Yes. 

Well said. I don't think at the time people had the "Intention" to move from psychedelia, or any other genre for that matter; it was simply a time when individual expression was highly encouraged, and everyone was trying, in their own way, to create the best music they could.

Many early Prog musicians were anti-drugs, or at least the hallucinogen drugs such as LSD or hard drugs such as heroin.

Of course they overlapped and there were many bands which toyed with both and made music combining the spirit of Psych and the more disciplined complexity of Prog.

I think there is more to it than that ... it's almost like saying that Stravinsky came out of .... ??? ... and I'm not sure you will find a good link, other than ... the time, the place and everything else. I do not believe that "music" is the only thing. People do have lives you know?

I can only imagine how much the audience was shocked when they heard Freak Out! in 1966, so that made these various categorizations possible.

p.s.

(..) Though it reached #130 on the Billboard chart, Freak Out! was neither a major commercial nor critical success when it was first released in the United States.Some listeners were convinced that the album was drug-inspired, and interpreted the album's title as slang for a bad LSD trip. (...)

Wikipedia

I'm not accepting your assumption that Sgt. Pepper is psychedelic rock. Which tunes exactly are you referring to?

The Beatles, thank God, never foraed into psychedelic rock, except for Yellow Submarine (perhaps even inventing UK psyche with this silly song?) whcih is very reminiscent of Syd Barrett's form of UK psycedelic rock. They were on drugs besides writing songs, particulartly John, but that doesn't make his output at the time psycedelic rock (Rain). US psychedelic rock was different than the silly Barrettesque UK form. 

(In either form, psychedelic rock is not prog rock IMO, but unfortunately listed as such on PA lumped together with Space Rock which is also not prog rock IMO. I'm glad this thread gave me an opportunity vent my take on this again )

Musically diverse as these songs are, how can they belong to one genre, psychedelic rock?  By stretching, lyrically there may be a connection, but musically I cannnot see any. 

http://brotherhoodofthemachine.bandcamp.com/track/hin-und-zuruck-3" rel="nofollow - http://brotherhoodofthemachine.bandcamp.com/track/hin-und-zuruck-3

Here's the inevitable example. A 36 and a half minute track - elements of prog rock. Elements of psychedelia. Elements of kraut rock. What's in there ? Hawkwind, Tangerine Dream, Arabic and Indian influences. I can say that with absolute certainty because I wrote and played the piece (wrote over 10 days during a fit of madness. ;-) ) - now, some people will say "Prog" and some will not. There's an old hack that only the opinion of the composer actually counts. I don't subscribe to that because art is subjective, not objective. So your opinion is an opinion, so's mine. 

One thing I would suggest, though, is that putting genres into boxes is pretty much a wasted exercise. If you look at art and painting, so many artists and sculptors cross over in styles: same with musicians. 

Cheers

Dave

Apologies for the categorisation. ;-)

As the Hippy ideology of rejection of "the man" and the anti-everything protest that involved, the escapism of mind-altering drugs and the concept of "doing your own thing" migrated across the globe each locale adapted it to their own set of problems and issues and to their own current music scene. So the spread of hippy/psychedelic subculture through America the music produced quickly diverged from a single style as each "community" added their own  take of the subculture into the mix that was affected by the local scene, which is why the Psychedelic Soul music of Detroit easily slots into the general Psychedelic scene without being Rock or having any direct musical connection to San Francisco scene.  

This diversification continued as it crossed the Atlantic to Britain, Europe and beyond as different local elements were affecting the music. For example the Draft and the Vietnam war had less meaning to the Hippies of Europe, they had different things to protest about and rebel against and that is reflected in the kind of Psychedelic Rock music they produced, it still carried the general "anti-war" theme, but now more generalised and coloured by the post-WW2 climate that prevailed across Europe; something that is reflected strongly in the bleaker more intense, introvert nature of German Psychedelic music that essentially rejected all things American (and British) by adopting a complete disregard for convention and conventional music forms and in the more nostalgic escapism of British Psychedelic Pop that harped back to "the good old days" before the war (another form of rejection) - the whimsy and silliness has darker undertones when viewed in context of a post-war, post-colonial Britain (e.g the initial influence of Indian music and Indian mysticism into Psychedelic music was at the time uniquely British). 

This cultural continental-drift reached the point where what was considered to be psychedelic in one state or country bore little resemblance to the music of another, in Inside Out (Page 38) Nick Mason wrote: "Sometimes the names of these US bands, which sounded weird to us, suggested an alternative group, but their music would turn out to be quite conventional. When we did get to hear many of the Americans like Country Joe & The Fish or Big Brother & The Holding Company we were often surprised to find that their music was in fact inspired by American country or blues music, although the content of their lyrics was radical enough for them to be thought of as underground bands". [you could probably add New Riders of the Purple Sage to that list]. 

However, the migration was not simply a one-way traffic, there was a cross-fertilisation of ideas and developments, what was happening in Europe affected British music, and what happened in Britain affected the American music scene and vice versa. Two bands in particular illustrate this: The Animals and The Jimi Hendrix Experience, with the former playing American-influenced American Psychedelic Rock with an English accent and the latter playing British influenced Transatlantic Psychedelic Rock with an American accent. On the other extreme there is CSN who essentially rejected Psychedelia at this time and signalled the transition into post-Psych Americana that typifies the predominant return to basics (Blues and Country) American Classic Rock of the 1970s. American Psych did not develop into Progressive Rock in any form.

While it is reasonable to say that the birth of American Psychedelic Rock was instrumental in all these later developments the fact remains that Krautrock developed solely out of German Psychedelic, Prog Rock developed wholly out of British Psychedelic Rock.

I kinda agree to an extent. Certainly when I'm writing music I generally know what kind of music I'm writing, if I'm writing a dark ambient piece it may develop into an allied genre or adopt a spacey or jazzy vibe, but it won't magically turn into a completely unrelated genre on completion, like a lot of musician/composers I would be reluctant to categorise my own music, not for fear of being restricted by a pigeon-hole but for the simple hope that what I had produced was different enough from other artists work to avoid direct comparison. When I was managing a metal band during the writing of a new song the band would set out with the intention of producing a piece that fitted their chosen subgenre of metal, occasionally a riff or section would be worked on for several hours before being discarded as "too Slayer" or "too Iron Maiden" or whatever - musicians are aware of what they are producing.

Let me give you an example which I think sums the late 1960's up. Ravi Shankar was once applauded at a gig.... for tuning up. 

Oh, no, Saucerful and Umagumma etc were definitely properly psychedelically influence. Then take such stuff as "White Rabbit". Good tune. But commercial rubbish, really.

By about 1970, I remember it was difficult to get anything in the UK which actually didn't have a psychedelic pattern on it. Even paper shopping bags. ;-)

Oh, no, Saucerful and Umagumma etc were definitely properly psychedelically influence. Then take such stuff as "White Rabbit". Good tune. But commercial rubbish, really.

By about 1970, I remember it was difficult to get anything in the UK which actually didn't have a psychedelic pattern on it. Even paper shopping bags. ;-)

Oh, no, Saucerful and Umagumma etc were definitely properly psychedelically influence. Then take such stuff as "White Rabbit". Good tune. But commercial rubbish, really.

By about 1970, I remember it was difficult to get anything in the UK which actually didn't have a psychedelic pattern on it. Even paper shopping bags. ;-)

You made me smile, but you may be right ;-)

And re FZ - it's difficult to post-analyse the creative mind of a genius.

I disagree. Bob Moog was making and selling theremins in the 50s and early 60s, he treated this as a serious enterprise. The problem with theremins is they are as difficult to learn and play as a violin, by adding an organ/piano style keyboard he could make an electronic instrument that was easy to learn and instantly playable. Interestingly Moog was never interested in electric organs or pianos, he was interested in electronic music.

To add a keyboard to a theremin he created the concept of voltage control as a means of converting a note-press into a fixed voltage that represented the note to be played. Having perfected a means of producing a single electrical signal from a keyboard he expanded the idea to every module in the unit and thus the Moog Synth was invented. This alone leads me to suspect that he always viewed the theremin and the synthesiser as valid musical instruments for producing and reproducing music. Simply put: you don't spend hours developing a way of putting an organ/piano keyboard on a Sci-Fi or Psychedelic effects box, and you don't then work in collaborative partnership with someone to produce an album of Bach music. If Switched On Bach isn't a clear indication that Bob Moog fully intended the Moog Synth to be a playable musical instrument then what is?

Absolutely. Beaver & Krause had everything to do with this happening and it is their playing and their Moog you can hear on all those records. Following the "début" of the Moog at the 1967 Monterey Festival by Beaver & Krause the duo (and their synth) were in great demand to add this modern other-worldly instrument to other peoples recordings. But that is such a reactively relatively [damn auto-correct] small sample of the whole of psychedelic pop & rock I can't see it as being indicative of the Moog being a psychedelic instrument, unlike the Hammond or the phased fuzz guitar.

It was never meant to.