Switched-On Rock is an album by the Moog Machine, released in 1969 on Columbia Records. It comprises instrumental covers of popular songs from the 1960s, performed on the Moog synthesizer. It was one of a spate of albums capitalizing on the success of Switched-On Bach (1968), an album of Bach pieces performed on the Moog by Wendy Carlos.

Switched-On Rock was produced by Norman Dolph, who also wrote the liner notes. Dolph worked in the studio with colleagues Kenny Ascher and Alan Foust; they billed themselves as the Moog Machine for this and one more project. The album reached number 170 on the Billboard Top 200 and stayed on the chart for eight weeks.

Norman Dolph joined Columbia Records in 1964. As a marketing executive, he focused on recording projects aimed at the youth market. In 1967 he paid for the recording session of the album The Velvet Underground & Nico, and he helped engineer it.

After the 1968 album Switched-On Bach was seen to sell 500,000 copies, a number of albums were made to satisfy this new demand for synthesizer music. Wendy Carlos followed up Switched-On Bach with The Well-Tempered Synthesizer in the classical music category. Popular albums such as Switched On Bacharach, Switched-On Country, Switched-On Santa, Switched-On Gershwin, Moog Power and Music to Moog By were produced by others.

The idea for Switched-On Rock was conceived by Columbia Records marketing executive Russell "Russ" Barnard. Barnard assigned the project to three men: Dolph supervised the album and he tuned the Moog modular synthesizer, and his associates jazz pianist Kenneth "Kenny" Ascher and arranger Alan Foust played the keyboards and wrote the song arrangements, respectively. An attempt was made to synthesize drum sounds for the songs, but Dolph felt that the results sounded "kind of mechanical and ricky-tick." Instead, a rock drum kit was played by session drummer Leon Rix.

The Moog synthesizer was difficult to work with, as it is a very complex device with many knobs, and a slight movement of any knob could radically change the sound. It also tended to drift in musical pitch such that Dolph determined to tune it every 15 minutes. Finally, the Moog was monophonic, meaning that only one note could be played at a time. If a chord was fingered on the Moog's keyboard, only the lowest note would sound; chords heard on the album were built up over several takes, or they were synthesized on a chordal device called the "protorooter".

The songs were arranged by Foust as if any conceivable texture was available; following his charts, the Moog was tuned to synthesize each imagined texture. Some of the sounds heard on the album were discovered by "auspicious" accident while working toward something else. Using a 16-channel tape recorder, all ten songs were built up track-by-track in parallel; once a certain basic Moog sound was achieved, it could be used as appropriate for each song, with slight adjustments. Approximately 150 different textures were synthesized on the Moog for the album. In addition to the drum kit there was one other non-Moog instrument; in the liner notes Dolph challenged the listener to identify this instrument. Stereo Review responded by writing that they "haven't the vaguest idea what the other instrument is."

Dolph said that the production team coined new words for some of the Moog textures, for instance they decided the word "gwiping" would describe "the act of sweeping a filter with a high regeneration setting... from top to bottom." Accordingly, a basic Moog organ sound which was "gwiped" became a "gworgan". They also coined "pagwipe" (a leaky bagpipe), "jivehive" (many bees swarming on the same pitch) and the "sweetswoop" (the roaring of a jet with harmonics).