trend among Western musicians and, in Schaffner's description, earned him the sobriquet "the maharaja of raga-rock". While many musicians at this time adopted the sitar as a fad, he, Jones, Shawn Phillips (Donovan's guitarist) and session player Big Jim Sullivan were among the London-based guitarists who approached the instrument with a serious interest and shared their ideas. In his article for Crawdaddy!, Pearlman identified two categories of contemporary raga rock songs: those that merely adopted Indian sounds as an exotic feature, such as "Norwegian Wood", "Paint It Black" and Donovan's Sunshine Superman track "Three King Fishers"; and recordings that incorporated aspects of Indian music in their compositional form, such as "Eight Miles High" and Donovan's "The Trip". Davies' second raga rock song with the Kinks, "Fancy", from 1966's Face to Face album, again used chord changes minimally, but sufficient to keep the composition identifiable as Western pop. By contrast, Harrison adhered to the authentically Indian, single-chord form in "Love You To" and "Within You Without You", released on Sgt. Pepper's Lonely Hearts Club Band in June 1967, and both songs were arranged in a Hindustani classical structure, with distinct alap, gat and drut gat sections. He also incorporated a wide range of Indian instrumentation by 1967, with sitar, tambura, tabla, dilruba and swarmandal, and later on, sarod, shehnai, bansuri and pakhavaj. Another foray into raga rock on Sgt. Pepper, John Lennon's "Lucy in the Sky with Diamonds" included tambura drone and a guitar part in which Harrison, playing in unison with Lennon's vocal, imitated the role of a sarangi player accompanying a khyal singer. One of Crosby's final songs with the Byrds, "Mind Gardens", from the 1967 album Younger Than Yesterday, incorporated drone and raga rock ambience, and vocals evoking the khyal tradition in style and ornamentation. The Doors closed their self-titled 1967 album with "The End", an 11-minute piece in the raga rock style. In Lavezzoli's description, guitarist Robby Krieger successfully conveyed "the brooding quality of the darker ragas" in his contribution to "The End", by first creating a drone on plucked open-tuned strings while also playing a motif in the manner of a sitar or veena, and then, towards the climax of the song, adopting the Indian jhala style, with rapid strumming alternating with the melody line. Lavezzoli writes that sitar sounds were becoming a "fixture in pop music" in 1967, with Dave Mason contributing sitar parts to