The Best Psychedelic Album by Year 1966-2024
The Best Psychedelic Album by Year 1966-2024
Part 1
The Sixties
For obvious reasons, the sixties were a crucial decade for psychedelic rock. It was the dawn of the era, and it was almost mandatory during the late 60s for young musicians to experiment with psychedelics. The Beatles did, and they inspired countless others to see for themselves what all the fuss was about. Once psychedelics were introduced to the rock n’ roll generation, there was an explosion of creativity that resulted in some of the best music ever made. The dentist who dosed Lennon and Harrison without their consent behaved irresponsibly and unethically, but it nonetheless caused a seismic shift in popular music.
1966
Revolver—The Beatles
Some might point to the 13th Floor Elevators and say that their debut album The Psychedelic Sounds of… should be considered here. Sorry, but that album, inspired as it is, doesn’t compare to the brilliance of The Beatles and the psychedelic sheen that encapsulates the sound of Revolver, the first great psychedelic album and quite possibly the best ever.
1967
Piper at the Gates of Dawn—Pink Floyd
This could just as easily have been Sgt. Pepper’s or Magical Mystery Tour, the two psychedelic rock masterpieces by The Beatles released in 1967. But the Beatles’ greatness has been established so many times over that it almost seems like overkill to award them the best album of 1967 when there were so many other albums to choose from. After all, 1967 was the peak of psychedelic rock and there were so many great albums released that year. Pink Floyd made an immediate impact with their debut album which was orchestrated by the madcap Syd Barrett.
1968
Electric Ladyland—Jimi Hendrix Experience
The Jimi Hendrix Experience released three brilliant works of art in the 1960s, and any of them could have been included on this list. Electric Ladyland contains the epic (nearly 14-minute) track 1983 (A Merman I Should Turn to Be), which is psychedelic Hendrix Experience at its best.
1969
Happy Trails—Quicksilver Messenger Service
In March 1969, QSM delivered their second album, the last to feature the classic lineup. The record, which centered around Bo Diddley’s “Who Do You Love?”, was recorded live and illustrates how masterful the quartet could be at jam-oriented psychedelia.
The Seventies
In the mid-to-late seventies, psychedelic rock had fallen out of fashion. Most of what you would end up with if you were a “head” were tinges of psychedelia mixed in with fragmented sub-genres. Progressive rock often had psychedelic aspects amidst the long-form pieces. Certainly, the borrowing of ostinato (repetitive rhythms, sometimes in odd time signatures) from classical music technique was used by bands such as ELP and Magma. African Zamrock, Nigerian funk, and Jamaican Dub sometimes used echoed vocals and repetition to create a trance-like state in the listener. The Canterbury Scene, while more jazz-inflected, relied heavily on the confluence of Prog and Psych. Kosmische Musik (Krautrock’s preferred and less offensive name) often fell on the psychedelic side, again utilizing ostinato mixed with odd instrumentation and effects.
1970
Think Pink—Twink
The output of psychedelic rock albums dropped sharply at the end of the 60s. Altamont, the Manson murders, and various people losing their shit on LSD seemed to drive a stake through the heart of the psychedelic rock movement. One artist, however, was not deterred. John Alder, who drummed for Tomorrow and the Pretty Things and was known professionally as Twink, released an album of intensely psychedelic material at the dawn of the new decade. With Think Pink, Alder showed that he was committed to psychedelia and that he had talents that weren’t apparent on the records on which he only drummed. Think Pink is a classic!
1971
Tago Mago–Can
Can’s first album featuring stalwart vocalist Damo Suzuki, this double album gave the band further room to expand their particular brand of Kosmiche Musik (AKA “Krautrock”). Can’s avant-garde electric classical meets motoric beat was the oft-imitated sound of West Germany in the early-to-mid-Seventies, thanks to tracks like “Mushroom” and “Hallelujah.”
1972
666– Aphrodite’s Child
Oscar-winning composer Vangelis Papathanassiou’s late-sixties band Aphrodite’s Child released this double album about the biblical Book of Revelation in 1972. Stunning in its depth and concept, the production cost upwards of half a million dollars in today’s equivalent! The album is a story within a story—the band performing a show about the apocalypse while the real apocalypse occurs just outside.
1973
Space Ritual–Hawkwind
The culminating roadshow of the earliest Hawkwind albums, Space Ritual was a multimedia extravaganza of rock music, light show, poetry, and dance, combined with the superb graphic design packaging of Barney Bubbles. Well ahead of their time, the masters of space-rock forged a new path ahead for a head in the Seventies, and they are still performing variations of this show to this day.
1974
Celestial Ocean—Brainticket
Brainticket was formed by Belgian jazz pianist Joel Vandroogenbroeck after being inspired by German bands such as Amon Düül II, Can, and Tangerine Dream. The eerie, mostly spoken-word lyrics based on the Egyptian Book of the Dead float away into cosmic realms as the music unfolds with avant-garde intensity propelled by synthesizers, jazz drumming, and exotic instrumentation.
1975
Super Record– Magical Power Mako
Magical Power Mako (AKA Makoto Kurita) is a Japanese musical prodigy with the uncanny ability to play over 100 different instruments—instantly likening him to Mike Oldfield in his Tubular Bells era. Part space rock/part ambient, this offering is similar to the lighter moments of Gong and draws inspiration from Tangerine Dream’s Rubycon album and Popol Vuh.
1976
3:47 EST—Klaatu
Canadian band Klaatu took pages from the Beatles 1967/1968 psychedelic era. Whimsical slice-of-life McCartney-esque songs mingle with a pop-perfect spaciness, not unlike ELO from the same time frame. The lead track “Calling Occupants of Interplanetary Craft” was made more famous and opulent (160 musicians?!) by the Carpenters a year later.
1977
Ocean—Eloy
German band Eloy’s sixth studio offering is a prog concept based on the myth of Atlantis. The album floats along not unlike Pink Floyd’s “Shine on You Crazy Diamond” with dashes of “Echoes,” yet remains wholly unique. Legato synth lines, guitar solos similar to Steve Hillage’s work in Gong, and spoken word narrative dot the album; making it one of Eloy’s major works and a dividing line between their earlier hard organ rock efforts and their later conceptual pieces.
1978
Duck Stab / Buster & Glen– The Residents
Art rockers The Residents combined two 1978 EPs to make this tour de force of weirdness. Rhythmically interesting and often (intentionally?) out of tune, these anonymous gentlemen from San Mateo by way of Louisiana were always innovative with their music, lyrics, art, and conceptualization. “Sinister Exaggerator” and “The Electrocutioner” are must-listens.
1979
Arachnoid—Arachnoid
This self-titled album from French prog band Arachnoid bears similarities to King Crimson’s Larks’ Tongues in the Aspic era and Belgian Zeuhl band Univers Zero. Dark, creepy, and symphonic with a metallic edge, the band combined odd meters with unusual synthetic instrumentation to create some of the most exciting and energetic music from the European continent during the post-punk years.
The Eighties
At the beginning of the 80s, psychedelic music was still out of favor. Punk, New Wave, Power Pop, and Heavy Metal ruled the day, and the drug of choice was cocaine—a far cry from the soul-enhancing psychedelics like LSD and magic mushrooms. Yet, there were subtle signs that psychedelia was coming back. New Wave/post-punk bands like Echo and the Bunnymen, Siouxsie and the Banshees, The Cure, The Church, and The Teardrop Explodes incorporated psychedelic elements into their sound, essentially disguising their lysergic leanings. Soon the Paisley Underground would emerge, paying their respects to the Nehru-jacketed pioneers of the 60s and making psychedelia more palatable to the masses.
1980
Underwater Moonlight–The Soft Boys
Robyn Hitchcock’s jangly neo-psych band led the charge of the first psychedelic resurgence with this post-punk masterpiece. Hailing from Cambridge, England (birthplace of three Pink Floyd members), these lads admired the psych-pop sounds of the Beatles, the surreal lyrics of Syd Barrett, and the jangly, harmonized sound of the Byrds. They would go on to influence XTC, REM, and the Nineties Brit Pop movement.
1981
Black Snake Diamond Role– Robyn Hitchcock
In Robyn Hitchcock’s impressive solo debut, he moves away from The Soft Boys’ aggressive sound and shows off his gift for understated psychedelia. Hitchcock doesn’t subscribe to the usual production tricks to create his brand of psychedelic pop-rock; he seems to exude a psychedelic vibe naturally.
1982
They Could Have Been as Big as The Beatles— Television Personalities
This is a brilliant slice of raw, lo-fi psychedelia by obscure British alternative act Television Personalities. This is no-frills, enthusiastic psych-punk. The album contains covers of two songs by obscure British psych-rockers The Creation.
1983
Emergency Third Rail Power Trip— Rain Parade
Emergency Third Rail Power Trip by Paisley Underground artists Rain Parade is full of Byrds-like layered guitars and Revolver-esque guitar solos, cool effects, and droning vocals. It captures the essence of ’60s psychedelia without sounding exactly like it.
1984
I Often Dream of Trains– Robyn Hitchcock
Hitchcock does it again. This album is an inventive, clever, surreal acoustic set of wonderful songs. Hitchcock truly came into his own on this one.
Honorable mention: Pagan Day by Psychic TV, Under Wartime Conditions by The Cleaners from Venus
1985
Plasticland—Plasticland
These garage-rock revivalists, unlike their Knights of Fuzz brethren, are actually psychedelic and not just garage. Their self-titled album is a raucous, fun brand of psychedelia by this obscure 80s band.
1986
Camper Van Beethoven–Camper Van Beethoven
Camper Van Beethoven is not generally considered a neo-psychedelic band, but their self-titled album certainly is–a fact I was oblivious to previously. Psychedelic Scene readers first brought this album to my attention as a legitimate psych album. This one you should hear for yourself.
Honorable mention: Rembrandt Pussyhorse—Butthole Surfers
1987
Psonic Psunspot– The Dukes of Stratosphear
XTC, who assumed alter egos as The Dukes of Stratosphear, released a brilliant EP in 1985 in which they expertly mimicked the sounds and styles of 60s psych-rock. They do it again here for a full album and it’s an even better slice of psych-rock perfection.
1988
Fade Out—Loop
Fade Out presented a different type of psychedelia. It seems the band was going for a heavier shoegaze or space-rock sound, but there are, nonetheless, moments of psychedelic splendor found on this disc. Honorable mention: Junta by Phish
1989
Playing with Fire—Spacemen 3
Spacemen 3 wasn’t a true psychedelic band. Like Loop, they were more space-rock. And like the previous year, ‘89 didn’t produce many psych albums. But Spacemen 3 ventured into psychedelic territory at times, and you can hear that most clearly on Playing with Fire.
The Nineties
Changes in popular music were on the horizon at the dawn of the nineties. Classic rock was losing steam, and a sea change was brewing as so-called alternative bands gained popularity. The predominance of alternative rock opened the doors for subgenres that didn’t fit the mainstream constructs. This and the fact that the much-maligned “hippie-dippy” culture of the 60s was now far enough in the past meant that the door was open for psychedelic music to re-emerge.
1990
Crushed Velvet Apocolypse—The Legendary Pink Dots
The Legendary Pink Dots have released weird, experimental albums since the early 80s with very little commercial success. This dark, electronic-based psychedelic album is among their best.
Honorable mentions: Other Way Out—Sun Dial, In a Priest Driven Ambulance—Flaming Lips
1991
Screamadelica—Primal Scream
A hugely influential album that blends rock with electronica, Screamadelica brought Britpop, Acid House, and techno together in a giant rave stew like no other album had ever done. It’s danceable yet chill, and it should appeal to psych rock enthusiasts as it contains a cover of the 13th Floor Elevators’ “Slip Inside This House”.
1992
Lazer Guided Melodies—Spiritualized
This album is a dream-pop masterpiece that ventures into psychedelic territory. It’s the first effort by the band, which is fronted by J. Spaceman (aka Jason Pierce) from Spacemen 3. Ironically, another contender for the year’s best album comes from Sonic Boom, Spaceman’s partner in their previous band, who released Soul Kiss with his new band Spectrum. Additionally, an album that should be mentioned here is Hit to Death in the Future Head by the Flaming Lips, who were gearing up for greatness with their 1992 release.
1993
Transmissions from the Satellite Heart—Flaming Lips
Transmissions from the Satellite Heart is perhaps the first great album by the Flaming Lips. It’s the one that brought them to the mainstream, as their quirky song “She Don’t Use Jelly” was their first hit and received substantial airplay. However, that song isn’t necessarily representative of the album because it’s not nearly psychedelic enough. Transmissions from the Satellite Heart isn’t just an alternative album; it’s a neo-psychedelic gem.
1994
Sprawl—The Bevis Frond
Considering the albums that were released in the years before and after, 1994 was a surprisingly weak year for psychedelic rock. Fortunately, the ever-prolific Bevis Frond discharged an album of his characteristic acid rock jams. Sprawl may not be the Frond’s best album, but it’s good…and long (at nearly two and a half hours), which is probably how the record got its name. There’s an abundance of freewheeling guitar wizardry that his fans love, but causal listeners may want to check out the ambient and trippy third track “Innerwheel”.
1995
Clouds Taste Metallic—Flaming Lips
The Flaming Lips did it again. Seasoned vets by this point, they beat out the fledgling Brian Jonestown Massacre by producing a well-crafted, critically acclaimed psychedelic gem. While Clouds Taste Metallic didn’t generate any hit songs like their previous effort, this album is considered one of the best by the premiere neo-psychedelic rock band.
1996
Music from the Unrealized Film Script, Dusk at Cubist Castle—Olivia Tremor Control
There are some great albums to choose from here from the class of ‘96 and it just boils down to taste. I’m awarding it to Dusk at Cubist Castle, the Beatle-esque pop triumph by Elephant Six band Olivia Tremor Control. Full of lush harmonies, backward tape loops, and cool effects, this album is 60s-influenced psychedelia at its best. Honorable mention: Their Satanic Majesties Second Request—Brian Jonestown Massacre, Amanita—Bardo Pond
1997
Give It Back—Brian Jonestown Massacre
Give It Back is neither the best BJM album nor their most psychedelic. It’s a very good one, though, and it contains enough psychedelia to classify as a psych album. The track “Salaam” is a particularly trippy number that makes excellent use of the sitar. The number of psych albums released in 1997 was a little thin, but a couple of competitors deserve mention here: Strung Behind the Sun by The Green Pajamas and Lapsed by Bardo Pond.
1998
Deserter’s Songs—Mercury Rev
Mercury Rev’s sound changed much since the band’s first album of spastic avant-garde psychedelia was released in 1991. Deserter’s Songs, the Rev’s fourth album, sounds nothing like their beginning material and that’s not a bad thing. It’s a rich, beautiful record that relies on strings and texture to create a lush dreamscape. The album falls more into dream pop territory than psychedelia but contains just enough trippy elements to qualify as the best psychedelic rock record of the year.
1999
The Soft Bulletin—Flaming Lips
The Soft Bulletin is considered one of the best albums, not just psych albums, of 1999. It is one of the most celebrated albums of the decade, so it’s no surprise here that this dreamy, orchestral, psychedelic masterpiece is our pick for the best psychedelic album of the year. It wasn’t as easy a choice to make as it might seem, however, because there were a few other psych gems released that year. Black Foliage (link) by Olivia Tremor Control, The Gay Parade (link), Everything Is Green by The Essex Green, and Jewels for Sophia by Robyn Hitchcock could have been the best pick if they’d been released another year.
RELATED: The Best Psychedelic Album by Year 1966-2024 Part Two
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5 thoughts on “The Best Psychedelic Album by Year 1966-2024”
The KLF – Chill Out personal opinion the best! I’ve never heard anything quite like it still to this day. I still visit it and I’ve owned a copy since 1993.
Wot no Gong??!!
You needs a visit from Fred the fish mate as I fink your antennae need unstraightening
Brian Kuhar handled the 70s and he’s a big fan of Gong. Give the albums he picked a listen.
Phish zero, Flaming Lips x three. What are the qualifications for psychedelia
We have an article about that: https://psychedelicscene.com/2023/04/24/what-makes-psychedelic-music-psychedelic/. Phish is primarily a jam band that sometimes ventures into psychedelic territory, although we think their debut album Junta to be a very good psychedelic record.