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Mon 3 August 2026 2:00, UK <\/p>\n
The 1960\u2019s<\/a> were a time for change, and that meant change in music, politics and culture as a whole. <\/p>\n The rock star was a viable career path. Never before had those who make music dominated headlines so much, as the Hollywood superstar <\/a>was ushered to the side in favour of those holding guitars and singing. Such a burst of success meant that more and more people wanted to make music, and this shift in enthusiasm led to a real evolution in sound as a whole.<\/p>\n One of the biggest musical changes came with the introduction of psychedelic music, something that took a while to find its well and truly form. This was a much more experimental kind of rock music, and something which, for many, defined sound in the \u201860s; however, at the time, it frustrated a lot of listeners.\u00a0<\/p>\n This frustration wasn\u2019t because people didn\u2019t like the idea of psychedelic music; rather, it was because the genre was still finding its feet. There were a lot of people who listened to it and couldn\u2019t stand it because they felt like it didn\u2019t make any sense. They were of the opinion that the whole genre was experimental for the sake of being experimental without having much logic behind the creative decisions made.\u00a0<\/p>\n \u201cHere\u2019s one thing I hate, man,\u201d said Jimi Hendrix when he was discussing his disdain for the budding genre<\/a>, \u201cWhen these cats say, \u2018Look at the band. They\u2019re playing psychedelic music!\u2019 All they\u2019re doing is flashing lights on them and playing \u2018Johnny B. Goode\u2019 with the wrong chords. It\u2019s terrible.\u201d<\/p>\n There are a few standout songs from this era that helped to define what the genre became. The majority of them were written by bands who we now recognise as psychedelic titans; however, it\u2019s somewhat surprising that folk artist Donovan also helped to write two tracks that went on to essentially define the psychedelic scene in the \u201860s.\u00a0<\/p>\n These tracks were \u2018Sunshine, Superman\u2019 and \u2018The Season of the Witch\u2019, both songs that well and truly resonated well with those who listened and that showed people how exciting this new psychedelic music scene could be. The first appeal of \u2018Sunshine, Superman\u2019 was the title, as \u201csunshine\u201d was another name for the drug LSD, which became synonymous with the psychedelic community; however, the track had a lot more going for it than just that.<\/p>\n Further reading: From The Vault<\/p>\n Donovan predominantly wrote folk music, but given his parents had backgrounds in jazz, that influence trickled into his writing style, which in turn resulted in this new psychedelia. Donovan showed it to Mickie Most, who was so excited about the track that he took the reins and helped the folk singer put a band together to record it. The band that turned up was a musician\u2019s dream, as Donovan wound up recording with two artists who would eventually become rock royalty, as both Jimmy Page and John Paul Jones arrived at the studio.\u00a0<\/p>\n \u201cI didn\u2019t have a band, you see,\u201d said Donovan, \u201cSo Mickie introduced me to the jazz arranger John Cameron, and John said, \u2018I love the song. Don\u2019t worry \u2013 I know what you need.\u2019\u201d<\/p>\n Meanwhile, you also have the steady and smoky \u2018The Season of the Witch\u2019, the sound of which was achieved because Donovan recorded on an electric guitar. It was a new means of playing for him, but it came together incredibly well, and essentially helped to shape what we now know is one of the most forward-thinking and exciting genres in the world.\u00a0<\/p>\n \u201cWhen we recorded it, I used my first electric guitar \u2013 a white Telecaster<\/a> \u2013 and started chunking the chords,\u201d he said, \u201cMickie said, \u2018That\u2019s it!\u2019 Then we added the spooky, Dracula-movie organ, bass and drums.\u201d<\/p>\n<\/p>\n
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<\/a> The Far Out Led Zeppelin Newsletter<\/p>\n