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HARDROCK:
Hard rock or heavy rock is a sub-genre of rock music which has its earliest roots in mid-1960s garage and psychedelic rock and is considerably harder than conventional rock music. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, pianos, and other keyboards.

Hard rock is strongly influenced by blues music; the most frequently used scale in hard rock is the pentatonic, which is a typical blues scale. Unlike traditional rock and roll (which takes elements of the "old" blues), hard rock incorporates elements of "British blues", a style of blues played with more modern instruments such as electric guitars, drums, keyboards and electric bass. A notable departure from traditional blues forms is that hard rock is seldom restricted to the I, IV, and V chords prevalent in twelve or sixteen bar blues, but includes other chords, typically major chords rooted on tones of the minor scale.

The term "hard rock" is often applied to many styles of rock music, their only common feature being that they deviate from pop rock, though this is generally incorrect. Two such examples are punk rock and grunge. Punk rock uses a faster tempo, less melody, fewer riffs (often using barre chords), more aggression and anti-establishment lyrics.

As stated, one of the major influences of hard rock is blues music, especially British blues. British rock bands, such as Cream, The Rolling Stones, The Yardbirds, The Who and The Kinks modified rock and roll, adding to the standard genre harder sounds, heavier guitar riffs, bombastic drumming and louder vocals. This sound created the basis for hard rock. Early forms of hard rock can be heard in the songs "You Really Got Me" by The Kinks, "Happenings Ten Years Time Ago" by The Yardbirds, "My Generation" and "I Can See for Miles" by The Who.

At the same time, Jimi Hendrix, produced a form of blues-influenced psychedelic rock, which combined elements of jazz, blues and rock and roll, creating a unique genre. He was one of the first guitarists to experiment with new guitar effects like phasing, feedback and distortion, along with Dave Davies of the Kinks, Pete Townshend of The Who, Eric Clapton of Cream, and Jeff Beck of the Yardbirds.

Hard rock emerged with British groups of the late-1960s, such as Led Zeppelin who mixed the music of early British rock bands with a more hard-edged form of blues rock and acid rock. Deep Purple helped pioneer the hard rock genre with the albums Shades of Deep Purple (1968), The Book of Taliesyn (1968), and Deep Purple (1969), but they made their big break with their fourth and distinctively heavier album, In Rock (1970). Led Zeppelin's eponymous first album, Led Zeppelin (1969), and The Who's Live at Leeds (1970), are examples of music from the beginning of the hard rock genre. The blues origins of the albums are clear, and a few songs by well-known blues artists are adapted or covered within them.

Led Zeppelin's third album, Led Zeppelin III was more Folk rock-oriented than their second, but the heavy aspects of their music remained.

Deep Purple's transformation of hard rock continued in 1972 with their album, Machine Head, considered as one of the first heavy metal albums. Two songs in Machine Head had great success: "Highway Star" and "Smoke on the Water", whose main riff made it become the signature Deep Purple song. Nazareth, a band out of Scotland, provided a blend of hard rock which commercialised the genre further with their best selling album, Hair of the Dog, which in turn, influenced numerous other bands.

During the 1970s, hard rock developed a variety of sub-genres. In 1972, macabre-rock pioneer Alice Cooper put hard rock into the mainstream with the top ten album School's Out. The following year, Aerosmith, Queen and Montrose released their eponymous debut albums, demonstrating the broadening directions of hard rock. In 1974, Bad Company released its debut album and Queen released its third album, Sheer Heart Attack, with the track "Stone Cold Crazy" influencing later thrash metal artists, such as Metallica and Megadeth. Queen used layered vocals and guitars and mixed hard rock with glam rock, heavy metal, progressive rock, and even opera. Kiss released their first three albums Kiss, Hotter Than Hell and Dressed to Kill, in a little over a year, achieving their commercial breakthrough with the double live album Alive! in 1975. The Canadian trio Rush released three distinctively hard rock albums in 1974-75 (Rush, Fly by Night, and Caress of Steel) before moving toward a more progressive sound.

In the mid-1970s, Aerosmith released the ground-breaking Toys in the Attic and Rocks which incorporated elements of blues and hard rock and would later influence rock artists such as Metallica, Guns N' Roses[5]and Mötley Crüe. In 1976, Boston released their highly successful debut album while Heart paved the way for women in the genre with the release of their debut.

The Irish band Thin Lizzy, which had actually been around since the late 1960s, made their most substantial commercial breakthrough in 1976 with the hard rock album Jailbreak and its top single, "The Boys Are Back in Town."

With the death of Tommy Bolin in 1976, Deep Purple disbanded. In 1978, The Who's drummer, Keith Moon died in his sleep via an overdose. With the rise of disco in the U.S. and punk rock in the UK, hard rock began to lose popularity. Disco appealed to a more diverse group of people and punk seemed to take over the rebellious role that hard rock once held. Meanwhile, Black Sabbath moved away from the darkness of their early work with albums such as Technical Ecstasy.

Van Halen, another important group in hard rock, emerged in 1978. Their music was based mostly on the guitar skills of Eddie Van Halen, the lead guitarist, who popularised a technique called tapping in guitar playing. The song "Eruption" from the album Van Halen, demonstrated Eddie Van Halen's technique and was very influential.

In 1979, the differences between the hard rock movement and the rising heavy metal movement were highlighted when the Australian hard rock band, AC/DC, released its second-biggest album, Highway to Hell. AC/DC's music was based mostly on rhythm & blues with the group explicitly repudiating the "heavy metal" tag.

PSYCHEDELIC ROCK:
Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture, or attempts to replicate the mind-altering experiences of hallucinogenic drugs. It emerged during the mid 1960s among garage and folk rock bands in Britain and the United States. Psychedelic rock bridged the transition from early blues-based rock to progressive rock, art rock, experimental rock and heavy metal; and also drew on non-Western sources such as Indian music's ragas and sitars.

The musical style typically features electric guitars, 12 strings being preferred for their 'jangle'; elaborate studio effects - backwards taping, panning (sound placement in the stereo field), phasing, long delay loops and extreme reverb; exotic instrumentation, with a particular fondness for the sitar and tabla; A strong keyboard presence, especially Hammond, Farfisa and Vox Organs, the Rhodes electric piano, Harpsichords and the Mellotron (an early tape-driven 'sampler'); a strong emphasis on extended instrumental solos; modal melodies and surreal, esoterically inspired or whimsical lyrics.

While the first contemporary musicians to be influenced by psychedelic drugs were in the jazz and folk scenes, the first use of the term "psychedelic" in popular music was by the "acid-folk" group The Holy Modal Rounders in 1964, with the song "Hesitation Blues". The first use of the term "psychedelic rock" was on the business card of the Texas based band 13th Floor Elevators', designed by John Cleveland, and circulated in December 1965. The term was first used in print in the Austin Statesman in an article about the band titled "Unique Elevators shine with Psychedelic Rock" , dated 10 February 1966 and theirs was the first album to use the term as part of its title, in The Psychedelic Sounds of the 13th Floor Elevators, released in August that year.

In 1962, British rock embarked on a frenetic race of ideas that spread back to the U.S. with the British Invasion. The folk music scene also experimented with outside influences. In the tradition of Jazz and blues many musicians began to take drugs and included drug references in their songs. Beat Generation writers like William Burroughs, Jack Kerouac, Allen Ginsberg and especially the new exponents of consciousness expansion such as Timothy Leary, Alan Watts and Aldous Huxley profoundly influenced the thinking of the new generation. In late 1965, The Beatles unveiled their brand of psychedelia on the Rubber Soul album, which featured John Lennon's first paean to universal love ("The Word") and a sitar-laden tale of attempted hippy hedonism ("Norwegian Wood", written by John Lennon). Jeff Beck claimed that British rock act The Yardbirds were "the very first psychedelic band really"[4] releasing singles: "Shapes of Things", "Over Under Sideways Down" and "Happenings Ten Years Time Ago" in 1966.

Psychedelia began in the United States' folk scene with New York City's Holy Modal Rounders introducing the term in 1964. A similar band called Mother McCree's Uptown Jug Champions from San Francisco were influenced by The Byrds and The Beatles to switch from acoustic music to electric music in 1965. Renaming themselves the Warlocks, they fell in with Ken Kesey's LSD-fueled Merry Pranksters in November 1965, and changed their name to the Grateful Dead the following month. The Grateful Dead played to light shows at the Pranksters' "Acid Tests", with pulsing images being projected over the group in what became a widespread practice.

Their sound soon became identified as acid rock, which they played at the first Trips Festival in January 1966, along with Big Brother and the Holding Company. The festival, held at the Longshoremen's Hall, was attended by some 10,000 people. For most of the attendees, it was their first encounter with both acid-rock and LSD. Another band called The Ethix, which originally played R&B, started to experiment with electronics, tape transformations and wild improvisations, and as their music transformed, The Ethix transformed into Fifty Foot Hose.

Throughout 1966, the San Francisco music scene flourished, as the Fillmore, the Avalon Ballroom, and The Matrix began booking local rock bands on a nightly basis. The emerging "San Francisco Sound" made local stars of numerous bands, including The Charlatans, Moby Grape, Big Brother and the Holding Company, Fifty Foot Hose, Quicksilver Messenger Service, Country Joe and the Fish, The Great Society, and the folk-rockers Jefferson Airplane, whose debut album was recorded during the winter of 1965/66 and released in August 1966. Jefferson Airplane Takes Off was the first album to come out of San Francisco during this era and sold well enough to bring the city's music scene to the attention of the record industry.

Jefferson Airplane gained greater fame the following year with two of the earliest psychedelic hit singles: "White Rabbit" and "Somebody to Love". Both these songs had originated with the band The Great Society, whose singer Grace Slick, left to join Jefferson Airplane, taking the two compositions with her.

Although San Francisco receives much of the credit for jump-starting the psychedelic music scene, many other American cities contributed significantly to the new genre. Los Angeles boasted dozens of important psychedelic bands, including the Byrds, Iron Butterfly, Love, Spirit, the United States of America, and The Doors, among others. New York City produced its share of psychedelic bands such as the Blues Magoos, the Blues Project, Bermuda Triangle Band, Electric Prunes, Lothar and the Hand People. and the Third Bardo. The Detroit area gave rise to psychedelic bands the Amboy Dukes, Funkadelic and the SRC. Texas (particularly Austin) is often cited for its contributions to psychedelic music, being home to the groundbreaking 13th Floor Elevators, as well as Bubble Puppy, Shiva's Headband, The Golden Dawn, the Zakary Thaks, Red Krayola, and many others. Chicago produced the H. P. Lovecraft.

The Byrds went psychedelic in March 1966 with "Eight Miles High", a song with odd vocal harmonies and an extended guitar solo that guitarist Roger McGuinn states was inspired by Raga and John Coltrane.

Brute Force (musician) is another psychedelic rocker who is still very active today. His "King of Fuh" is considered a psychedelic masterpiece.

In 1965, members of Rick And The Ravens and The Psychedelic Rangers came together with Jim Morrison to form The Doors. They made a demo tape for Columbia Records in September of that year, which contained glimpses of their later acid-rock sound. When nobody at Columbia wanted to produce the band, they were signed by Elektra Records, who released their debut album in January 1967. It contained their first hit single, "Light My Fire." Clocking in at over 7 minutes, it became one of the first rock singles to break the mold of the three-minute pop song, although the version usually played on AM radio was a much-shorter version.

Initially, The Beach Boys, with their squeaky-clean image, seemed unlikely as psychedelic types. Their music, however, grew more psychedelic and experimental, perhaps due in part to writer/producer/arranger Brian Wilson's increased drug usage and burgeoning mental illness. In 1966, responding to the Beatles' innovations, they produced their album Pet Sounds and later that year had a massive hit with the psychedelic single "Good Vibrations". Wilson's magnum opus SMiLE (which was never finished, and was remade by Wilson with a new band in 2004) also shows this growing experimentation.

The psychedelic influence was also felt in some mainstream R&B music, where record labels such as Motown dabbled for a while with psychedelic soul, producing such hits as "Ball of Confusion (That's What the World Is Today)" and "Psychedelic Shack" (by The Temptations), "Reflections" (by Diana Ross & the Supremes), and the 11-minute-long "Time Has Come Today" by The Chambers Brothers. Sly and the Family Stone, a racially integrated group whose roots were in soul and R&B, created music influenced by psychedelic rock. This is especially evident on their breakthrough second album, Dance to the Music.

The major difference between psychedelic rock in the Britain and its American counterpart is the role it played in a media revolution that changed the face of musical broadcasting, the music business and to a lesser degree, music publications nationwide.

Prior to the launch of BBC Radio 1 on 30 September 1967, BBC radio consisted of a single station (except for Radio Scotland) and had just two pop shows, Saturday Club and Easy Beat.[9] These shows were ultra conservative and almost (if not completely) ignored the "progressive" or "underground" groups both from America (Jefferson Airplane, Country Joe and the Fish, Doors, Byrds etc.) and those in England like Hawkwind, The Move, and The Yardbirds. Radio Luxembourg, which reached most of England, was a little more progressive but still largely ignored the new music scene.

The only real exposure that these groups could get was live performances in a handful of small clubs, mostly in London, with a few in other major cities. The advent of Pirate Radio and in particular a pirate disc jockey, John Peel, changed all that. Suddenly these progressive bands were able to reach a mass audience, and at their peak the pirates were boasting greater audiences than the BBC. Adding to the impact and impression of a cultural revolution was the emergence of alternative weekly publications like IT (International Times) and OZ magazine which featured psychedelic and progressive music together with the counter culture lifestyle. Soon psychedelic rock clubs like the UFO Club in Tottenham Court Road, Middle Earth Club in Covent Garden, the Roundhouse in Chalk Farm, the Country Club (Swiss Cottage) and the Art Lab (also in Covent Garden) were drawing capacity audience with psychedelic rock and ground-breaking liquid light shows.

Psychedelic rock audiences were also a major break with tradition. Wearing long hair and wild shirts from shops like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street (Soho) and Kings Road (Chelsea) boutiques, they were in stark contrast to the slick, tailored Teddyboys or the drab, conventional dress of most teenagers prior to that.

Psychedelic rock in Britain, in common with its American counterpart, had its roots in the progressive folk and folk rock genres, and in the beat music of the early 1960s. In much the same way that The Great Society and the original Jefferson Airplane were electrified folk bands, the same was true of many early psychedelic bands in the Britain. In the folk scene itself blues, drugs, jazz and eastern influences had featured since 1964 in the work of Davy Graham and Bert Jansch. Folk singer Donovan's transformation to 'electric' music gave him a 1966 hit with "Sunshine Superman," one of the very first overtly psychedelic pop records. In 1967 the Incredible String Band's The 5000 Spirits or the Layers of the Onion developed this into full blown psychedelia.

The August 1966 album by The Beatles, Revolver, shows a psychedelic influence with songs like "Tomorrow Never Knows" and "Yellow Submarine" and marked the beginning of the demise of their pop 'mop-tops' image. The Yardbirds released Roger the Engineer in the same year. Jeff Beck's experimentation with fuzz-tone, feedback and distortion along with his trademark note-bending style set a high standard for future psychedelic experimenters. Hearing "Still I'm Sad" made Daevid Allen decide to form his first rock band.

Eddie Phillips, guitarist of a band called The Creation, developed the technique of scraping a violin or cello bow across guitar strings to produce surreal sounds during their live performances of the time. Jimmy Page later popularised this technique.

Pink Floyd began developing light shows to go with their experimental rock music as early as 1965, and in 1966 the Soft Machine formed. From a blues rock background, the British supergroup Cream debuted in December. The Jimi Hendrix Experience with Noel Redding and Mitch Mitchell brought Jimi Hendrix fame in Britain, and later in his American homeland.

Pink Floyd's "Arnold Layne" in March 1967 only hinted at their live sound; the Beatles' ground-breaking album Sgt. Pepper's Lonely Hearts Club Band was recorded on nearly all of the same dates as Pink Floyd's first album The Piper at the Gates of Dawn. Cream unveiled their own psychedelic sounds with the release of Disraeli Gears in the same year. Other artists joining the psychedelic revolution included Eric Burdon (previously of The Animals), and The Small Faces. The Who's Sell Out had two early psychedelic tracks, "I Can See for Miles" and "Armenia City in the Sky", but the album concept was out of tune with the times, and it was their later album Tommy that established them in the scene.

One of the most influential records of 1967 was "A Whiter Shade of Pale" by Procol Harum, which reached number one in the UK Singles Chart on 8 June 1967, and stayed there for six weeks.

The Rolling Stones had drug references and psychedelic hints in their 1966 singles "19th Nervous Breakdown" and "Paint It, Black", then released the fully psychedelic Their Satanic Majesties Request the next year. They followed this with the release of Jumpin' Jack Flash and Beggars Banquet in 1968. Their disastrous concert at Altamont in 1969 appears to mark the end of the Stones' psychedelic period.

With their 1967 releases, The Beatles set the mark for this genre. "Strawberry Fields Forever" was the first song recorded intended for an album about nostalgia and childhood in 1966. Brian Epstein hastily released the first two songs recorded, which would have ended up on the Sgt. Pepper's Lonely Hearts Club Band album. It was released as a double-A sided single along with "Penny Lane" on February 13, 1967 in the UK and on February 17, 1967 in the U.S. "Strawberry Fields Forever" induced a "magic carpet" of sound, with its unusual chord progression, a kaleidoscope of instruments and effects, and an unusual edit of two completely separate versions (the latter of which had to be slowed down to fit.) topped off with a false ending. The album Sgt. Pepper's Lonely Hearts Club Band (partially influenced by their studio neighbours Pink Floyd - then recording The Piper at the Gates of Dawn - and vice versa) was a veritable encyclopedia of psychedelia (among other elements), as well as an explosion of creativity that would set the standard for rock albums decades later. From the title track to "Lucy in the Sky with Diamonds" to "Within You Without You" to "A Day in the Life", the album showcased a wildly colourful palette, with unpredictable changes in rhythm, texture, melody, and tone colour that few groups could equal. The single "All You Need Is Love", debuted for a worldwide audience on the "Our World" television special, restated the message of "The Word", but with a Sgt. Pepper style arrangement. Yet after the death of Brian Epstein and the unpopular television movie Magical Mystery Tour (with an uneven soundtrack album accompanying it) the band returned to a more raw style in 1968, albeit a more earthy and complex version than had been heard before Rubber Soul.

Around the same time The Beatles were recording Sgt. Pepper, another British group, The Bee Gees, were recording their first international album. Upon returning to England from Australia, they wrote and recorded their debut LP, Bee Gees' 1st, which contained such psychedelic songs such as "Every Christian Lion Hearted Man Will Show You", "New York Mining Disaster 1941" and "Turn of the Century". The Bee Gees continued throughout the remainder of the 60s in the psychedelic/baroque rock style with albums such as Horizontal, Idea and the classic double album Odessa. After a 16 month break-up and reunion, The Bee Gees reinvented their sound in a more R&B/Soul style. Many rock critics consider the 1960s era Bee Gees as their classic period.

1968 produced further innovative UK releases, ranging from the sublime to the ridiculous. Tomorrow recorded one of the most eccentric offerings of the season. The Small Faces released one of rock's first concept albums, Ogden's Nut Gone Flake (at least on side two), with its tale of Happiness Stan's search for the missing half of the moon. "Itchycoo Park" was the first song to use flanging - the effect discovered by British recording engineer George Chkiantz in 1967. Odessey and Oracle by The Zombies, which was recorded at Abbey Road immediately after Sgt. Pepper's Lonely Hearts Club Band and The Piper at the Gates of Dawn, was the first album to seriously feature the Mellotron, an innovation brought about because they couldn't afford to pay for session musicians. Meanwhile, The Moody Blues went off In Search of the Lost Chord. As Psychedelia had become more mainstream, many of the phenomenon's originators were spending more and more time on extensive tours, and further influencing the development of new groups all over the globe.

Many of the bands that pioneered psychedelic rock had moved on to explore other styles of music by the end of the 1960s. The increasingly hostile political environment and the embrace of amphetamines, heroin and cocaine by the underground led to a turn toward harsher music. At the same time, Bob Dylan released John Wesley Harding and the Band released Music from Big Pink, both albums that followed a roots-oriented approach. Many bands in England and America followed suit. Eric Clapton cites Music from Big Pink as a contributory factor in quitting Cream, for example.[14] The Grateful Dead also went back to basics and had major successes with Workingman's Dead and American Beauty in 1970, then continued to develop their live music and produce a long string of records over the next twenty-five years.

Miles Davis released In a Silent Way and Bitches Brew in 1969. These two releases brought Jazz-Rock Fusion to the attention of the Flower-Power generation, electrifying Jazz in the same way that Dylan had electrified Folk music several years earlier. Musical styles within the Psychedelic camp diverged between wild progressive experimentation and back-to-roots fundamentalism, but with an all-round increase in sophistication.

Fairport Convention released What We Did On Our Holidays in January and Dr. Strangely Strange followed suit with Kip of the Serenes later in the year. British Folk-Rock artists eschewed the Country-Rock styles of their American counterparts in favour of traditional British folk tunes and tended to be lyrically less political and more prone to flights of magical fantasy. This whimsical branch of Psychedelia bore much equally strange fruit over the next decade, including releases by Alan Stivell, Comus, Fotheringay, Gentle Giant, Gryphon, Jethro Tull, Mellow Candle, Nick Drake, Pentangle, Roy Harper, Sandy Denny, The Incredible String Band and Trees. The Bonzo Dog Doo Dah Band has to be mentioned somewhere round here along with Syd Barrett's two solo albums.

Woodstock Music and Art Fair (Woodstock Festival) took place in August 1969 and became one of the most celebrated events in Rock music history. Not wanting to be left out of the fun, The second Isle of Wright attracted notable performers such as Bob Dylan and The Who.

The positive atmosphere was sadly not to last long; News of the Sharon Tate and Leno and Rosemary LaBianca murders committed by Charles Manson and his "family" of followers, claiming to have been inspired by Beatles' Songs, such as Helter Skelter, darkened the horizon. At the end of the year, a free concert was held at the Altamont Speedway in California. The concert, which was headlined by The Rolling Stones, was marred by crowd violence. The event became notorious for the now-famous "Gimme Shelter" incident because of the fatal stabbing of black teenager Meredith Hunter in front of the stage by Hells Angel security guards after he allegedly pulled out a revolver during the Stones' performance.

The Flower Power era had inspired many new bands to experiment with sound in ways that went beyond the fashion of the times. Despite these set-backs, the psychedelic soup continued to bubble away. Bubble Puppy's album A Gathering of Promises demonstrates the degree of sophistication that Psychedelic Pop had reached by the end of the '60s.

German band Can instantiated the development of Krautrock with the release of their Monster Movie album. Along with European experimentalists Amon Düül II, Ash Ra Tempel, Guru Guru, Harmonia, Neu! and Xhol Caravan they incorporated avant-garde composition techniques, improvisation and experimental rhythms into their music. Neu!'s 'Motorik' beat was an influential precursor to the drum-machine grooves of the '80s. Can's adoption of World Music influences and particularly North African rhythms lent releases such as Tago Mago, Ege Bamyasi, and Future Days a particularly unique sound.

Other artists like David Vorhaus and Delia Derbyshire pursued the potential of new soundscapes made possible by the development of electronic musical instruments, as the Silver Apples had done before them, in their album of experimental electronica An Electric Storm - released under the moniker of White Noise. During the 1970s, pure synthesiser music would be further developed by artists like Tangerine Dream and Tim Blake.

In Brazil, Os Mutantes were drawn into the Tropicália movement, while Santana adopted electrified Latin rhythms to form the basis of their music on Abraxas and Caravanserai.

01. Junior Wells - Snatch It Back And Hold It - 2.53
02. The Orange Alabaster Mushroom - Mister Day - 4.01
03. Yard Trauma - Must have been something i took last Night
04. Darius - Sweet Mama
05. Darius - Blow My Mind
06. Dragonfly - Crazy Woman - 2.42
07. Edgar Broughton Band - Evening Over Rooftops
08. Ernan Roch Con Las Voces Frescas - The Train - 4.29
09. Euclid - It´s All Over Now - 3.23
10. George Brigman - Jungle Rot
11. Gravy Train - Can Anybody Hear Me - 2.59
12. Head Over Heels - Road Runner
13. Jeff Simmons - Lucille Has Messed My Mind Up
14. Kahvas Jute - Free - 5.07
15. Raw Material - I'd Be Delighted - 5.08
16. Rock Island - Runnin' Through My Mind
17. Stepson - Rule In The Book - 3.20
18. Ted Nugent - Free Flight
19. The Ghost - Too Late To Cry
20. The Gods - Candles Getting Shorter
21. The Golden Dawn - Starvation
22. John Dummer's Famous Music Band - Love Ain´t Nothing But Sorrow
23. The Litter - I'm a Man - 4.03
24. The Next Morning - A Jam Of Love
25. The Peanut Butter Conspiracy - Turn On A Friend - 2.21
26. Them - Square Room - 9.59
27. Toe Fat - That's my love for you - 4.01
28. Truth And Janey - Building Walls
29. Twentieth Century Zoo - Thunder on a Clear Day - 4.17
30. Jade Warrior - Eyes on You
31. May Blitz - For Mad Men Only - 4.14
32. Mellow Candle - Heaven Heath - 3.03
33. The Deviants - I'm Coming Home