Amg Review
Since they had a lower profile than their peers and came across as a bunch of mates instead of serious musicians, Supergrass tended to be the most overlooked of all the major Britpop bands. They never defined the culture like Oasis or Blur, never had a following of serious-minded, clever misfits like Pulp, they weren't as sexy as Elastica, and they surely lacked the grandiose, doomed romanticism of Suede. What they were, though, was a bloody brilliant pop band. Their 1995 debut, I Should Coco, kicked harder than any record that year, and it had a bigger stylistic sprawl than any album this side of The Great Escape, which it trumped with a deliriously infectious enthusiasm -- and it was all the more impressive when the fact that Gaz Coombes and Danny Goffey were still in their teens when the cut the album. They matured at a rapid rate, refining their musicality with each of their next three records, but they never had center stage again like they did with I Should Coco. As they worked outside of the spotlight, they developed into a remarkably consistent singles band, as the generous 24-track 2004 collection Supergrass Is 10: The Best of 94-04 proves. Even their muddled eponymous third album sounds brilliant when distilled to the sweetly gorgeous "Moving" and the ridiculously intoxicating "Pumping on Your Stereo." These tunes are thrown together in a nonchronological order that contains all the A-sides apart from the U.S. radio single "Cheapskate" and the movie soundtrack selection "We Still Need More (Than Anyone Can Give)." Instead of being infuriating, this nonchronological sequencing reveals just how consistent Supergrass had been over the decade, since it forces the listener to concentrate on each individual song. Like Green Day's hits compilation International Superhits!, Supergrass Is 10 is a revelation for anybody who hasn't been paying attention, since it showcases a band that is one of best, most satisfying guitar pop groups of the last 15 years. If you haven't checked them out before, you need to get this immediately.

Call it the great transitional album, spanning the gap between Pulp's self-consciously arty past and the commercial acceptance of 'Different Class.' 'His 'N' Hers' wasn't quite sure what it wanted to be, but spawned some good songs, most notably "Do You Remember the First Time?" Finally, it seemed, the band was coming into its own, even if the 'own' on this record did appear to be appropriated from '80s Brit band Furniture. Still, there was already no doubt that Jarvis was a star, with his unique style, and that bigger things were on the horizon. A Polaroid of a band on the road to success.

Spelling the end of Happy Mondays laddishness, Suede were a southern Smiths transported back to the era of Ziggy Stardust. Their songs were vignettes of sad suburban dreamers, set to chords that came straight from the David Bowie songbook. Singer Brett Anderson exhumed Bowie's feyest Anthony Newley voice, while guitarist Bernard Butler took a major leaf out of the Johnny Marr simultaneous-lead-and-rhythm book, underpinning Anderson's wan languor with a gritty verve. "The Drowners" was a glam classic, and "Metal Mickey" as poutingly punky as any of the great T. Rex singles. --Barney Hoskyns

Their "nutty sound" seems to fall to the background somewhat on this move toward more mature songwriting. Expanding beyond the limited scope of ska, this is a fine pop effort at times dabbling in more experimental sounds such as sitars and Arabic rhythms. Includes the splendid single "It Must Be Love."This album includes great songs which are 'Grey Day','Shut Up'.Their energetic style is very important and they're really madness.Great new wave,ska revival style.

The key word in the title of this triple-disc collection of single sides from the Buzzcocks is "Complete," which in this case proves to be both a virtue and a flaw. In their original incarnation, the Buzzcocks scarcely ever made a wrong move, and between 1977 and 1981, they released a string of genius singles that not only defined the nascent genre of punk-pop, but showed how adventurous their lean but hook-laden bamalama could be. In 1989, after an eight-year split, the Buzzcocks got back together and, following a handful of well-received tours, they began recording again (with Pete Shelley and Steve Diggle joined by a variety of bassists and drummers). However, while the Buzzcocks continue to be a superb live band, the recordings from the new edition of the group simply haven't been as exciting or memorable as their original string of discs, and though the quality level of this set begins to falter a bit with the last few sides from the first Buzzcocks lineup, it's when the band reunites for Trade Test Transmissions on track 32 with "Alive Tonight" that the dip becomes really obvious. Mind you, it's not that the recordings from the second-generation Buzzcocks are bad; the group could (and can) still write good songs and play them with vigor and enthusiasm, but when you were perhaps the world's greatest singles band for four years, simply being considerably better than average just isn't the same. The epochal Singles Going Steady is still the best document of the Buzzcocks' first flower of genius, and while The Complete Singles Anthology has everything from that album, along with the brilliant Spiral Scratch EP, you also get a bunch of other stuff you'll probably find yourself skipping over after you've played it once.

biography:

The Jam were a British punk rock/new wave band active in the late 1970s and early ’80s. They were one of the most popular groups of the day, achieving eighteen straight Top 40 singles in the UK from their debut in 1977 to their swansong in 1982, including four #1 hits. Incredibly, two of these eighteen singles were available on an import-only basis; they remain the best-selling import singles of all time in the UK. They also released six albums in their day, the last of which (The Gift) hit #1 on the UK album charts. Massively popular in Britain, as well as much of the rest of Europe and beyond, they never gained much commercial success in North America, but they did retain a considerable cult following. They drew upon a variety of stylistic influences over the course of their career, including punk rock, British Invasion, American soul, mod music, and even British psychedelia. Even into the 1990s their music proved to be highly influential on many successful British guitar pop bands from The Smiths in the ’80s to Britpop groups Blur and Oasis more recently. Despite the group’s limited fame in the United States, they remain a major influence on popular American groups such as Green Day as well. To this day, they rank as one of the most highly successful British groups of all time.

Launching the career of singer, guitarist, and songwriter Paul Weller, who remains a successful solo artist to this day, the trio was known for its high-energy, hard-hitting pop songs, distinctly British flavour, and sharp mod image. All three members were skilled musicians and made critical contributions to the group’s sound. Weller wrote and sang virtually all of the group’s original compositions, and drove them with the chiming tones of a Rickenbacker guitar. Bassist Bruce Foxton made up for the group’s lack of a second guitarist by carrying much of the melody in his distinctive playing, a confluence of the power of John Entwistle with the speed and melodicism of Paul McCartney. His instantly memorable basslines were the foundation of many of the group’s songs, including the hits "Down in the Tube Station at Midnight", "The Eton Rifles", and "A Town Called Malice". Foxton’s sweet harmonies also gave the group another memorable cachet. Drummer Rick Buckler played with the full-on energy of Keith Moon, but dispensed with Moon’s flashiness in favour of steady but intricate beats and subtle, deft touches. Despite having only three members, The Jam are still regarded as one of the most powerful and fiery groups in British rock.

The Jam spent much of the next two years touring. They were not very successful with their U.S. shows, for some of which they were the opening act for arena-rockers Blue Öyster Cult, but they did better with their UK performances. As they went back into the studio to record a third album of primarily Foxton contributions, the songs were dismissed by producers as poor and held off recording an album in hopes that Weller would once again find inspiration.

Returning to his hometown of Woking, Weller spent much of his time listening to albums by The Kinks and coming up with new songs. They released their next single, the double A-side "David Watts" b/w "'A' Bomb In Wardour Street". "David Watts" was a cover of the bouncy Kinks' classic; Weller and Foxton trade lead vocals throughout the song. "'A' Bomb In Wardour Street" was a Weller original. One of their hardest and most tense tracks, Weller venomously spat out lines cursing the violent thugs that now plagued the punk scene over a taut two-chord figure. The single, and "'A' Bomb" in particular, was hailed as a return to form and became their most successful 7" since "All Around The World".

It wasn't until their next single, "Down In The Tube Station At Midnight", that The Jam erased doubts from critics' minds. "Tube Station", an intricate first-person tale in which the narrator gets beaten, presumably to death, by thugs who "smelled of pubs and Wormwood Scrubs and too many right-wing meetings", was a story seemingly ripped from contemporary headlines of skinhead violence. Alternating quiet verses and loud choruses and propelled by Foxton's tense bassline, "Tube Station" again channels the atmosphere of fear and violence that was afflicting Britain in the late '70s. Had it not had a myopic BBC airplay ban slapped on it, allegedly for promoting thuggery, it likely would have become the Jam's first top 10 hit in the UK.

Aside from Weller's markedly more mature and sophisticated songwriting, another key shift in the group's sound was introduced by Foxton's adoption of the Fender Precision Bass after the recording of This Is the Modern World.The P-Bass did not have the mod image of Bruce's old Rickenbacker, but it gave his melodic basslines a fuller, richer sound evocative of the most famous purveyor of the P-Bass, Motown's James Jamerson. A richer tone for Bruce was necessary for the group's progression as he carried the melody much of the time.

The Jam released their third LP, All Mod Cons in 1978. The band was able to disguise the arduous process of creating the album by including three previously released tracks among the twelve in total: "David Watts", "'A' Bomb In Wardour Street", and "Down In The Tube Station At Midnight". (It also contained two songs Polydor had previously rejected for single release, the manic "Billy Hunt" and the acoustic ballad "English Rose".) Despite having only nine all-new songs, All Mod Cons is considered by many to be the band's masterpiece.

Britpop
The Beatles established a long-running British tradition of tuneful, guitar-driven pop bands, a tradition that was refreshed and updated every so often by new musical movements. Britpop, however, refers to the legion of '90s bands who drew more consciously from that tradition than ever before. Although the movement originated in the U.K. indie scene, Britpop was unabashedly commercial - its bands prized big, shiny, catchy hooks, as well as the glamour of mainstream pop stardom and the sense that they were creating the soundtrack to the lives of a new generation of British youth. And it was very definitely British youth they were aiming at; Britpop celebrated and commented on their lives, their culture, and their musical heritage, with little regard for whether that specificity would make them less accessible to American audiences. Britpop's youthful exuberance and desire for recognition were reactions not only against the shy, anti-star personas of the early-'90s shoegazer bands, but also the dourness of American grunge and the faceless producers behind the growing electronic-dance underground. Musically, Britpop drew from the Beatles, of course, but also from the pastoral sound of late-'60s Kinks, the mod movement (the Who, the Small Faces), '70s glam (David Bowie, T. Rex, Roxy Music), punk and new wave (the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello), and the alternative guitar-pop of the Smiths. All those artists were quintessentially British -- they crafted their images, lyrics, and sounds from a distinctly British frame of reference, which was why few of them became anything more than cult artists in the U.S. (and why Britpop functioned much the same way). Apart from those influences, Britpop had its most immediate roots in the Madchester scene, whose emphasis on good times and catchy tunes pointed the way around the shoegazer aesthetic. The Stone Roses' effortless pop hooks and rock-star attitude were the most important part of the foundation, but the true founding fathers of Britpop were Suede. Released in 1993, their self-titled debut became an unexpected smash with its fusion of glam-rock majesty and Smiths introspection. Suede opened the doors for even bigger breakthroughs in 1994 by Blur (Parklife) and Oasis (Definitely Maybe), who quickly became Britpop's two most popular superstars. With their success came a giddy explosion of similarly inspired bands; Elastica, Pulp, Supergrass, and the Boo Radleys were among the biggest. In 1996, Oasis became the only Britpop band to become genuine mainstream stars in the U.S. 1997 brought the first signals that the Britpop boom was beginning to run out of steam, namely Oasis' poorly reviewed third album and Blur's move toward American indie rock. Yet even after the movement's star began to fade, several individual bands kept going strong, and the less youth-oriented British trad rock movement kept its classicism alive.

From the sounds of the cloistered, chaotic opener, "Leave Them All Behind," Going Blank Again sounds like it could be headed down the same Nowhere path. Guitars as far as the ear can hear -- not much different from the effect gained after riding a sit-and-spin for eight straight minutes -- are just as dizzying as the prior record's opener. But rather than sink into a thick underbelly of melancholy, Going Blank Again offers sunshiney melodies and gleaming, bold production. All the band's elements are more pliable, and overall it's pretty cheery. In fact, some of the album could be loosely classified as power pop. Bouncy tunes like "Twisterella," "Not Fazed," "Mouse Trap," and "Time of Her Time" each share more than a thing or two in common with the likes of Teenage Fanclub, but with more layered vocals and less-cutting guitars. Though Ride's guitars don't bite as much, there are loads of them everywhere; the band doesn't completely sacrifice their love of reverberating noise, but it's more done in the name of pop than to merely cause a blistering racket. Though the lyrics often read as overtly simple or obtuse (a common Ride foible), Mark Gardener's and Andy Bell's voices are too pretty to let this shortcoming mar things. They create enough of a mood with their proper instruments, and their sighing and random vocal intonations are undeniably lovely. No longer do they hide shortcomings with sheets of distortion, and there's a lot more focus and confidence on display throughout. Don't let a Ride fan tell you otherwise: Going Blank Again is anything but empty. [Going Blank Again was remastered and reissued by Ignition U.K. in 2001. Four B-sides are added; the only B-side from this era not included is an alternate version of "Chrome Waves."]

1. "Cherry-Coloured Funk"
2. "Pitch The Baby"
3. "Iceblink Luck"
4. "Fifty-Fifty Clown"
5. "Heaven Or Las Vegas"
6. "I Wear Your Ring"
7. "Fotzepolitic"
8. "Wolf In The Breast"
9. "Road, River, and Rail"
10. "Frou-Frou Foxes In Mid-summer Fires"

Heaven Or Las Vegas is a 1990 (see 1990 in music) album by British rock group Cocteau Twins, their last for the music label 4AD. The album is noteworthy for the musical evolution the band was showing at the time. The lyrics of vocalist Elizabeth Fraser are more intelligible; many of them concern her newborn daughter Lucy Belle. Guitarist Robin Guthrie was experiencing problems with drug addiction, leading to a lack of standout guitar parts. To fill the void bassist Simon Raymonde's playing is more in the forefront.

After temporarily suspending the band, J Mascis first snuck out "The Wagon" as a Sub Pop single, then a little while later released the group's first major-label album, Green Mind fame adds some of the music and background vocals, but otherwise it's . More of a solo project than a group effort -- Lou Barlow was out and then some, Murph only drums on three tracks, a few guests pop up here and there -- it's still a great album, recorded and performed with gusto. Such a judgment may seem strange given Mascis' legendary image as the überslacker, but clearly the man knows how to balance how to convey himself with getting the job done. "The Wagon" itself kicks off the album, an even quicker and nuttier sequel to the peerless "Freak Scene" -- Don Fleming of GumballMascis and Murph cranking it and having a blast. When Mascis goes into one of his patented over-the-top solos, it all feels just right -- this is loud rock music for putting a smile on your face, not beating up people in a pit. The remainder of the album floats and rumbles along in its uniquely Dinosaur Jr. type of way, as apt to find poppy hooks, singalongs, and soft strumming as it is to blow out the Marshalls. Sublime moments include the contrast of sweet acoustic guitar and loud drums on "Blowing It," the fun thrash of "How'd You Pin That One on Me," and the Mellotron-as-flute-tinged stomp "Thumb." If nothing on the album is completely as freaked-out and over the top as "Push" from Bug, it's still a fine translation of Mascis' art for the commercial big boys. The song titles alone sometime say it all -- "Puke + Cry," "I Live for That Look," "Muck." Mascis throughout sounds like his usual self, cracked drawl ever as it was and shall be.

My Bloody Valentine [Modern Music Recommended]

all Ep's:
- Feed Me With Your Kiss
- Sunny Sundae Smile
- You Made Me Realise
- Glider
- Tremelo
My Bloody Valentine were an Irish-British rock band known for their creative use of guitar distortion and vibrato. Sharing their name with that of a Canadian slasher film, they formed in 1984 in Dublin and continued into the early 1990s. Original members were guitarist/singer Kevin Shields and drummer Colm O'Ciosoig. The band's lineup during their heyday also included singer-guitarist Bilinda Butcher and bassist Debbie Googe.
Pass: burt

Shoegaze is a genre of late '80s and early '90s British indie rock, named after the bands' motionless performing style, where they stood on stage and stared at the floor while they played. But shoegaze wasn't about visuals -- it was about pure sound. The sound of the music was overwhelmingly loud, with long, droning riffs, waves of distortion, and cascades of feedback. Vocals and melodies disappeared into the walls of guitars, creating a wash of sound where no instrument was distinguishable from the other. Most shoegaze groups worked off the template My Bloody Valentine established with their early EPs and their first full-length album, Isn't Anything, but Dinosaur Jr., the Jesus & Mary Chain, and the Cocteau Twins were also major influences. Bands that followed -- most notably Ride, Lush, Chapterhouse, and the Boo Radleys -- added their own stylistic flourishes. Ride veered close to '60s psychedelia, while Lush alternated between straight pop and the dream pop of the Cocteau Twins. Almost none of the shoegazers were dynamic performers or interesting interviews, which prevented them from breaking through into the crucial U.S. market. In 1992 -- after the groups had dominated the British music press and indie charts for about three years -- the shoegaze groups were swept aside by the twin tides of American grunge and Suede, the band to initiate the wave of Britpop that ruled British music during the mid-'90s. Some shoegazers broke up within a few years (Chapterhouse, Ride), while other groups -- such as the Boo Radleys and Lush -- evolved with the times and were able to sustain careers into the late '90s.

1 Intro to apocalypse please
2 Apocalypse please
3 Time is running out
4 Sing for absolution
5 Stockholm syndrome
6 Falling away with you
7 Interlude
8 Hysteria
9 Blackout
10 Butterflies and hurricanes
11 Tsp
12 Endlessly
13 Thoughts of a dying atheist
14 Rule by secrecy
Absolution is the third studio album (fourth overall) by British rock band Muse. It was released on September 29, 2003 in the UK and almost six months later on March 23, 2004 in the US by Taste Music Limited.

Unlike previous albums, the recording and release of Absolution was not subject to constraining schedules, allowing the band to take as much time as they felt necessary to refine and alter their songs.

The album debuted at No. 1 in the UK charts, and soon after, reached No. 1 in French charts. Within weeks of release it reached the top 5 in twelve countries, the top 10 in fifteen countries and the top 20 in twenty countries. The album reached #107 in the United States. Due to the long delay between the UK version and US version releases, Absolution remained popular in charts for an unusually long time, and saw the release of 5 singles (and 1 charity special download "Apocalypse Please").

Origin of Symmetry is British rock band Muse's second album, released in the summer of 2001 on Mushroom Records in the UK. "Plug In Baby", "New Born", "Bliss", "Feeling Good" and "Hyper Music" were the singles from this album; the latter two were released together as a double-A-side.

Maverick Records, who previously released Showbiz in the US, asked Muse to remove the falsetto vocals for the Origin of Symmetry's US release. They believed that the falsetto would discourage radio play. Muse's refusal to compromise their artistic integrity (or ruin the song) saw them part ways with the label. For this reason, the CD was not released in the US until September 2005. Muse's track New Born was taken and remixed by Paul Oakenfold, and appears on the Swordfish soundtrack.

"Feeling Good" is a cover of a song originally from a 1965 musical (The Roar of the Greasepaint—the Smell of the Crowd). Nestlé tried to use it in a coffee commercial. Nestlé first sought the permission of Muse, who refused them the right to use the song, however Nestlé continued to use the song and therefore Muse took them to court. They were forced to remove it and pay the band £500,000 in damages (which the band donated to Oxfam), however Nestlé then replaced the Muse version with a close imitation.

After success as the frontman of Pavement, Stephen Malkmus's solo career is marked by the smarts, eclecticism, and cheeky surprise. 'Face The Truth', Malkmus's third solo effort, toes that line, yet it is his most diverse outing, with a mix and match style that references a range of influences, wrapping it all in his inimitably surreal sensibility. Though strum heavy, guitar based songs like 'Freeze the Saints' and 'Post-Paint Boy' recall the open road Americana of Malkmus buddies Silver Jews, and 'No More Shoes' lays down a bluesy groove with Pavement-esque guitar interludes, elsewhere the album reveals electronic and post punk elements. The angular, synth-heavy opener, 'Pencil Rot', for example, is full of herky jerky new wave tunefulness, and is one of the disc's highlights. 'I've Hardly Been' sounds like a cross between Depeche Mode and Captain Beefheart, while 'Kindling for the Master' starts off with a bizarre verse before dropping into a trance like atmosphere flavored with spacey keyboards and effects. As always, Malkmus's lyrics are literate (he tosses off words like "elucidate" and "quagmire" with ease), witty, and enigmatic, and his voice quavers and breaks with more authority than ever. Although 'Face The Truth' will sound familiar to longtime fans, it is full of fresh surprises.

Tonight is a 1984 album by David Bowie, featuring collaborations with Tina Turner and a cover of the Beach Boys' "God Only Knows". Critics slammed it as a lazy effort, dashed off by Bowie simply to recapture Let's Dance's chart success. Yet the album bore the minor hit "Blue Jean", whose long-form video, a 22-minute short film directed by Julien Temple, reflected Bowie's long-standing interest in combining music with drama. It also featured the minor hit "Loving the Alien". The album also has a pair of dance version rewrites of "Neighbourhood Threat" and "Tonight", old songs Bowie wrote for Iggy Pop, both of which originally appeared on Lust for Life.

Sin After Sin is the third album by the British heavy metal group Judas Priest, released in 1977. The album was remastered in 2001, with two bonus tracks added. This album featured the drum work of a very young and upcoming session drummer, Simon Phillips, who was only 19 at the time of recording. The record features a cover of Joan Baez's "Diamonds and Rust", a track that would become a live favourite from then onwards. In 1988, Slayer covered the song Dissident Agressor on their critically acclaimed South of Heaven album.

Who Made Who is a hard rock album by Australian band AC/DC, released as the soundtrack to the Stephen King movie Maximum Overdrive. King would allude to the album's title song in his later novel The Stand, where a survivor of the novel's flu pandemic changes the lyrics to "Who Made Flu." Three tracks on the album — "Who Made Who" and the instrumentals "D.T." and "Chase the Ace" — were newly written and recorded by AC/DC. The rest were taken from the band's previous albums. Only one song is from the Bon Scott era; the others all feature Brian Johnson. The album has sold 5 million copies in the USA.

Along with the album, the band released a video tape which contained music videos for the songs "Who Made Who", "You Shook Me All Night Long", "Shake Your Foundations", "Hells Bells", and footage from a live performance of "For Those About to Rock (We Salute You)" which was filmed in Detroit in 1983. The album was re-released in 2003 as part of the AC/DC Remasters series.

A collection of all of Pavement's low-fidelity early singles and EPs, which feature considerably less melody than Slanted and Enchanted. It's nice to have this rare material on one CD, although the music is defiantly anti-CD. Those who boarded the train with the acclaimed Slanted and Enchanted should catch up on what they've missed. ~ Stephen Thomas Erlewine, All Music Guide

Many people confuse this self titled album from the Velvet Underground for their debut. And while this is incorrect, as it is their third release, there is some truth to it, as it debuts the band after the departure of John Cale. The songs actually sounded like rock music and John Cale's screeching musicality was reworked into songs that featured Sterling Morrison's most eloquent guitar accompaniment. Reed's songwriting moved beyond the armed to disarm approach of the previous two albums towards a spiritual level of empathy with the human race; this change does not go unnoticed. The man who once begged someone to "nullify [his] life" ('Heroin') was now asking 'Jesus' to "help me find my proper place," and whooping his way through the equally inspiring 'Beginning To See The Light'. To this day, every song on 'The Velvet Underground' sounds like a breakthrough. In short, 'The Velvet Underground' showcased the human side of Lou Reed's songwriting. Unobstructed by walls of sonic noise, Reed's insight and genius was finally allowed to shine through. An essential masterpiece.

Hullabaloo Soundtrack (sometimes referred to as just Hullabaloo) is a 2-disc compilation/live album and DVD by alternative rock band Muse. The first disc is a selection of B-sides, which includes a slower acoustic version of the hit single "Hyper Music" entitled "Hyper Chondriac Music".

The second disc/DVD was recorded live at Le Zenith, Paris on the 28th and 29th of October 2001. The set list consists mainly of songs from Muse's two previous studio albums Showbiz and Origin of Symmetry.

Also, the song "Dark Shines" appears only on the Japanese DVD release.

(What's the Story) Morning Glory? is the highly acclaimed second album by English rock band Oasis, (possibly inspired by the Gordon Lightfoot song Morning Glory where it only stayed for 1 week then again on which includes the line "What's the story, Morning Glory?", from his East of Midnight album), first released in October 1995. The album was a worldwide hit, reaching #1 in the United Kingdom on 8 October7 January where this time it stayed for 6 weeks and a finally 3 week stint starting on February 25th meaning it spent a total of 10 weeks on the top of the UK charts, and #4 in the United States, and selling more than 19 million copies worldwide. The album was produced by Owen Morris and was confirmed by the BPI in July 2006 to be the fourth biggest selling album of all time in the UK. The title is said to have been inspired by a friend of Noel's who used the phrase during a telephone conversation. The phrase "Morning Glory" is British slang, referring to an erection experienced after waking up

It was logical enough, given the techno direction of its recent work, that New Order would hook up with New York producer Arthur Baker, and the result of their collaboration was "Confusion," a "Planet Rock"-like set of drum beats and electronic pulses that gave the group its second big dance hit of 1983. This 12-inch single presents the song in various mixes and edits.

Confusion is a single released by British group New Order in August 1983 with the catalogue number FAC 93. It was the follow-up to their massive club hit "Blue Monday". The song is produced by influential New York DJ Arthur Baker. As a result it was recorded in New York, a first for the band, and the video was also shot in the city. Three remixes served as b-sides on the initial 12" release: "Confused Beats", "Confusion Instrumental" and "Confusion Rough Mix".

Rating:8/10
The key to Placebo's sound is singer/guitarist Brian Molko, whose impersonation of a woman goes far beyond his appearance and into his singing voice. His trio brings together various influences — the epic, noisy "Chicago sound," late-'70s prog rock, and late-'80s "college rock" — but boils them down into fairly conventional, guitar-heavy melodrama, with the sort of opaque and angst-ridden lyrics usually found in that genre. That's not to say that Placebo's sound is boring; churning guitars and direct, heavy basslines give the album a good deal of strength, and Molko is able to write moving, gritty melodies and fairly clever lyrics. Placebo may sound like a mix between the Smashing Pumpkins and Rush — and the levels of melodrama on the album may stretch far beyond most people's tolerance — but it's well-written and performs enough variations on those genres to keep it interesting.

Hormoaning is a Nirvana EP that was released on February 5, 1992 through Geffen Records. It was released only in Australia and Japan.

• "Turnaround", "Son of a Gun" and "Molly's Lips" also appear on Incesticide.
• "D-7" also appears on the UK version of the "Lithium" single.
• "Aneurysm" and "Even in His Youth" also appear on the "Smells Like Teen Spirit" single.
• "D-7" and this version of "Aneurysm" can also be found on disc #2 of With the Lights Out.
• A different studio version of "Aneurysm" can be found on the Incesticide album.

Manic Street Preachers have come a long way from the raw Clash-style punky shoutings of their early singles and their later Guns N' Roses infatuation. Both The Holy Bible and Everything Must Go were albums to die for (almost literally: their old guitarist Richey James still hasn't been found since his disappearance a few years back), and this Welsh trio still have the capacity to enrage the most placid of souls. Some find their contradictions far too great to handle, others (this critic included) find them wonderfully inspirational.

This Is My Truth is an elegant, epic album full of the huge choruses and direct slogans we've come to know and love. The No. 1 U.K. hit "If You Tolerate This, Your Children Will Be Next" is a deceptively subtle groover with a Motown-style beat--almost Jam's "A Town Called Malice" for the '90s. The windswept "Tsunami" uses sitars to get its message across, while "The Everlasting" is simply beautiful. OK, James Dean Bradfield may have a limited vocal range, but he sure has passion to spare. Four albums after they promised to break up, the Manics are still as impassioned as ever.

Kevin Ayers is one of rock's oddest and more likable enigmas, even if often he's seemed not to operate at his highest potential. Perhaps that's because he's never seemed to have taken his music too seriously -- one of his essential charms and most aggravating limitations. Since the late '60s, he's released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude. Apt to flavor his songs with female backup choruses and exotic island rhythms, the singer/songwriter inspires the image of a sort of progressive rock beach bum, writing about life's absurdities with a celebratory, relaxed detachment. Yet he is also one of progressive rock's more important (and more humane) innovators, helping to launch the Soft Machine as their original bassist, and working with noted European progressive musicians like Mike Oldfield, Lol Coxhill, and Steve Hillage....
Ayers continued to release albums in a poppier vein throughout the '70s, at a regular pace. As some critics have noted, this dependable output formed an ironic counterpoint to much of his lyrics, which often celebrated a life of leisure, or even laziness. That lazy charm was often a dominant feature of his records, although Ayers always kept things interesting with offbeat arrangements, occasionally singing in foreign tongues, and flavoring his production with unusual instruments and world music rhythms. He (or Harvest) never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push. Or a little less weirdness. Even Ayers at his most accessible and direct wasn't mainstream, a virtue that endeared him to his loyal cult.

I Bet You Look Good On The Dancefloor
The View From The Afternoon
The View From The Afternoon (End)
Still Take You Home
You Probably Couldn't See For The Lights But You Were Looking Straight At Me
Bigger Boys And Stolen Sweethearts
Dancing Shoes
When The Sun Goes Down (Scummy)
From The Ritz To The Rubble
Perhaps Vampires Is A Bit Strong But...
Mardy Bum
Fake Tales Of San Francisco
A Certain Romance
Outro

http://rapidshare.de/files/11982955/amgermany.rar

1. City Of Blinding Lights live (FROM Chicago, May 2005)
2. Vertigo live (FROM Chicago, May 2005)
3. Elevation live (FROM Chicago, May 2005)
4. I Still Haven't Found What I'm Looking For live (FROM Milan, July 2005)
5. Miracle Drug live (FROM Chicago, May 2005)
6. Miss Sarajevo live (FROM Milan, July 2005
7. The Fly live (FROM Chicago, MAY 2005)
8. With Or Without You live (FROM Milan, July 2005)

http://rapidshare.de/files/12310403/2U.itszip

Part 9

http://www.supashare.com/47438939/

or

http://rapidshare.de/files/12219745/JC_CISR.part09.rar.html

ignore every message of winrar about authenticity verification failed .

Pass is only_for_projectw

Download

The Holy Bible was the third studio album by the Welsh rock band Manic Street Preachers. It was released on August 30, 1994 by Epic Records, a subsidiary of Sony Records. Their two previous albums had been released by Sony Records on the Columbia Records imprint. It was the band's final album before the disappearance of their lyricist and iconic talisman Richey James Edwards on February 1, 1995.

The album is notable for its use of instruments, or rather, its limited use of instruments. The only instruments used on the album are the electric guitar, bass, drums and percussion. Other instruments such as the piano or strings, are not present anywhere on the album. However, upon listening, the reasons for this soon become apparent: each song is implicitly linked and related to all the other songs on the album; as such, the album sounds like a complete set of songs that support and complement one another.

01. You And Me
02. Valentine
03. This Towns Religion
04. Sink Like A Stone
05. Too Much In Your Life
06. Winters Memory Of Summer
07. Given Away
08. Hideaway
09. Lillian
10. Out Of Nowhere
11. Waste Of Space

http://rapidshare.de/files/12026563/delcolours.rar

Delays are an indie band formed in Southampton, likened to the Cocteau Twins. They gained much exposure for their supporting role to the Manic Street Preachers in their Past/Present/Future Spring 2005 tour.

Band Members

• Vocals/Guitar: Greg Gilbert
• Keyboard/Vocals: Aaron Gilbert
• Vocals/Bass: Colin Fox
• Drums: Rowly

Singles

• Nearer Than Heaven (21/04/2003)
• Hey Girl (21/07/2003) 40
• Long Time Coming (19/01/2004) 16
• Nearer Than Heaven (22/03/2004) 21
• Lost In A Melody / Wanderlust (22/11/2004) 28
• Valentine (20/02/2006)

Albums

• Faded Seaside Glamour (05/04/2004) 17
• You See Colours (06/03/2006)

Tracks:

1. Sowing The Seeds Of Love
2. Everybody Wants To Rule The World
3. Woman In Chains
4. Shout
5. Head Over Heels
6. Mad World
7. Pale Shelter
8. I Believe
9. Laid So Low (Tears Roll Down)
10. Mothers Talk
11. Change
12. Advice For The Young At Heart
**********

Download:

http://www.megaupload.com/?d=30YKO23P

Deep Purple – In concert with The London Symphony Orchestra
2 Cd's
MP3 320 Kpbs | Covers + Booklet 300 dpi

CD1
1. Pictured Within
2. Wait a While
3. Sitting in a Dream
4. Love Is Al
5. Via Miami
6. That´s Why God Is Singing the Blues
7. Take It off the Top
8. (Hard Road) Wring That Neck
9. Pictures of Home

CD2
1. Concerto for Group And Orchestra (Movement I)
2. Concerto for Group And Orchestra (Movement II)
3. Concerto for Group And Orchestra (Movement III)
4. Ted the Mechanic
5. Watching the Sky
6. Sometimes I Feel Like Screaming
7. Smoke on the Water


Performed live in England 1999 by:

* Ian Gillan vocals
* Roger Glover bass guitar
* Jon Lord organ, keyboards
* Steve Morse guitar
* Ian Paice drums

* and the London Symphony Orchestra conducted by Paul Mann

* Plus special guests Aitch Mc Robbie vocals, Margo Buchanan vocals, Pete Brown vocals/guitar, Mario Argandona
vocals/percussion, Sam Brown vocals, Miller Anderson vocals/guitar, Ronnie James Dio vocals, Graham Preskett violin, Steve Morris guitar, Eddie Hardin piano

* Steve Morse Band = Steve Morse guitar, Dave La Rue bass, Van Romaine drums
* The Kick Horns = Annie Whitehead trombone, Paul Spong trumpet/flugelhorn, Roddy Lorimer trumpet/flugelhorn, Simon C Clarke saxophone/flute, Tim Sanders saxophone

CD1 | MP3 320 Kpbs
1-5
http://rapidshare.de/files/12107227/1-5.rar.html
6-9
http://rapidshare.de/files/12109597/6-9.rar.html

CD2 | MP3 320 Kpbs
1-2
http://rapidshare.de/files/12125494/1-2.rar.html
3-7
http://rapidshare.de/files/12127845/3-7.rar.html

Covers + Booklet | 300 dpi
http://rapidshare.de/files/12134965/Covers-DeepPurple-Live.rar.html

pass: HatorAvaxHome

Artist: The Only Ones
Album: Darkness And Light - The Complete BBC Recordings
Genre: Alternative
Year Released: 2002 from Sessions 1977-1979

Track listing:

Disc 1
1. Oh No
2. Lovers Of Today
3. Telescopic Love
4. In Betweens
5. Another Girl Another Planet
6. The Beast
7. No Peace For The Wicked
8. Language Problem
9. Miles From Nowhere
10. Flaming Torch
11. From Here To Eternity
12. Prisoners
13. The Happy Pilgrim
14. The Big Sleep
15. Oh Lucinda
16. Why Don't You Kill Yourself

Disc 2
1. The Beast (Radio 1 In Concert 5.7.78)
2. The Immortal Story (Radio 1 In Concert 5.7.78)
3. Lovers Of Today (Radio 1 In Concert 5.7.78)
4. Someone Who Cares (Radio 1 In Concert 5.7.78)
5. Another Girl Another Planet (Radio 1 In Concert 5.7.78)
6. Flowers Die (Radio 1 In Concert 5.7.78)
7. She Says (Radio 1 In Concert 5.7.78)
8. No Peace For The Wicked (Old Grey Whistle Test 13.6.78)
9. The Beast (Old Grey Whistle Test 13.6.78)
10. No Solution (Old Grey Whistle Test 13.3.79)
11. In Betweens (Old Grey Whistle Test 13.3.79)
12. Programme (Old Grey Whistle Test 13.3.79)

Links:
http://rapidshare.de/files/12223662/1senOylnO.zip

http://rapidshare.de/files/12225322/2senOylnO.zip

Pass:stairway

A four-track, 40-minute EP of live material recorded in London, Live illustrates the art rock and jam-band underpinnings of avant metal's most intriguing act, the Mars Volta. The EP begins with two tracks recorded live at BBC studios in Maida Vale, including a version of "Roulette Dares" with copious echo and some testifying organ work. "Drunkship of Lanterns" appears with all the stop-start action expected from heavy rockers ranging from King Crimson to Fugazi. The final two tracks are live in concert, and prove that Mars Volta function just as well in traditional live venues as in the controlled surroundings of the studio. ~ John Bush, All Music Guide

1 Roulette Dares (The Haunt Of) (9:29)
2 Drunkship of Lanterns (9:38)
3 Cicatriz ESP (16:03)
4 Televators (7:18)

Produced by Sean Slade and Paul Q. Kolderie (Radiohead, The Pixies, Hole) and recorded over several weeks at Allaire Studios (a converted turn-of-the-century mansion in the Catskill Mountains of upstate New York), Yes, Virginia is a rich tapestry that showcases the band's road-sharpened musical chemistry and digs deep into recesses of the human heart usually considered taboo. Songs like "Sex Changes" and "Dirty Business" blast listeners with earsplitting Marshall Stack Power and explore the pathology of identity crisis. Torch cousins "First Orgasm" and "Me & The Minibar" finds Palmer back alone at her piano, delicately unfolding her pained confessions. Viglione solidifies his place in the Drummer Pantheon as he delivers mind-boggling fills and flourishes on fast-and-furious tunes "Modern Moonlight" and "Necessary Evil." On "Mrs. O," a slightly cryptic mid-tempo ballad about the re-writing of history, Palmer takes on the dangerous character of a holocaust-denying old woman with the words "There's No Hitler and No Holocaust/No Winter and No Santa Claus/And Yes, Virginia, All Because/The Truth Won't Save You Now..." This line, and the title of the record itself, is a reference to the now-famous 1897 New York Sun letter to the editor in which 8-year old Virginia O'Hanlon questions the existence of Santa Claus. Palmer's ambiguous reaches at answering life's impossible questions � whether about identity, loneliness or technology - may echo dark, but underneath lies a timid optimism and a childlike wonder.

Mid-price reissue of 1980 new wave classic. Ten tracks including the classic, 'Fade To Grey'.
Visage is the debut album from UK-based New Romantic ensemble Visage.Eight musicians had worked in this album.As you know Barry Adamson was playing bass guitars of Visage.

Strange and drummer/nightclub partner Rusty Egan had wisely surrounded themselves with top-level talent, primarily drawn from the bands Ultravox and Magazine, and the excellent playing of contributors like guitarists Midge Ure and John McGeoch, bassist Barry Adamson, synthesist Dave Formula, and, especially, electric violinist Billy Currie, all of whom give the album a depth unmatched by most contemporaneous techno-pop.

In the Reins is a joint EP by Calexico and Iron & Wine, released by Overcoat Recordings on September 13, 2005. Iron & Wine's Sam Beam wrote all of the songs, which were recorded by the two bands together at Wavelab Studio in Tucson, Arizona.

Calexico had its origins in 1990 when Burns, who was studying music at the University of California, Irvine, met up with Convertino, who was playing drums with Howe Gelb in Giant Sand. Burns joined them, after first playing upright bass on a European tour. Giant Sand moved to Tucson, Arizona in 1994. John and Joey formed the Friends of Dean Martin (later the Friends of Dean Martinez) which scored a record deal with Sub Pop. However, the pair split up with Bill Elm, the co-founder of The Friends of Dean Martinez in 1996. The band subsequently became a kind of indie rhythm section for hire, working with the likes of Victoria Williams, Barbara Manning and Richard Buckner before forming Calexico.


Other Albums:
calexico - feast of wire
calexico - even my sure things fall
calexico - alone again
calexico - hot rail
calexico - convict pool
calexico - aerocalexico
calexico - hot rail
calexico - iron and wine in reigns

Track 01	I Bet That You Look Good On The Dancefloor * (5.3MB)
Track 02	The View From The Afternoon * (3.3MB)
Track 03	The View From The Afternoon (End) * (2.3MB)
Track 04	Still Take You Home * (4.7MB)
Track 05	You Probably Couldn't See For The Lights But You Were Looking Straight At Me * (3.8MB)
Track 06	Bigger Boys And Stolen Sweethearts (4.8MB)
Track 07	Dancing Shoes * (5.0MB)
Track 08	When The Sun Goes Down (Scummy) * (4.9MB)
Track 09	From The Ritz To The Rubble * (5.7MB)
Track 10	Perhaps Vampires Is A Bit Strong But... * (7.3MB)
Track 11	Mardy Bum * (5.0MB)
Track 12	Fake Stales Of San Francisco * (5.7MB)
Track 13	A Certain Romance * (8.3MB)
Track 14	Outro (2.4MB)

Over the course of five mesmerizing CDs, Unearthed shows us just how Johnny Cash's now-legendary handful of recordings for American Records came to be. Four discs feature previously unreleased tracks from the famed Rick Rubin-produced sessions. Through their inconsistencies and quirks (and, more often than not, brilliance), they shed light on how Cash's final records were shaped, edited, and produced. Here we get some creative pairings: Fiona Apple providing guest vocals on Cat Stevens' "Father & Son," and the late Joe Strummer duetting with Cash on Bob Marley's "Redemption Song." Neither are the definitive statements that some of Cash's covers from this period are (his glorious takes on Nick Lowe and Danzig, to name just two), but they're still very much worth hearing. Most riveting are the numerous traditional numbers, the songs that were clearly closest to the Man in Black's heart. "Banks of the Ohio," Billy Joe Shaver's "Old Chunk of Coal," Stephen Foster's "Hard Times," and the entire disc of previously unreleased gospel tunes are powerful statements, tunes where you feel privileged to hear Cash--despite declining health and failing voice--sing one more time, the way he wanted. The last disc of this monumental set is a "best-of" compilation of tracks that did make it on the American individual discs, a reminder of just how groundbreaking these sessions were. Perhaps the biggest highlight in this awe-inspiring set is its vast liner notes, a loving collection of essays and recollections that highlight the history and stories behind this eclectic array of songs. --Jason Verlinde

Byrdmaniax is an album by American band The Byrds, released in 1971. It remains one of their most poorly received, largely in part due to the heavy strings producer Terry Melcher poured on many of the tracks, reportedly while The Byrds were on the road and without their approval.

Upon release, Byrdmaniax did much to undo the critical standing The Byrds had earned thanks to Ballad of Easy Rider and (Untitled) and it faded quickly from the public's consciousness, only reaching forty-six in the United States in a short chart stay, and failing to reach the United Kingdom charts at all.

The Tea Party Transmission

1. Temptation
2. Army Ants
3. Psychopomp
4. Gyroscope
5. Alarum
6. Release
7. Transmission
8. Babylon
9. Pulse
10. Emerald
11. Aftermath
--------------------------------

The Tea Party The Edges of Twilight

1. Fire In The Head
2. The Bazaar
3. Correspondences
4. The Badger
5. Silence
6. Sister Awake
7. Turn The Lamp Down Low
8. Shadows On The Mountainside
9. Drawing Down The Moon
10. Inanna
11. Coming Home
12. Walk With Me
----------------------------------

The Tea Party The Interzone Mantras

1. Interzone
2. Angels
3. The Master And Margarita
4. Apathy
5. Soulbreaking
6. Lullaby
7. Must Must
8. White Water Siren
9. Cathartik
10. Dust To Gold
11. Requiem
12. Mantra
--------------------------------

The Tea Party
Splendor Solis

1. The River
2. Midsummer Day
3. A Certain Slant Of Light
4. Save Me
5. Sun Going Down
6. In This Time
7. Dreams Of Reason
8. Raven Skies
9. The Majestic Song
---------------------------------

The Tea Party Alhambra (EP) (This album contains remade versions of the original songs)

1. The Grand Bazaar
2. Inanna
3. Silence
4. Turn the Lamp Down Low
5. Time
6. Sister Awake
----------------------------

The Tea Party Capitol Album

1. The River
2. The Timing Song
3. In This Time
4. Pie Dog on the Prowl
5. On My Knees
6. Solomon's Blues
7. Dancing in the Moonlight
8. Haze on the Hills
9. The Majestic Song
-----------------------

Metallica was formed in Downey, California in 1981 by drummer and son of a former tennis prodigy, Lars Ulrich, along with guitarist and vocalist James Hetfield who he met after each had separately placed classified advertisements in the AmericanThe Recycler. Ulrich, who had been influenced by the New Wave of British Heavy Metal, tried to start his own band before 1981 but was unsuccessful.

After building a loyal following through its role in the development of modern heavy metal, especially thrash metal (the most successful of the "big four" of thrash metal, which also included Megadeth, Slayer, and Anthrax) in the mid-1980s, the band broadened its audience in the early 1990s. Since then, the band has stood as the most commercially visible example of the metal genre.

Berlin is a 1973 album by Lou Reed, his third solo album and the follow-up to the widely accessible and upbeat glam rock classic Transformer. What was surprising about this release was that it is in direct contrast to its predecessor: Berlin is a very bleak and sad album, widely believed to be among the most depressing albums ever recorded. In 2003, the album was ranked number 344 on Rolling Stone magazine's list of the 500 greatest albums of all time.

On the other side of the coin, it is also ranked among the best of the concept albums the 1970s had to offer, a tragic, loose musical tale about a doomed couple amid themes of drug use and depression. Response was not good upon its release, as fans and critics were expecting another upbeat glam outing. As time has gone by, a growing number of Reed's fans have come to believe this album to be among his best as a solo artist.

Useful notes:Lewis Allen "Lou" Reed (born March 2, 1942) is an American rock and roll singer-songwriter, originally from Brooklyn, New York.

1. Marvin Gaye - Let's Get It On
2. Bette Midler - Rose, The
3. Elvis Presley - Love Me Tender
4. Dido - Thank You
5. Extreme - More Than Words
6. Sarah Mclachlan - Building A Mystery
7. The Beatles - It's Only Love
8. Al Green - Let's Stay Together
9. Barry White - You're The First, The Last, My Everthing
10. Jackson 5 - I'll Be There
11. Sinead O'Connor - Nothing Compares 2 U
12. Sonny And Cher - I Got You Babe
13. Chris Isaak - Wicked Game
14. Eric Clapton - Wonderful Tonight
15. Journey - Faithfully
16. The Beatles - and i love here (stereo)
17. Cheap Trick - I Want You To Want Me
18. Wham - Careless Whisper
19. Carpenters - Superstar
20. Whitney Houston - I Will Always Love You
21. Diana Ross & Lionel Richie - Endless Love
22. Prince - I will die for you
23. Atlantic Starr - Always
24. Janet Jackson - That's The Way Love Goes
25. Paul McCartney - Maybe I'm Amazed
26. The Beatles - P.S. I Love You
27. Elvis Costello and the Attractions - Alison (live)
28. Elton John - Your Song
29. Troggs - Wild Thing
30. Morris Albert - Feelings
31. Alicia Keys - Fallin'
32. Sting - Every Litte Thing She Does Is Magic
33. Boyz II Men - I'll Make Love To You
34. Cyndi Lauper - Time After Time
35. The Beatles - This Boy
36. Emotions - Best Of My Love
37. Billy Joel - Shes Got A Way
38. Meat Loaf - I'd Do Anything For Love
39. Commodores - Three Times A Lady
40. Roxette - It Must Have Been Love
41. Andy Gibb - I Just Want To Be Your Everyth
42. Roberta Flack - The First Time Ever I Saw Your Face
43. Ricky Martin - Nobody Wants To Be Lonely
44. The Righteous Brothers - Unchained Melody
45. LL Cool J - I Need Love
46. Donna Summer - Love To Love You Baby
47. Foreigner - I Want to Know What Love Is
48. Celine Dion - My Heart Will Go On
49. Bangles - Eternal Flame
50. Leann Rimes - How Do I Live
51. Peter Frampton - Baby, I Love Your Way
52. Enrique Iglesias - Hero
53. Sting - Roxanne
54. Beatles - Tell Me What You See
55. Aerosmith - I Don't Want To Miss A Thing
56. Luther Vandross - Here And Now
57. No Doubt - Don't Speak
58. Madonna - Crazy for You
59. Luther Vandross - Stop To Love
60. Bonnie Tyler - Total Eclipse Of The Heart
61. Bee Gees - How Deep Is Your Love
62. Elvis Presley - Heartbreak Hotel
63. The Beatles - ill flollow the sun (stereo)
64. Journey - Open Arms
65. Faith Hill - Breathe
66. Olivia Newton-John - You're the One That I Want
67. Turtles - Happy Together
68. The Pretenders - I'll Stand By You(Sire)
69. Neil Diamond - You Don't Bring Me Flowers (Du
70. Air Supply - All Out Of Love
71. Bruce Springsteen - Secret Garden
72. Pat Benatar - We Belong
73. Toni Braxton - Unbreak My Heart
74. The Beatles - I Will
75. Rod Stewart - You're In My Heart
76. N'Sync - This I Promise You
77. Nat King & Natalie Cole - Unforgettable
78. Bon Jovi - I'll Be There For You
79. The Beatles - Girl
80. Lisa Lisa & Cult Jam - All Cried Out
81. Goo Goo Dolls - Iris
82. Boston - More than A Feeling
83. Sade - By Your Side
84. The Beatles - If I Fell
85. Captain & Tennille - Love Will Keep Us Together
86. INXS - Never Tear Us Apart
87. Chaka Khan - I Feel for You
88. Heart - Alone
89. Bonnie Raitt - Make You Love Me
90. John Lennon - Woman
91. The Beatles - Here, There And Everywhere
92. Stevie Wonder - You Are The Sunshine Of My Life
93. Bryan Adams - Everything I Do I Do It For U
94. Shania Twain - Youre Still The One
95. Joe Cocker - You Are So Beautiful
96. Willie Nelson - Always On My Mind
97. Celine Dion - Because You Loved Me
98. Modern English - Melt With You
99. Vanessa Williams - Save The Best For Last
100. Beatles - Words Of Love