During the height of the subgenre's popularity that year, Indian musicians also contributed to its development. Released on the World Pacific record label in June, the Folkswingers' "Raga Rock" album featured Harihar Rao, a Los Angeles-based sitarist and ethnomusicologist, accompanied by jazz musicians and members of the Wrecking Crew. A September 1966 issue of "Life" magazine reported on the growth of the raga rock trend in association with the proliferation of psychedelic-themed shops in San Francisco and New York. 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 Traffic's first two hit singles, "Paper Sun" and "Hole in My Shoe". Other acts used a Coral electric sitar, designed by American guitarist Vinnie Bell and manufactured by the Danelectro guitar company. Bell's 1967 album "Pop Goes the Electric Sitar" added to the collection of what Brend terms "sitarploitation" LPs – containing raga rock-style cover versions of well-known pop songs – a phenomenon that, inaugurated by Rao's "Raga Rock", also included "Sitar Beat" and "Lord Sitar" by Big Jim Sullivan.