Psychedelic Moods – THE DEEP***

Colour Dreams/Pink Ether/When Rain Is Black/Its All A Part Of Me/Turned On/Psychedelic Moon/Shadows On The Wall/Crystal Night/Trip No.76/Wake Up & Find Me/Your Choice To Choose/On Off Off On

Psychedelic Moods by The Deep earned its place in musical history as the first album to include the word psychedelic in its title. This innovative genre would become the dominant popular musical style of the late sixties.

“Considered to be at the very vanguard of the expanding psychedelic movement in 1966, this is an acquired taste; most listeners either love it, or hate it. I have found it has grown on me over the years. The music is primarily garage driven, with minor Dylan influences. The production is rather spartan, yielding a thin, almost folky sound.”

“One of the more exciting psychedelic records I've heard, partly because it was one of the first and most of the moves you hear here are happening for the first time. Some might find it corny, it's that early psychedelic style of describing everything floridly and colourfully, but it's rather beautiful in its naive experimentation.”

“A truly visionary work. Hard to believe that this album was made when it was. It isn’t as psychedelic as I had anticipated, but is still very enjoyable. However, the vocals aren't very good and many of the lyrics make no sense to any sober person. Psychedelic in its moods, but not that much, it has more of a garage feel plus some folk influences. A must listen for any fans of rock music particularly the sixties.”

“Psychedelic Moods has attained cult status as one of the definitive examples of the then newly emerging 'psychedelic sound'. The album was intended to provide the listener with a simulated acid trip, replete with fuzz guitar, flute, backwards guitars, banjo, washboard, xylophone, wild sound effects, and love making. Songs such as Trip #76, Psychedelic Moon, Pink Ether, and Colour Dreams explored the hallucinatory agony and ecstasy of a twelve hour Technicolor dream.”

“There's something interesting about nearly every song on this low-budget effort from The Deep. I don't listen to much garage and normally prefer albums recorded a couple years later in the post-Pepper period, but this one is an exception, a collection of garage songs with unusual sound effects, psych rock plus a few haunting acoustic tracks. Not everyone will like it, and on close examination a critic could probably tear it apart.”