Question:
"Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (a.k.a. Roger McGuinn), and David Crosby and first released as a single on March 14, 1966 (see 1966 in music). Musically influenced by Ravi Shankar and John Coltrane, "Eight Miles High", along with its McGuinn and Crosby-penned B-side "Why", was influential in developing the musical styles of psychedelic rock, raga rock, and psychedelic pop. Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. The song was subject to a U.S. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics.
The song's use of Indian and free-form jazz influences, along with its impressionistic lyrics, were immediately influential on the emerging genre of psychedelic rock. Accordingly, some authors and music historians, including Eric V. D. Luft, Domenic Priore, and Dwight Rounds, have described "Eight Miles High" as being the first bona fide psychedelic rock song. In his book Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood, Priore cites "Eight Miles High" as being the record that kicked off the psychedelic craze, explaining "prior to 'Eight Miles High,' there were no pop records with incessant, hypnotic basslines juxtaposed by droning, trance-induced improvisational guitar." The song was responsible for the naming of the musical subgenre raga rock, when journalist Sally Kempton, in her review of the single for The Village Voice, used the term to describe the record's experimental fusion of eastern and western music. However, although Kempton was the first person to use the term raga rock in print, she had actually borrowed the phrase from the promotional material that the Byrds' press office had supplied to accompany the "Eight Miles High" single release. In a 1968 interview for the Pop Chronicles radio documentary, McGuinn denied that the song was in fact an example of raga rock, while Crosby, speaking in 1998, dismissed the term entirely, stating "they kept trying to label us; every time we turned around, they came up with a new one ... it's a bunch of bullshit." Nonetheless, the experimental nature of the song placed the Byrds firmly at the forefront of the burgeoning psychedelic movement, along with the Yardbirds, the Beatles, Donovan and the Rolling Stones, who were all exploring similar musical territory concurrently. Contemporary reviews for the single were mostly positive, with Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing." Record World magazine also praised the song, commenting "It's an eerie tune with lyrics bound to hypnotize. Will climb heights." In the UK, Music Echo described the song as "wild and oriental but still beaty". The publication also suggested that with the release of "Eight Miles High" the Byrds had jumped ahead of the Beatles in terms of creativity, stating "[By] getting their single out now they've beaten the Beatles to the punch, for Paul [McCartney] admitted recently that the Liverpool foursome are working on a similar sound for their new album and single." In recent years, Richie Unterberger, writing for the Allmusic website, has described "Eight Miles High" as "one of the greatest singles of the '60s." In 1999, the song was inducted into the Grammy Hall of Fame, an honor reserved for "recordings of lasting qualitative or historical significance that are at least 25 years old." In 2004, Rolling Stone magazine ranked "Eight Miles High" at number 151 on their list of The 500 Greatest Songs of All Time and in March 2005, Q magazine placed the song at number 50 on their list of the 100 Greatest Guitar Tracks.
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What genre or genres did the song influence?

Answer:
immediately influential on the emerging genre of psychedelic rock.

Answer the question at the end by quoting:

Love was born Courtney Michelle Harrison on July 9, 1964 at Saint Francis Memorial Hospital in San Francisco, California, the first child of psychotherapist Linda Carroll (nee Risi) and Hank Harrison, a publisher and road manager for the Grateful Dead. Love's godfather is the founding Grateful Dead bassist Phil Lesh. Her mother, who was adopted at birth and raised by a prominent Italian-Catholic family in San Francisco, was later revealed to be the biological daughter of novelist Paula Fox; Love's maternal great-grandmother was screenwriter Elsie Fox. According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast.
Musically, Love's work with Hole and her solo efforts have been characterized as alternative rock; Hole's early material, however, was described by critics as being stylistically closer to grindcore and aggressive punk rock. Spin's October 1991 review of Hole's first album noted Love's layering of harsh and abrasive riffs buried more sophisticated musical arrangements. In 1998, she stated that Hole had "always been a pop band. We always had a subtext of pop. I always talked about it, if you go back ... what'll sound like some weird Sonic Youth tuning back then to you was sounding like the Raspberries to me, in my demented pop framework." Love's lyrical content is composed from a female's point of view, and her lyrics have been described as "literate and mordant" and noted by scholars for "articulating a third-wave feminist consciousness." According to a 2014 interview, lyrics have remained the most important component of songwriting for Love: "I want it to look just as good on the page as it would if it was in a poetry book". A great deal of her songwriting has been diaristic in nature. Common themes present in Love's songs during her early career included body image, rape, suicide, conformity, elitism, pregnancy, prostitution, and death. In a 1991 interview with Everett True, she said: "I try to place [beautiful imagery] next to fucked up imagery, because that's how I view things ... I sometimes feel that no one's taken the time to write about certain things in rock, that there's a certain female point of view that's never been given space." Critics have noted that Love's later musical work is more lyrically introspective. Celebrity Skin and America's Sweetheart are lyrically centered on celebrity life, Hollywood, and drug addiction, while continuing Love's interest in vanity and body image. Nobody's Daughter was lyrically reflective of Love's past relationships and her struggle for sobriety, with the majority of its lyrics written while she was in rehab in 2006.

What do others say about her style?
Critics have noted that Love's later musical work is more lyrically introspective.