PDF Download Kaleidoscope Eyes: Psychedelic Rock from the '60s to the '90s (Citadel Underground Series), by Jim Derogatis
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Kaleidoscope Eyes: Psychedelic Rock from the '60s to the '90s (Citadel Underground Series), by Jim Derogatis
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What began as a musical attempt to recreate the hallucinogenic experience of rock music has evolved into an ambitious approach to rock 'n roll that continues to expand the boundaries of music. More than just a sound, psychedelic rock is a philosophy, a way of creating the "cinematic music of the imagination." Whether readers were present at Ken Kesey's acid trips, or cut their musical teeth on Sonic Youth, this book will be provocative and fascinating reading. Photos.
- Sales Rank: #1531074 in Books
- Brand: Brand: Citadel Pr
- Published on: 1996-07
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 7.50" w x .75" l,
- Binding: Paperback
- 275 pages
- Used Book in Good Condition
Most helpful customer reviews
7 of 9 people found the following review helpful.
Not "Real" Psychedelic Rock
By Rusty Shakelford
It seems that the majority of the "reviewers" slaming this book are all grinding one of two axes, either "This guy wrote an ok book, but it isn't about "real psychedelic rock," or "I ain't never heard of any of these bands. What about the Grateful Dead?"
While Mr. Derogatis' definition of "psychedelic rock" may not satisfy everyone, it is at the very least internally consistant. This book deals with subject matter that is, by its very nature, subjective, so there will always be differences of opinion as to what should be included under the title of "psychedelic rock". With that in mind, Mr. Derogatis has presented a thesis that is internally consistant and defends it rather sucessfully. This is evident if one momentarily steps away from the bong and takes the time to actually read the book.
With regard to the second "criticism": If all one wants from a book is an affirmation that "The Dead rule, man!" there are plenty of other, less scholarly, books that will satisfy that need. (And those books have shorter words and lots of pretty pictures.) Just because one has not heard of the Flaming Lips, that does not mean that they are not a GREAT psychedelic rock band. Rather than bemoan the absence of references to the Jerry Garcia and Co., perhaps these critics could venture out into the world and check out some (gasp!) NEW MUSIC! Rock didn't die with the 60s.
3 of 4 people found the following review helpful.
Goring the sacred cows
By A Customer
I think the most fascinating thing about this book is the author's extension of psychedelic music into the modern era. Musical eras are connected. Styles don't grow up out of nothing. The author pieces together three decades of music in an interesting and understandable manner. Worshippers of the 60s may be put off by this book, but their persistent attempts to cling to cultural hegemony are as sad as a previous generation's battle against Chuck Berry! Jim Derogatis' willingness to gore the sacred cows of classic rock -- when such is deserved -- is remarkable...and I laughed myself silly at his lack of reverence. Readers should know that Jim Derogatis was schooled by Lester Bangs himself. A lot of the stuff that has come down from the 60s era as so called "classic" rock was often just more POPULAR, not BETTER than a lot of the forgotten bands of the day. What I sense is Jim D's willingness to look back with love and admiration at 30+ years of psychedelic music and not be bound in by the partisans of a single moment in cultural history. Come on folks...anybody who can put trip hop in a single history with the Dead is a genius.
6 of 8 people found the following review helpful.
Fair reading, but inaccurate history
By asmakit
This is a readable and generally interesting book about some of one rock critic's favorite artists, but for reasons cited in previous customer reviews, as a history of "psychedelic" music it is terribly biased and incomplete. In his introduction the author says "Like any history, this one is subjective." Well, yes, but real historians strive for objectivity nonetheless, and while there will always be differing interpretations of past events, particularly in histories of art forms, it is not that difficult to identify the major artists involved in the creation of this genre in the 1960s. The author dismisses so many of them that consequently, this isn't a history at all. If I were to write a history of the American Revolutionary period that claimed greater importance for Benjamin Franklin's nephew than say, Washington, Paine, or Ben Franklin himself, no one would take it seriously, and rightly so. This is pretty much what the author has done.
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