Enjoying music is one thing but another thing I take to is reading about it. I'm always fascinated how a well written review can open your mind to looking at a song from a new angle (or is that listening to a song from a new angle)

One of the most enjoyable pieces of writing on UK psychedelia I have read comes from a book with the most unpromising un psychedelic title of “The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll” by Simon Reynolds and Joy Press.
Far from a doctrinal hammering on sexism in Rock and Roll, its full of neat vignettes and even writings equivalent of mini symphonies

A glorious example of their writing comes in their analysis of Tintern Abbeys Beeside. Here a interesting analysis becomes more expressive as it goes along, calling in 'mind expanding' quotes and, in the final sentence, the writing has become as visual and as trippy as the song itself.

To quote:
Another minor classic of British Psychedelia, Tintern Abbeys Beeside (1967) also makes the indolence/innocent connection. Here, it's a creature of the field, a busy bee, who's misguided, and a human who hips him to true meaning of flower power. Singer David MacTavish contemplates the bees toil and tells him to mellow out. Like Wordsworth, who's poems give the band it's name, Tintern Abbey believe that indolence feminizes man, promoting receptivity and 'wise-passiveness'. The state of grace comes when man is de-activated and drowsy, succumbs to what Wordsworth calls 'that serene and blessed mood' in which we are laid asleep In body and become a living soul'. Tintern Abbey's music recreates Romanticism's primal scene, the bower of bliss – groves and glades ' where the male is captured, seduced and infantalised' according to Camille Paglia, stranded in 'a limbo of lush pleasures but stupefying passivity'. Beeside is all synaesthesia, clouds of phased cymbal scintillating like pollen caught in midsummer sunshine.