What would you call psychedelic then? Two short definitions:
Psychedelic music (sometimes psychedelia) covers a range of popular music styles and genres, which are inspired by or influenced by psychedelic culture and which attempt to replicate and enhance the mind-altering experiences of psychedelic drugs. It emerged during the mid 1960s among folk rock and blues rock bands in the United States and Britain. It often used new recording techniques and effects and drew on non-Western sources such as the ragas and drones of Indian music. It spread into psychedelic folk, psychedelic rock, psychedelic pop and psychedelic soul in the 1960s before declining in the early 1970s.
Psychedelic rock emerged in the mid-'60s, as British Invasion and folk-rock bands began expanding the sonic possibilities of their music. Instead of confining themselves to the brief, concise verse-chorus-verse patterns of rock & roll, they moved toward more free-form, fluid song structures. Just as important -- if not more so -- the groups began incorporating elements of Indian and Eastern music and free-form jazz to their sound, as well as experimenting with electronically altering instruments and voices within the recording studio. Initially, around 1965 and 1966, bands like the Yardbirds and the Byrds broke down the boundaries for psychedelia, creating swirling layers of fuzz-toned guitars, sitars, and chanted vocals. Soon, numerous groups followed their pattern, including the Beatles and the Rolling Stones, both of whom recorded psychedelia in 1966. In no time, groups on both sides of the Atlantic embraced the possibilities of the new genre, and the differences were notable. In Britain, psychedelia tended to be whimsical and surrealistic. Nevertheless, bands -- most notably Pink Floyd and Traffic -- played extended instrumentals that relied on improvisation as much as their American contemporaries the Grateful Dead, the Doors, Love, and Jefferson Airplane. In other corners of America, garage bands began playing psychedelic rock without abandoning their raw, amateurish foundation of three-chord rock -- they just layered in layers of distortion, feedback, and effects.
Both The Doors' and Santana's psychedelic era work fits into those definitions pretty neatly.