Songwriters like Robin Williamson (Incredible String Band), Syd Barrett (Pink Floyd), Peter Daltrey (Kaleidoscope), and others went on to create their own fantastical characters, nonsense verses, and imagery around themes of anthropomorphism, lost childhood, and The Quest.
This according to “Grumbly grimblies, frozen dogs, and other boojums: Eccentricity from Chaucer to Carroll in English psychedelia” by Peter Grant, an essay included in The Routledge companion to popular music and humor (New York: Routledge, 2019, pp. 49–57).
In 1967, in the hands of Syd Barrett and Brian Wilson, the incongruous, semantically complex figure of the vegetable came to illuminate aspects of psychedelic consciousness and—partly by design, partly by accident—the link between LSD and Anglo-American popular music.
Their vegetable imagery also illuminated the scope and limits of changes in the relationship between creative artists and the Anglo-American popular music industry in the mid-1960s; and in retrospect, the figure of the vegetable cast into relief the counterculture’s utopian and dystopian dynamics as manifested in these songwriters’ personal lives.
This according to “The vegetables turned: Sifting the psychedelic subsoil of Brian Wilson and Syd Barrett” by Dale Carter (Popular music history IV/1 [April 2009] pp. 57–75).
Below, one of the songs discussed in the article—Wilson’s Vegetables, which is rumored to include the sound of Paul McCartney chewing celery.
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