Billy Nicholls: Would You Believe (1968)

Not as close to Pet Sounds as many people seem to think it is. But still a great album in its own right. Trippy baroque-psych-pop and all so British. I really enjoy this album because there are a lot of good songs on it. Everyone will find something here, I promise. 

Clear Light: Black Roses (1967)

West Coast psych that sounds a LOT like Love. Not overly amazing but has its moments. I don't want to say too much about this album because I haven't given it sufficient time yet, but there are a few tracks on here I often visit. Check it out, this is their only effort and I'm sure there's much more to it than I'm giving it credit for.

Blossom Toes: We Are Ever So Clean (1967)

Forgot about this one for no good reason when I was posting all the 60's stuff and I'm sure I'll be posting a few more that for some reason slipped my mind. This is often sited as the greatest psych-pop effort and in many ways it kind of is. First of all its so happy and goofy. Secondly the songs are all really creative and well written. Very British, very weird. Blossom Toes like many of these bands would start to embrace heavier guitar music on their next album, but on this album they are one of those great forgotten psych-pop bands that deserves everyone's attention. 

The Olivia Tremor Control: Music From the Unrealized Film Script: Dusk at Cubist Castle (1996)

Recognize the cover? Almost the same image as the one on the post OTC album Circulatory System. This is the first OTC album and I am at a loss for words. Insane creativity, beautiful catchy psych-pop tunes, perfect vocal harmonies. This album has a concept of a pair of girls named Olivia and Jacqueline and some kind of earthquake. It even includes a suite in the middle of it, 9 tracks all titled Green Typewriters. What makes the OTC so interesting to me is how they blur such accessible music with sound collages. This album has a companion piece called Explanation II. It is meant to be played at the same time as the album to get you lost in even more sounds! This album is often compared to the White Album, but I don't think comparisons can ever be useful when talking about this band. From another world.

Smashing Pumpkins: Siamese Dream (1993)

What an album. Billy Corgan was ready to end the Pumpkins if this album didn't break through. Personal problems with relationships, depression, and drug addiction plagued the band and Corgan took most of the recording of this album into his own hands. The result is one of the greatest albums ever recorded. Although this album is usually viewed as one of the pillars of 90's alt music and even an extension of Nirvana's grunge movement, this album is truly a masterpiece on its own. This album is way better then all of those "classic 90's albums." Mellotron, acid-freakout guitar solos, and Billy Corgan's usual beautiful poetic imagery. Billy Corgan was simply too talented and ambitious for any pretentious "music scene." It's really easy to claim Kurt Cobain as the most influential artist of the 90's because he probably was. But that's not a good thing in my opinion. People dug Nirvana for what the represented and for the angst that the youth could easily identify with. But we should really praise the artists who venture off to their own planets to bring us other worldly music that only exists in them. Siamese Dream is much more straight forward than Mellon Collie, but will still provide a clear example of why Corgan is so special. 

The Brian Jonestown Massacre: And This Is Our Music (2003)

This album has a great review from Allmusic.com so I'm just going to post that:

Review

by Jo-Ann Greene

It's futile to try to attempt to describe a Brian Jonestown Massacre album. One doesn't so much listen to their music as experience it, entering into their strange, warped world to wallow in the aural vistas they create. Like a '60s 'happening', it's not what actually occurs that matters, it's the experience itself, the fact of one being part of something greater than one's self, and so it is here with And This Is Our Music. "Keep dreaming, keep dreaming, until it's time to go," BJM sing on "Geezers," and the music builds, swelling into a mighty conflagration of sound that stutters out and into the acoustical love song of "Maryanne," which winds its way into the Star Trek-esque epic romance of "You Look Great When I'm Fucked Up," that comes down with a bang into the psychedelic jangle of "Here It Comes," then falls headlong into the wild tattoo of the beats and salsa sounds of "What Did You Say?" and so on, careening across 17 tracks in all. Musical themes are occasionally revisited, moods coalesce then transmute, a myriad of musical influences emerge, disappear, return, transform. "Can we ever really know where we're going, where we're heading?" the band inquire on "A New Low in Getting High," and with BJM as your guide, the answer is a resounding no. But that is the glory of the band: one never knows where one is, or where one will end up, left lost in their psychedelic haze, pulled into a twangy country and western world, or dropped into another of their endless, timeless ambient soundscapes. It's the musical equivalent of a carnival fun house, one never knows what one will find upon opening the door. Psychedelic they may be branded, but that is only the beginning, there's so much more to be heard and experienced within. No longer so young, but still so brave and totally right on. And This Is Our Music is music for each and every one of us.

The Bees: Free the Bees (2004)

The Bees are amazing. One their second album they stray pretty far from the low-key-chill-jazz-R&B that made up their first album. This album is a classic psych-pop-garage album, with production that will make you swear it was recorded in '66. The Bees really know how to write a good pop song, and they can produce the hell out of them. Not as adventurous as their follow up "Octopus" but still one of the few modern treasures out there.