's list of the "500 Songs That Shaped Rock and Roll".
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A guitar tech may change the sequence of effects pedals or alter the settings on effects pedals during the show, to assist the guitarist in creating different tone colours or sounds. For example, a guitarist may ask the guitar tech to connect a chorus effect and reverb before a guitar solo. In an indie rock band, a guitar technician would likely configure the equipment to evoke through tone a modern yet historically evocative sound. In an acid rock band, a guitar tech might have to manipulate the controls on a ring modulator or a rotating Leslie speaker cabinet to create unusual sounds while the guitarist is performing.
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The Los Angeles Times called Prince "our first post- everything pop star, defying easy categories of race, genre and commercial appeal." Jon Pareles of The New York Times described him as "a master architect of funk, rock, R&B; and pop", and highlighted his ability to defy labels. Los Angeles Times writer Randall Roberts called Prince "among the most versatile and restlessly experimental pop artists of our time," writing that his "early work connected disco and synthetic funk [while his] fruitful mid- period merged rock, soul, R&B; and synth-pop." Simon Reynolds called him a "pop polymath, flitting between funkadelia, acid rock, deep soul, schmaltz—often within the same song".
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For a short time both the Grateful Dead and the band Big Brother and the Holding Company lived in rustic summer houses or camps nearby. The Pickens house overflowed with hippies, visiting artists and musicians from the Quicksilver Messenger Service, Electric Flag and The Youngbloods. The pastoral roads surrounding the house were filled with hippie families living in converted schoolbuses. Many of the young players in the local acid rock scene were fascinated with J.P.'s rapid fire banjo playing, fueled by his love for the east Indian music of Ravi Shankar especially, and he would play raga-like extended compositions loosely based on old bluegrass standards, on his banjo.
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These decisions need to be made within a framework of closure planning to realize successful land reclamation. Activities related to closure planning often include: preparation of detailed drawings of disturbed landscape, compilation of baseline information, discussions with regulators and stakeholders on end land use considerations, crafting of supporting research programs, and preparation of budgets and schedules. For a mine nearing closure, the closure plan takes the form of a decommissioning plan, and includes details and selection of mitigative technologies (especially for acid rock drainage) and other specific reclamation and closure activities. A critical element of successful reclamation and of good closure planning is stakeholder involvement.
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Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock,Turn on Your Mind: Four Decades of Great Psychedelic Rock, Jim DeRogatis, page 396 and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on Black Sabbath were influenced by Cream, the Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Led Zeppelin, and Jethro Tull. Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval".
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As Country Joe and the Fish's popularity grew, the band relocated to San Francisco in early 1966 and became popular fixtures at the Avalon and the Filmore Auditorium. On June 6, 1966, the band recorded a second self-produced EP, which was packaged separately from the Rag Baby magazine and, upon its release, debuted the new psychedelic rock incarnation of the group. The EP fulfilled the band's ambitions to incorporate electric instruments into their music, effectively melding the instrumentals and pioneering an early template for the musical subgenre of acid rock. It included McDonald's compositions "(Thing Called) Love" and "Bass Strings" on the A-side and the six-minute "Section 43" on the B-side.
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The doom metal band Trouble introduced acid rock elements on their 1990 self-titled album, which became even more prominent on 1992's Manic Frustration. Similarly, the British doom metal band Cathedral increasingly moved toward a psychedelic/stoner sound over the course of their first three releases, culminating in the critically acclaimed 1993 album The Ethereal Mirror. During this same period, heavy metal band White Zombie achieved multi-platinum success with their two major label albums, significantly expanding the heavy music audience with their groove- based, sample-laden "psychedelic horror" sound. During the early to mid-1990s, a number of southern-California bands developed the style that would be called stoner rock.
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In 1984 Glen joined local psychedelic-punk ensemble Horror Planet. The group featured Paul Quigley (Party Frank), vocals, congas and maracas; Rick Bruccoleri (Hambone Legbone), bass and kazoo; Dave (Funk Ma Da Goonk El Paso Fungalscreen Xtra-Cheese Eggs On A Platter), Drums; Tony Arena (Weasle Worm Crumb Boy) backing vocals, tenor kazoo, and tambourine; and Glen Cummings (Swami Swami Swami), guitar. The group's influences varied from early psychedelic/acid rock, to bubblegum pop, to novelty albums, to proto-punk acts like the Cramps. Horror Planet created two releases: "Otis The Frogman", a collection of songs and outtakes on a hand-painted cassette tape and the "Cow Pies from Outer Space", a six-song e.p.
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Acid rock (sometimes used interchangeably with "psychedelic rock") is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. The style is generally defined by heavy, distorted guitars, lyrics with drug references, and long improvised jams. Its distinctions from other genres can be tenuous, as much of the style overlaps with '60s punk, proto-metal, and early heavy, blues-based hard rock. The term, which derives its name from lysergic acid diethylamide (LSD), refers specifically to a more musically intense subgenre or sibling of the psychedelic rock style, featuring a harder, louder, heavier, or rawer sound, and developed mainly from the American West Coast.
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The Eugene Augur was a local countercultural underground newspaper published in Eugene, Oregon, United States, from 1969 to 1974. Starting with its first issue dated October 14, 1969, the Augur, produced by a cooperative of left- wing political activists aligned with the antiwar movement, appeared twice a month, offering up a mix of New Left politics and acid rock counterculture to an audience of students, hippies, radicals and disaffected working class youth in the Eugene area. The paper's coverage ranged from antiwar demonstrations, exposing local narcotics agents, and rock festivals, to the growth of backwoods communes in Southern Oregon and the annual Oregon Renaissance Faire."Renaissance Roots: Gathering of the Tribes on Crow Road" by Suzy Prozanski.
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Brine is a byproduct of many industrial processes, such as desalination for human consumption and irrigation, power plant cooling towers, produced water from oil and natural gas extraction, acid mine or acid rock drainage, reverse osmosis reject, chlor-alkali wastewater treatment, pulp and paper mill effluent, and waste streams from food and beverage processing. Along with diluted salts, it can contain residues of pretreatment and cleaning chemicals, their reaction byproducts and heavy metals due to corrosion. Wastewater brine can pose a significant environmental hazard, both due to corrosive and sediment-forming effects of salts and toxicity of other chemicals diluted in it. It must be properly disposed, which may require permits and compliance with environmental regulations.
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Progressive rock itself evolved from psychedelic/acid rock music, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues. Critics assumed King Crimson's debut album In the Court of the Crimson King (1969) to be the logical extension and development of late 1960s proto-progressive rock exemplified by the Moody Blues, Procol Harum, Pink Floyd, and the Beatles. According to Macan, the album may be the most influential to progressive rock for crystallizing the music of earlier "proto- progressive bands [...] into a distinctive, immediately recognizable style". He distinguishes 1970s "classic" prog from late 1960s proto-prog by the conscious rejection of psychedelic rock elements, which proto-progressive bands continued to incorporate.
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Musically, it draws deeply from diverse pools, echoes of '70s hard rock reverberating alongside alternative, grunge, and stoner rock sounds, the latter of which mainman Josh Homme pioneered with his former band Kyuss." Chuck Eddy of Rolling Stone rated it 4 stars out of 5, saying that "When the debut by Queens of the Stone Age sneaked out in 1998, it seemed like a lark: Josh Homme and Alfredo Hernández from Kyuss, tired of frying sludge metal in the desert sun, were now subjecting reborn acid rock to mechanical repetition. Soon, QOTSA would become a real band, with real hits. But they'd never again groove like this, with gurgling Teutonic drones swallowing Stooges chords and intercepted radio cross talk.
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The music format of both the weekly terrestrial radio show and the 24/7 satellite radio channel is based on Van Zandt's approach to rock 'n' roll history. Van Zandt believes that rock 'n' roll is a continuum from the early 1950s onwards and that it is artificial and counter-productive to segregate music by the decade it was created. So the Underground Garage presents music from every decade since the beginnings of rock 'n' roll in the early 1950s to the present day. Stylistically, the format's offerings span such genres and categories as garage rock, acid rock, girl groups, British Invasion, psychedelic music, rockabilly, surf rock, Motown, proto-punk, power pop and punk rock.
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Q magazine's Martin Aston noted that Shed Seven had "enjoyed an arresting development to date", when reviewing Change Giver in October 1994. He remarked on the group's knack of "covering different bases" throughout the record, and surmised that they "neatly mirror the original mod tendency to expand in the direction of acid rock". Singling out "Dolphin" as one of the album's highlights, he labelled the song "a memorably chunky slice of Northern pop scruff", and went on to claim that "Speakeasy" was "even better". The latter track was also praised by Select magazine's Roy Wilkinson, who stated that "the inclusion of a song as poutingly self-confident as 'Speakeasy' shows that Shed Seven can cut the mustard".
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On UHF Channel 20 he broadcast a rambling, chaotic blend of rock and camp mixing live acid-rock acts such as Steppenwolf, Zephyr and Dr. John with Flash Gordon serials, campy movies from the forties and fifties, Allan Freed rock musicals, interviews with Playboy bunnies, Buster Crabbe (The original Flash) and movie stars such as Charlton Heston, Robert Mitchum and Cornel Wilde. In one memorable set from 1973, Fats Domino was accompanied by Roger McGuinn and The Byrds and taught them how to perform his famous songs. Richards called the format 'free-form television', emphasizing progressive rock acts playing live on TV for the first time. The show started at 11 o'clock on Saturday night and continued until the material was done, ending with the national anthem.
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After meeting through artist friend Andy Meerow as undergraduate students in colleges in the Northeast, Gideon at Wesleyan University and O'Neill at Hampshire College, the duo experimented with improvisation, hip hop, and comedy, with projects including a rock opera with characters from Saved by the Bell. They explored a variety of musical styles, at one point entering a Battle of the Bands competition with songs and costume changes for five different fake groups performing a range from bossa nova to acid rock. In 2003, they moved to Chicago's DIY art space Texas Ballroom and formed the art band Princess. Their early sound was described by Sick Room Records as a "gauntlet of experimental math-rock," with a wide variety of style inspirations and dozens of instrumental voices.
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Stoner rock bands in Europe, much like their North American counterparts, mix elements of heavy rock music with psychedelia and acid rock. The influence of Black Sabbath or Blue Cheer can be heard – among other examples – in bands such as the Swedish Graveyard and the German Kadavar. In addition to this mix, the influence of krautrock – such as with Kungens Män, a Swedish band -, or of free jazz, – such as in the case of the Portuguese band Black Bombaim collaborating with the German free jazz saxophonist and clarinetist Peter Brötzmann – can be heard as well. While instrumental stoner rock such as Karma to Burn are rare in the US, numerous European stoner rock bands, for their part, choose to remain instrumental.
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The band comprised Andrew Sherriff (born 16 May 1969, Wokingham, England; guitar/vocals), Stephen Patman (born 8 November 1968, Windsor, Berkshire, England; guitar/vocals), Simon Rowe (born 23 June 1969, Reading, Berkshire; guitar), Jon Curtis (bass) and Ashley Bates (born 2 November 1971, Reading; drums). Chapterhouse took the unusual step of rehearsing and gigging for well over a year before recording even a demo tape. Initially lumped in with the British acid rock genre, this became modified to shoegazing, despite early sojourns including supporting Spacemen 3. They were deemed to have joined fellow shoegazers such as Lush, Moose, Ride and Slowdive. Bassist Jon Curtis left early on to study, being replaced by Russell Barrett (born 7 November 1968, Vermont, United States).
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The reservation supports a wide variety of community types and habitats due to the great variations in topography, soil types, and land use history. Plant communities include oak forests and rock outcrop communities on the west facing mountain slope and summit of Peaked Mountain; various pine/oak forests and wetlands communities are found on the more level, lower elevations to the west of Butler Road. The north/south ridge line supports extensive deciduous forests. The dominant forest type of the upper slopes is dry mixed oak which has been influenced by fire over the past 75 years, An acid rock outcrop community and associated scrub-oak community is found in various stages of successional development on and around the summit.
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Cream established its enduring legend with the high- volume blues jamming and extended solos of their live shows. By early 1967, fans of the emerging blues-rock sound in the UK had begun to portray Clapton as Britain's top guitarist; however, he found himself rivalled by the emergence of Jimi Hendrix, an acid rock-infused guitarist who used wailing feedback and effects pedals to create new sounds for the instrument. Hendrix attended a performance of the newly formed Cream at the Central London Polytechnic on 1966, during which he sat in on a double-timed version of "Killing Floor". Top UK stars, including Clapton, Pete Townshend and members of the Rolling Stones and the Beatles, avidly attended Hendrix's early club performances.
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An alternative edit of the song was included on the Beatles' Anthology 2 out-takes compilation in 1996. Slightly sped up, and mixed in stereo, this version comprises the basic track without most of the April 1967 overdubs, and with a vocal take that contains some changes to the lyrics. According to Unterberger, aside from the lyrics, the Anthology 2 version demonstrates that "Only a Northern Song" was "much more like a standard rock song" before "the fanciful overdubs of trumpet and other strained far-outisms". Coinciding with the popularity of "It's All Too Much" among acid-rock bands of the early 1990s, Sun Dial released a cover of "Only a Northern Song" as the B-side of their 1991 single "Fireball".
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Journey also issued a recording of the song in 1976, on their album Look into the Future. Besides the late 1970s renditions, according to Miles, the Beatles' "It's All Too Much" "won fresh acclaim from a later wave of acid- rock adventurers" during the early 1990s. The House of Love released a cover of the song as the B-side to "Feel", the first single from their 1992 album Babe Rainbow. The previous year, Loves Young Nightmare recorded it (as "All Too Much") for Revolution No. 9: A Tribute to The Beatles in Aid of Cambodia, a multi-artist compilation supplied with Revolver magazine; the album was reissued in the United States in 1997, following the popularity there of Britpop bands such as Oasis.
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The Marcellus has also been used locally for shale aggregate and common fill, although the pyritic shales are not suitable for this purpose because of acid rock drainage and volumetric expansion. In the 19th century, this shale was used for walkways and roadways, and was considered superior "road metal" because the fine grained fragments packed together tightly, yet drained well after a rain. The dark slaty shales may have the necessary cleavage and hardness to be worked, and were quarried for low grade roofing slate in eastern Pennsylvania during the 19th century. The slates from the Marcellus were inferior to the Martinsburg Formation slate quarried further south, and most quarries were abandoned, with the last significant operation in Lancaster County.
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Fresh exposures of the pyriteiferous shale may develop the secondary mineralization of orange limonite (FeO(OH)·nH2O), and the pale yellow efflorescence or bloom of sulfur, associated with acid rock drainage. fissile Marcellus black shale at Marcellus, N.Y. Pyrite is especially abundant near the base, and the upper contacts of limestones, but framboidal microcrystals and euhedral crystals of pyrite occur throughout the organic-rich deposits. The Marcellus also contains uranium, and the radioactive decay of the uranium-238 (238U) makes it a source rock for radioactive radon gas (222Rn). Measured total organic content of the Marcellus ranges from less than 1% in eastern New York, to over 11% in the central part of the state, and the shale may contain enough carbon to support combustion.
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The phrase was taken from the poem, "Black People!" by Amiri Baraka (LeRoi Jones): "The magic words are: Up against the wall, mother fucker, this is a stick up!" This, in turn, was a reference to a phrase "supposedly barked by Newark cops to Negroes under custody." The poem had appeared in The New York Times in 1968 and Mark Rudd, an organizer for Columbia University's Students for a Democratic Society, provocatively quoted the line in an open letter to the university president. Most of the lyrics for the 1969 song "We Can Be Together", by the acid rock band Jefferson Airplane, were taken virtually word-for-word from a leaflet written by Motherfucker John Sundstrom, and published as "The Outlaw Page" in the East Village Other.
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At the ceremony, the veterans stand solemnly and remove their hats as The Last Post sounds over them and echoes through rooms of companies stricken with palsy, amputatations, resectioning, and senility. A light-show of night combat flares over the screen with searchlights, bombardment and incineration accompanied by an acid rock raga. Final scenes include a few old friends who watch a BBC documentary of their campaigns with little reaction and a compilation of 1944 liberation sequences, returning to wards of bedridden and semi-conscious veterans. An elderly little man sings "God Save the Queen" facing the viewer and then says "I'm tired now, put me to bed" as the camera zooms in for a close up of his face.
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199Steven Rosen, Black Sabbath – Uncensored On the Record, Coda Books, 2011 and Martin Popoff states: "When 'Sweet Leaf' kicks in, one witnesses simultaneously the invention of stoner rock".Martin Popoff, The Top 500 Heavy Metal Songs of All Time, Ecw Press, 2002, p.132 Allmusic summarizes this unique fusion as follows: "Stoner metal bands updated the long, mind-bending jams and ultra-heavy riffs of bands like Black Sabbath, Blue Cheer, Blue Öyster Cult, and Hawkwind by filtering their psychedelia-tinged metal and acid rock through the buzzing sound of early Sub Pop–style grunge." However, Kyuss members Josh Homme and John Garcia have shrugged off the heavy metal influence, and instead cite punk rock and hardcore punk, particularly the sludgy hardcore of Black Flag's album My War as influences.
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Mainstream was known for its jazz records, and Big Brother was the first rock band to appear on the label. This may have influenced the final result, since the album sounded very different from what the band expected: acoustic and folk instead of heavy acid rock. The first single released was "Blind Man" b/w "All Is Loneliness," both from the album sessions, in July 1967. It was popular in the San Francisco Bay Area, but did not garner much national attention. A second single, "Down on Me" b/w "Call On Me" was released along with their self-titled debut album in August 1967, following the band's national success after the Monterey Pop Festival. The album debuted on Billboard charts on September 2, 1967, peaking at No. 60\.
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Family's sound was distinguished by several factors. The vocals of Roger Chapman, described as a "bleating vibrato" and an "electric goat", were considered unique, although Chapman was trying to emulate the voices of R&B; and soul singers Little Richard and Ray Charles, with some reviewers noting however that Chapman's voice could be grating and irritating occasionally. John "Charlie" Whitney was an accomplished and innovative guitarist, and Family's often complex song arrangements were made possible through having multi-instrumentalists like Ric Grech, Jim King and Poli Palmer in the band and access to keyboards such as the Hammond organ, the new Mellotron, violin, flute and vibraphone. The band's sound has been variously described as progressive rock, psychedelic rock, acid rock, folk rock, jazz fusion, not to mention "British art rock," and hard rock.
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The songs cover a bewildering range of musical styles: garage punk on "Shut Us Down"', acid-rock jamming on the Pink Floyd cover "Interstellar Overdrive", bluegrass jamming on "Hoe Yourself Down", folk-ska on "Good Guys and Bad Guys", gentle tabla beats on "Une Fois" and "Folly", psychedelic pop on "We Saw Jerry's Daughter", ominous desert-rock spoken word on "Peace and Love" and grinding raga-rock on "Stairway to Heavan" (sic). While earlier CVB albums had featured influences of Eastern European and Mexican musical styles, this album has more noticeable elements of Indian and Arabic musics, done in the usual irreverent Camper style. These combine with the elements of psychedelic music that dominate the album. There are also more elements of Americana than on their previous albums.
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In reviews of Wolfmother, some critics praised "White Unicorn" as one of the album's highlights. Writing for the website PopMatters, Adrian Begrand claimed that it "emerges as the clear winner on the entire disc, neatly marrying the hippy-dippy sentiment of Robert Plant and the monstrous chords of Tony Iommi before briefly returning to the acid rock sounds of Hawkwind again". Adam Webb of Dotmusic highlighted the song as the prime example of the band's songwriting ability, while The Observer columnist Ben Thompson recommended it as one of two (alongside "Pyramid") highlights of the record. At the end of 2005, Australian radio station Triple J included "White Unicorn" at number 84 on its Hottest 100 list, the lowest position of the six Wolfmother tracks featured on the list.
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John Henry Creach (May 28, 1917 – February 22, 1994), better known as Papa John Creach, was an American blues violinist, who also played classical, jazz, R&B;, pop and acid rock music. Early in his career, he performed as a journeyman musician with such luminaries as Louis Armstrong, Fats Waller, Stuff Smith, Charlie Christian, Big Joe Turner, T-Bone Walker, Nat King Cole and Roy Milton. Following his rediscovery by drummer Joey Covington in 1967, he fronted a variety of bands (including Zulu and Midnight Sun) in addition to playing with Jefferson Airplane, Hot Tuna, Jefferson Starship, the San Francisco All-Stars (1979–1984), The Dinosaurs (1982–1989) and Steve Taylor. Creach recorded a number of solo albums and guested at several Grateful Dead and Charlie Daniels Band concerts.
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Paul Simpson of AllMusic gave the album 4 out of 5 stars, commenting that "Edan's fetish for echo and obscure acid rock records is as evident as ever through his mind-bending productions, and Sandman's effortlessly complex lyrics are typically biting as well as insightful." Dean Van Nguyen of Pitchfork gave the album a 6.8 out of 10, writing, "Humble Pi might be thin, but there's enough here to spark hope that this is the origin point of Sandman and Edan's cracked journey, and not the final destination." Nate Patrin of Bandcamp Daily described it as "a short but vivid worldbuilding record, the remnants of old places and past lives still standing in defiance of hyperdevelopment." "Grim Seasons" was placed at number 2 on Stereogums "5 Best Songs of the Week" list on August 3, 2018.
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Thomson Gale. . Co-operative business enterprises and creative community living arrangements are widely accepted. Interest in natural food, herbal remedies and vitamins is widespread, and the little hippie "health food stores" of the 1960s and 1970s are now large-scale, profitable businesses. At the Rainbow World Gathering 2006 in Costa Rica The immediate legacy of the hippies included: in fashion, the decline in popularity of the necktie which had been everyday wear during the 1950s and early 1960s, and generally longer hairstyles, even for politicians such as Pierre Trudeau; in literature, books like The Electric Kool-Aid Acid Test; in music, the blending of folk rock into newer forms including acid rock and heavy metal; in television and film, far greater visibility and influence, with some films depicting the hippie ethos and lifestyle, such as Woodstock, Easy Rider, Hair, The Doors, and Crumb.
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Water runoff from the Summitville mine flows down Wightman Fork, mixes with naturally acidic runoff from unmined areas, flows into the Alamosa River and flows out of the mountains into the San Luis Valley, where it is used for crop irrigation. A United States Geological Survey investigation arrived at three major conclusions: > Extreme acid-rock drainage is the dominant long-term environmental concern > at the Summitville mine and could have been predicted given the geological > characteristics of the deposit. Extensive remedial efforts are required to > isolate both unweathered sulfides and soluble metal salts in the open-pit > area and mine-waste piles from weathering and dissolution. It is likely that > natural contamination adversely affected water quality and fish habitat in > the Alamosa River long before and will continue to have adverse effects even > when acid drainage from Summitville is remediated.
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Another reason that the Charlatans' stay at the Red Dog is regarded by critics and historians as significant is that, immediately before their first performance at the club, the band members took LSD. As a result, the Charlatans are sometimes called the first acid rock band, although their sound is not representative of the feedback-drenched, improvisational music that would later come to define the sub-genre. The Charlatans returned to San Francisco at the end of summer 1965 and, in September, were given the chance to audition for Autumn Records, a label headed by local DJ, Tom "Big Daddy" Donahue. Autumn didn't sign the band, partly due to conflicts between the group and Donahue over suitable material and partly due to lack of money; the label was on the verge of bankruptcy and was sold to Warner Bros.
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Brine treatment is commonly encountered when treating cooling tower blowdown, produced water from steam assisted gravity drainage (SAGD), produced water from natural gas extraction such as coal seam gas, frac flowback water, acid mine or acid rock drainage, reverse osmosis reject, chlor-alkali wastewater, pulp and paper mill effluent, and waste streams from food and beverage processing. Brine treatment technologies may include: membrane filtration processes, such as reverse osmosis; ion exchange processes such as electrodialysis or weak acid cation exchange; or evaporation processes, such as brine concentrators and crystallizers employing mechanical vapour recompression and steam. Reverse osmosis may not be viable for brine treatment, due to the potential for fouling caused by hardness salts or organic contaminants, or damage to the reverse osmosis membranes from hydrocarbons. Evaporation processes are the most widespread for brine treatment as they enable the highest degree of concentration, as high as solid salt.
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Having performed as DDT, formed in 1989 by former Šarlo Akrobata member Ivan Vdović "VD" (drums, rhythm machine), with Srđan Marković "Đile" (vocals) and Miodrag Stojanović "Čeza" (rhythm machine), the band changed the name to Supernaut, after Vdović's death in 1992. Influenced by the band Suicide, the rest of the band continued working in the same musical direction as on their previous efforts with DDT, explained by the band members as the "social art and its reflections on theatre, painting, film, and rock music". At the time, the band became a support for the Sonja Savić alternative theatre troupe, performing at various alternative theater festivals. The debut studio album, Budućnost sada (The Future Now), released in 1993 by the independent record label Zvono Records, featured an experimental form of industrial rock, crossed with diverse musical influences, including the 1960s acid rock acts such as the 13th Floor Elevators.
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Steve Turner likens the Beatles' creative approach in 1966 to that of modern jazz musicians, and recognises their channelling of Indian and Western classical, Southern soul, and electronic musical styles into their work as unprecedented in popular music. He says that, through the band's efforts to faithfully translate their LSD-inspired vision into music, "Revolver opened the doors to psychedelic rock (or acid rock)", while the primitive means by which it was recorded (on four-track equipment) inspired the work that artists such as Pink Floyd, Genesis, Yes and the Electric Light Orchestra were able to achieve with advances in studio technology. Turner also highlights the pioneering sampling and tape manipulation employed on "Tomorrow Never Knows" as having "a profound effect on everyone from Jimi Hendrix to Jay-Z". Rodriguez praises Martin and Emerick's contribution to the album, saying that their talents were as essential to its success as the Beatles'.
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Together with further studio tricks such as varispeed, the song includes a droning melody that reflected the band's growing interest in non-Western musical form and lyrics conveying the division between an enlightened psychedelic outlook and conformism. Philo cites "Rain" as "the birth of British psychedelic rock" and describes Revolver as "[the] most sustained deployment of Indian instruments, musical form and even religious philosophy" heard in popular music up to that time. Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on Revolver, particularly with "Tomorrow Never Knows", as having "opened the doors to psychedelic rock (or acid rock)". In author Shawn Levy's description, it was "the first true drug album, not [just] a pop record with some druggy insinuations", while musicologists Russell Reising and Jim LeBlanc credit the Beatles with "set[ting] the stage for an important subgenre of psychedelic music, that of the messianic pronouncement".
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They were influenced heavily by bands such as Wire, Gang Of Four, The Pop Group, Richard Hell & The Voidoids, and The Urinals, and nearly all of their early songs had unusual structures and were less than a minute long—even later, when Minutemen's music became slightly more conventional, their songs rarely passed the three-minute mark. Though Minutemen were members of the hardcore punk community and were somewhat influenced by the speed, brevity, and intensity of hardcore punk, they were known for hybridizing punk rock and hardcore with various forms of music (like jazz, funk, acid rock, and R&B;), separating them from most hardcore bands of that era. Minutemen were fans of Captain Beefheart, and echoes of his distinctive, disjointed, avant-blues music can be heard in their songs, especially their early output. Through most of their career they ignored standard verse-chorus-verse song structures in favor of experimenting with musical dynamics, rhythm, and noise.
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Summers's professional career began in the mid-1960s in London as guitarist for the British rhythm and blues band Zoot Money's Big Roll Band, which eventually came under the influence of the psychedelic scene and evolved into the acid rock group Dantalian's Chariot. In September 1966, Summers was the first guitarist encountered by Jimi Hendrix after landing in the UK. The young Summers is portrayed in fiction as one of the "two main love interests" in Jenny Fabian and Johnny Byrne's 1969 book Groupie, in which he is given the pseudonym "Davey". After the demise of Dantalion's Chariot, Summers joined Soft Machine for three months and toured the United States. For a brief time in 1968, he was a member of the Animals, then known as Eric Burdon and the Animals, with whom he recorded one album, Love Is. The album features a recording of Traffic's "Coloured Rain", which includes a 4minute and 15 second guitar solo by Summers.
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Pepper ..." Richie Unterberger of AllMusic similarly considers Yellow Submarine to be "inessential" and describes the track as "the jewel of the new songs ... resplendent in swirling [organ], larger-than-life percussion, and tidal waves of feedback guitar" and "a virtuoso excursion into otherwise hazy psychedelia". In Mojos The Beatles' Final Years Special Edition (2003), Peter Doggett acknowledged the comparative rarity of "It's All Too Much" within the Beatles canon and added: "Yet it's one of the pinnacles of British acid-rock, its sleepwalking rhythm retaining a bizarrely contemporary feel today." Having included the track in his 2011 list of Harrison's "10 Greatest Beatles Songs", Joe Bosso of MusicRadar commented: "At times the song seems to drift away with Harrison's dreamy verses, but just as quickly it's chopping down trees with explosive percussion and thunderous handclaps. Wild guitar breaks by both Harrison and John Lennon help to make It's All Too Much a dizzying treat.
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After that, Nelson appeared in a much more substantial role with Lightyears Away on Astral Navigations released in 1971. On one track, "Yesterday", written by Coombs, Levon recorded Nelson's lead guitars in an acid rock style, supporting Coombs' stylophone riff. This track also gave Nelson his first airplay by John Peel on his national BBC Radio 1 programme in the United Kingdom. Nelson's Holyground recordings were released in February 2001 as Electrotype. In 1973, Nelson's debut solo album Northern Dream, released on his own independent Smile label, drew further attention from Peel which eventually led to Nelson's band Be-Bop Deluxe signing to EMI's Harvest Records subsidiary and releasing Axe Victim in 1974. Nelson replaced the original band members for Futurama in 1975. The lineup of Bill Nelson (guitar), Andrew Clark (keyboards), Charlie Tumahai (bass) and Simon Fox (drums) recorded Sunburst Finish and Modern Music in 1976, the live album Live! In The Air Age in 1977 and their final studio album Drastic Plastic in 1978.
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San Francisco band Blue Cheer released a crude and distorted cover of Eddie Cochran's classic "Summertime Blues", from their 1968 debut album Vincebus Eruptum, that outlined much of the later hard rock and heavy metal sound. The same month, Steppenwolf released its self-titled debut album, including "Born to Be Wild", which contained the first lyrical reference to heavy metal and helped popularise the style when it was used in the film Easy Rider (1969). Iron Butterfly's In-A-Gadda-Da-Vida (1968), with its 17-minute-long title track, using organs and with a lengthy drum solo, also prefigured later elements of the sound. By the end of the decade a distinct genre of hard rock was emerging with bands like Led Zeppelin, who mixed the music of early rock bands with a more hard-edged form of blues rock and acid rock on their first two albums Led Zeppelin (1969) and Led Zeppelin II (1969), and Deep Purple, who began as a progressive rock group in 1968 but achieved their commercial breakthrough with their fourth and distinctively heavier album, In Rock (1970).
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