Os Love foram representativos de três diferentes estádios do rock-psicadélico: as suas raízes no folk-rock, ainda evidentes no ingénuo Love (1966); a sua maturidade creativa, depois de digerir os blues, o jazz e o raga, como na sua obra-prima Da Capo (1967); o seu apogeu barroco quando, influenciados (como todos os outros) pelo Pet Sounds dos Beach Boys, a banda adoptou os arranjos pop para Forever Changes (Dezembro de 1967).

De todas as bandas da história da música rock, os Doors talvez tenham sido os mais criativos. O seu primeiro albúm, The Doors (1967), inclui apenas obras-primas: Light My Fire, Break On Through, Crystal Ship, Soul Kitchen, End Of The Night, e a canção com maior suspense da história da música popular The End.

O seu vocalista, Jim Morrison, definiu o vocalista rock como artista, não apenas como cantor. Quer se deva a ele, a Bobbie Krieger ou Ray Manzarek, ou a todos em conjunto, as suas canções possuem uma qualidade que nunca depois foi alcançada. Eram metafísicas ao mesmo tempo que psicológicas e "físicas" (eróticas e violentas). É o mais próximo de William Shakespeare que a música rock produziu. Em parte psicodrama freudiano e em parte invocação xamanística/messiânica, as canções dos Doors eram sempre mais do que "canções". O facto de utilizarem elementos dos blues, Bach e ragas, é menos relevante do que o facto de representarem agonias suicídas auto-infligidas. Continuamente se reportam à morte: sexo, drogas e morte fazem a realidade tríptica dos Doors. Cada uma delas era êxtase e aniquilação. A qualidade sobrenatural dos seus hinos não era gótica, mas antes influenciada pelo fatalismo dos simbolistas franceses. A morte era o derradeiro aspecto dessa trindade, como Morrison descobriu em 1971. Os Doors fizeram mais três albúns que manifestam o seu talento: Strange Days (1967), Waiting For The Sun (1968) e L.A. Woman (1971), mas nunca repetiram o feito do seu primeiro albúm.

Tecnicamente falando, os Spirit tinham ainda mais talento do que os Doors. Gravaram alguns dos mais aventurosos albúns da era psicadélica, utilizando fequentemento elementos do jazz e da música clássica, antecipando o rock progressivo. Spirit (1968) e The Family That Plays Together (1969) brincavam com uma fusão erudita de blues, jazz, raga e rock, enquanto que Twelve Dreams Of Dr Sardonicous (1971) movia-se na direcção de arranjos mais rudes recorrendo à electrónica.

O rock-psicadélico foi um achado para os produtores de Los Angeles, porque lhes deu uma desculpa para se permitirem toda a espécie de arranjos bizarros. O produtor Ed Cobb contribuíu com um banda artificial, Chocolate Watchband, a quem creditou o seu The Inner Mistique (1967). David Axelrod produziu Mass In F Minor (1968) para os Electric Prunes, a primera "missa rock".

Sounds of the Psychedelic Sixties

by Lucy O'Brien

In 1967 the Beatles were in Abbey Road Studios putting the finishing touches on their albúm Sgt. Pepper's Lonely Hearts Club Band. At one point Paul McCartney wandered down the corridor and heard what was then a new young band called Pink Floyd working on their hypnotic debut, The Piper at the Gates of Dawn. He listened for a moment, then came rushing back. "Hey guys," he reputedly said, "There's a new band in there and they're gonna steal our thunder."

With their mix of blues, music hall influences, Lewis Carroll references, and dissonant experimentation, Pink Floyd was one of the key bands of the 1960s psychedelic revolution, a pop culture movement that emerged with American and British rock, before sweeping through film, literature, and the visual arts. The music was largely inspired by hallucinogens, or so-called "mind-expanding" drugs such as marijuana and LSD (lysergic acid diethylamide; "acid"), and attempted to recreate drug-induced states through the use of overdriven guitar, amplified feedback, and droning guitar motifs influenced by Eastern music.

This psychedelic consciousness was seeded, in the United States, by countercultural gurus such as Dr. Timothy Leary, a Harvard University professor who began researching LSD as a tool of self-discovery from 1960, and writer Ken Kesey who with his Merry Pranksters staged Acid Tests--multimedia "happenings" set to the music of the Warlocks (later the Grateful Dead) and documented by novelist Tom Wolfe in the literary classic The Electric Kool-Aid Acid Test (1968)--and traversed the country during the mid-1960s on a kaleidoscope-colored school bus.

"Everybody felt the '60s were a breakthrough. There was exploration of sexual freedom and [a lot of] drugs around that were essential to the development of consciousness," recalls British avant-garde filmmaker Peter Whitehead, whose movies include Tonite Let's All Make Love in London (1967) and the Rolling Stones documentary Charlie Is My Darling (1966). "The zeitgeist of the time was the final collapse of a certain kind of thinking. The seeds were sown for feminism, for the whole notion of cyberspace, ecology, and the whole philosophy of Gaia."

Suzy Hopkins, formerly Suzy Creamcheese, a dancer and inspirational figure on the underground scene in Los Angeles and London, remembers the visceral way psychedelic culture affected the senses. "There's a difference between a drug and a psychedelic. Drugs make you drugged and psychedelics enhance your ability to see the truth or reality," she says. For her, LSD and music created a kind of alchemy. "When I start to dance, at a certain point, the dance takes over and the music is dancing me. Dancing is this electric enhancement of your spine by sound."

Many psychedelic bands explored this sense of abandonment in their music, moving away from standard rock rhythms and instrumentation. The Grateful Dead of San Francisco, for instance, created an improvisatory mix of country rock, blues, and acid R&B on albums like The Grateful Dead (1967) and Anthem of the Sun (1968), while another 'Frisco band, Jefferson Airplane (fronted by the striking vocalist Grace Slick), sang of the childlike hallucinatory delights of an acid trip in the 1967 Top Ten hit "White Rabbit."

In Los Angeles the multiracial band Love played whimsical, free-flowing rock, fueled by the unique vision of their troubled frontman Arthur Lee. A typically eccentric line from their third album, Forever Changes (1968), satirizes hippie dinginess: "The snot has caked against my pants." Also from Los Angeles, the Byrds plowed a different furrow, creating a jangly psychedelic folk augmented by rich vocal harmonies and orchestration. With such hits as "Eight Miles High" and their cover of Bob Dylan's "Mr. Tambourine Man," they, along with the brooding intensity of the Doors, were among the most commercially successful of the West Coast bands. Another important Los Angeles act was the United States of America, a band led by electronic music composer Joe Byrd, whose eponymous 1968 debut album blends orchestral pastoral with harsh, atonal experimentation.

Meanwhile the 13th Floor Elevators from Austin, Texas, epitomized the darker, more psychotic frenzy of acid rock. Featuring the wayward talent of Roky Erickson, a gifted musician and songwriter who was later hospitalized for mental illness, the band played visionary jug-blowing blues. The track "Slip Inside This House," for instance, on Easter Everywhere (1967), conveys a sense of mysticism and transcendence, enhanced by acid. Erickson's occult explorations took him so far that by the time the band split in 1969 he believed Satan was following him everywhere.

On the East Coast the Velvet Underground echoed the sonic techniques of psychedelia with their use of repetition and electronic improvisation. Their attitude, though, was more about nihilistic art-school cool than the more playful "flower power." This was accentuated in the drugs they celebrated in song--speed and heroin, for instance, rather than LSD.

Established rock bands began to introduce psychedelic elements into their music, notably the Beatles, with such records as Revolver (1966), featuring the pounding mantra of "Tomorrow Never Knows"; Sgt. Pepper's Lonely Hearts Club Band (1967), with the trippy lyrics of "Lucy in the Sky with Diamonds"; Magical Mystery Tour (1967), showcasing the swirling surrealism of songs like "Strawberry Fields Forever" and "I Am the Walrus"; and The Beatles (1968; the "White Album"), containing the standout track "Revolution 9," an experimental collage of found sounds.

The Beach Boys, too, branched out with the expansive, haunting Pet Sounds (1966), an album masterminded by an introspective Brian Wilson. The Yardbirds, with Jeff Beck on guitar, scored a hit with the echo-laden "Shapes of Things" (1966). Encouraged by Brian Jones, who was drawn to instruments like the sitar and ancient Eastern percussion, the Rolling Stones dipped their feet into the scene with songs like "Paint It Black" (1966) and the less-successful album Their Satanic Majesties Request (1967).

In Britain psychedelic pioneers created music that was steeped in whimsy and surrealism and was less aggressive and minimalist than their American counterparts. The scene revolved around venues such as London's UFO club (a predecessor to festivals like Glastonbury) and Middle Earth and such events as the 14-Hour Technicolour Dream, a happening in April 1967 in the Alexandra Palace that featured an enormous pile of bananas and bands like Pink Floyd, the Crazy World of Arthur Brown, and the Utterly Incredible Too Long Ago to Remember Sometimes Shouting at People. A benefit for the alternative newspaper IT (International Times), the event also drew counterculture celebrities such as John Lennon, Yoko Ono, and Andy Warhol.

Pink Floyd was the leading light of the British underground scene, with vocalist/guitarist Syd Barrett the main writer behind such hits as "Arnold Layne" (a quirky, controversial song about a transvestite), and the spacey, driving instrumental "Interstellar Overdrive." He was a strong creative force until his worsening schizophrenia led to him being edged out of the band in 1968. Other British acts included the anarchic Tomorrow, which specialized in droning raga feedback and wild drumming; the operatic, flamboyant Arthur Brown; the R&B-flavored Pretty Things, and the Canterbury band Soft Machine, which incorporated "harmolodic" jazz into their psychedelic rock.

"Musically people were experimenting, trying to convey that transcendant feel. Even the Stones did it, shooting off at an angle that didn't suit them," sums up Andy Ellison, lead vocalist with John's Children, the first band of Marc Bolan, who later fronted T. Rex. "It was like soul music came from white boys on acid and took on a whole different meaning."

Psychedelic rock - which had already revolutionized fashion, poster art, and live performance - continued to grow after the 1960s, influencing a host of subgenres, including heavy metal, progressive and art rock, "Kraut-rock" (experimental electronic music by German bands such as Tangerine Dream), and the space-age funk of Parliament-Funkadelic (which, along with Jimi Hendrix, proved to be a key connection between black funk and psychedelia). Moreover, psychedelic rock's influence was evident in later genres, from punk to trip-hop to acid-house dance. As Paul McCartney said in 1967, psychedelia meant musical liberation: "The straights should welcome the Underground because it stands for freedom."

Many of these musicians spoke openly about using psychedelic drugs. But by 1966, these substances had been written about enough (often in alarmist terms), so that even teenagers in Middle America who'd never consumed anything more potent than a beer thought that they understood the hallucinogenic experience. In noisy, chaotic singles that would represent rock's first golden age of one-hit wonders, a wave of garage bands imitated British Invasion groups such as the Beatles and the Yardbirds, singing about "bad trips" that often involved careening out of control or losing one's mind.

In 1972 a sampling of lysergic chart-toppers from the 1960s--such as the Electric Prunes's "I Had Too Much to Dream (Last Night)," the Count Five's "Psychotic Reaction," the Seeds's "Pushin' Too Hard," and the Amboy Dukes's "Journey to the Center of the Mind"--would be collected by rock critic Lenny Kaye on an album called Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968. It would prove hugely influential to the punk movement, illustrating how imagination and attitude were more important in rock than technical expertise.

Even as it blossomed in 1966, it was clear that the hallmarks of acid rock were more important than whether or not the musicians themselves had taken psychedelic drugs. These trademark sounds included circular, mandala-like song structures; sustained or droning melodies; a tendency to incorporate the trance-inducing instruments of other countries (the Indian sitar, the Javanese gamelan, the drums of Joujouka, and the didgeridoo of the Australian Aborigines); heavily altered instrumental sounds; reverb, echoes, and tape delays that created a sensation of vastness or eeriness; and layered mixes that rewarded repeated listenings (especially via headphones).

Rock 'n' roll had always been aimed at prompting a visceral reaction from the body. Here was a new type of rock music aimed at the head. It was Apollonian as well as Dionysian, and it encouraged listeners to transcend their surroundings while shaking their booties.

Rockers were aided in creating these sounds by concurrent advents in recording technology. Bands began to utilize multitrack recording, allowing them to overdub many instruments without having to perform everything live in one take. In addition, FM radio was coming of age in the United States as more stations adopted a free-form rock format, broadening their programming to allow the playing of longer album cuts.

As they grew more successful, artists were able to spend more time in the studio, and this gave birth to concept albums such as Sgt. Pepper's Lonely Hearts Club Band (1967), released by the Beatles during the height of the Summer of Love. The year 1967 also saw the production of such timeless and ambitious rock records as The Piper at the Gates of Dawn by Pink Floyd, The Velvet Underground and Nico by the Velvet Underground, Are You Experienced? by the Jimi Hendrix Experience, Da Capo by Love, Surrealistic Pillow by the Jefferson Airplane, and the self-titled debut by the Grateful Dead.

Meanwhile, the children of the Baby Boom were beginning to celebrate a new youth-oriented counterculture--dubbed "hippie" by some--at extremely visible mass "happenings" such as the 14-Hour Technicolour Dream in London and the much-ballyhooed ongoing scene on the Haight-Ashbury in San Francisco. Leary issued his ill-considered call to "turn on, tune in, drop out," and LSD was officially outlawed in the United States. Inevitably, there was a backlash against the hype. The Haight produced as many tragic casualties as it opened minds, and cautionary tales--such as the drug-induced breakdowns of Pink Floyd co-founder Syd Barrett and the 13th Floor Elevators's Erickson--proliferated.

By the turn of the decade, many bands were returning to simpler, more stripped-down sounds (witness the 1968 offerings of The Beatles [the "White Album"] and the Stones's Beggars Banquet). But by no means did psychedelia come to an end. The genre continued to mutate and evolve, flourishing whenever musicians set out to create imaginative new worlds in the studio.

In the early 1970s, artists such as Brian Eno, the Barrett-less Pink Floyd, "space-rockers" Hawkwind, and German "Kraut-rock" groups such as Amon Düül II pioneered the use of analog synthesizers and expanded the notion of the recording studio as an instrument in and of itself on albums such as Eno's 1974 album Taking Tiger Mountain (By Strategy), Pink Floyd's Atom Heart Mother (1970), Hawkwind's Space Ritual (1973), and Amon Düül II's Phallus Dei (1969).

At the same time, progressive rock bands such as Yes, Genesis, and Emerson, Lake and Palmer took advantage of the freedoms won during the first psychedelic era to make ever more complex, virtuosic, and fanciful concept albums, including Close to the Edge (1972), The Lamb Lies Down on Broadway (1974), and Tarkus (1971), respectively.

When the punk revolution ushered in a return to faster and louder rock in the late 1970s, echoes of psychedelia could be heard in artier groups such as Pere Ubu (The Modern Dance; 1978), Wire (Chairs Missing; 1978), and the Feelies (Crazy Rhythms; 1980). In one of its handiest definitions, David Thomas of Pere Ubu called head rock "the cinematic music of the imagination." Like many musicians, he maintained that it was more of an approach toward making and recording music than a style of rock rooted in drugs or in any one era.

Of course, there were also the psychedelic revival bands, and they approached the genre with a much more literal devotion. Listening to such admittedly beguiling albums as Sixteen Tambourines (1982) by the Three O'Clock and Emergency Third Rail Power Trip (1983) by the Rain Parade (both members of the "paisley underground" scene of mid-1980s Los Angeles), as well as Wonder Wonderful Wonderland (1985) by Plasticland of Milwaukee, Wis., U.S., Auntie Winnie Album (1989) by England's Bevis Frond, and the work of British cult heroes Porcupine Tree, you'd be hard-pressed to prove they weren't recorded during the Summer of Love.

In the early 1990s, the explosion of techno and electronic dance music ushered in a new psychedelic rock based on a new psychedelic drug: MDMA (methylenedioxymethamphetamine), or "ecstasy." Young listeners consumed the substance (or acted as if they had) while grooving to the otherworldly throb of bass-heavy music at late-night warehouse parties called "raves"--'90s updates of '60s happenings like the famed Acid Tests thrown by Ken Kesey and the Merry Pranksters.

Techno artists such as the Orb (U.F.Orb; 1992), Plastikman (Sheet One; 1994), Orbital (Snivilisation; 1994), and the Aphex Twin (Selected Ambient Works Volume II; 1994) further expanded the acid rock palette with inspired experimentation on the latest technology, including digital synthesizers and samplers.

These machines were also used by psychedelic rappers such as De La Soul (3 Feet High and Rising; 1989) and P.M. Dawn (Of the Heart, of the Soul and of the Cross: The Utopian Experience; 1991), who took hip-hop in directions far from the playgrounds of the Bronx where it was spawned. "To me, psychedelia is finding something tangible that you can hold on to in the unusual," said P.M. Dawn's Prince Be. "That's what any innovator does."

Some critics contended that by the 1990s everything that could be done with rock's familiar guitar, bass, and drums lineup had been done. They were proved wrong not only by grunge music but also by an acid rock underground that continued to produce evocative music. The British band My Bloody Valentine created a kaleidoscopic guitar sound on their hugely influential Loveless (1991) and Oklahoma City's Flaming Lips charted the landscape of whimsical new worlds on albums such as Transmissions from the Satellite Heart (1993) and The Soft Bulletin (1999).

A collective of independent bands from Ruston, La., known as the Elephant 6 Recording Company updated the spirit of Pet Sounds and Revolver for a new millennium. Among their notable works are In the Aeroplane over the Sea (1998) by Neutral Milk Hotel, Music from the Unrealized Film Script, "Dusk at Cubist Castle" (1996) by the Olivia Tremor Control, and Tone Soul Evolution (1997) by the Apples In Stereo. The British group Spiritualized, with Ladies and Gentlemen We Are Floating in Space (1997), explored the merger of Pink Floyd-style interstellar overdrives with free jazz and gospel music.

Gospel music, you ask? Yes, indeed. A final dimension of psychedelia, from the Greek etymology, is "soul-manifesting"--implying a spiritual dimension that is rarely voiced (though it is worth remembering that Brian Wilson spoke of writing "teenage symphonies to God"). By transcending the ordinary, psychedelic musicians and their listeners attempt to connect with something deeper, more profound, and more beautiful.

As Jerry Garcia, guru of the Grateful Dead, once said, "Rock 'n' roll provides what the church provided for in other generations." And no form of rock music attempts to nourish more souls than psychedelia.

Psychedelic music

Psychedelic music draws its inspiration from the experience of mind-altering drugs such as cannabis, psilocybin, mescaline, ecstasy and especially LSD. Characteristic features of the style include modal melodies, lengthy instrumental solos, esoteric lyrics and "trippy" special effects such as reversed, distorted, delayed and/or phased sounds.

In the 1960s, in the United States, this sound was particularly characteristic of the West Coast sound, with bands such as the Grateful Dead, Quicksilver Messenger Service, Vanilla Fudge, Tommy James and the Shondells and Jefferson Airplane in the vanguard. Jimi Hendrix and the Doors helped to popularize acid rock, a closely related style of music.

There were also less well known psychedelic bands in outlying regions, such as the 13th Floor Elevators and Bubble Puppy working out of Texas, and the Third Bardo in New York City, a group which had a brief revival in the 1990s. The influence was also felt in black music, where record labels such as Motown dabbled for a while with psychedelic soul, producing such hits as "Ball Of Confusion" and "Psychedelic Shack" (by The Temptations) and "Reflections" (by The Supremes) before falling out of favour.

In Britain, although the psychedelic revolution occurred later, the impact was nonetheless profound within the British music scene. Established artists such as Eric Burdon, The Who and The Beatles produced a number of highly psychedelic tunes. In the case of the Beatles, this was especially the case on the Sgt. Pepper's Lonely Hearts Club Band album (which contains the track "Lucy in the Sky with Diamonds", the initials of which spell out LSD - although John Lennon claimed this was a coincidence and that the name was based on the title of a drawing by his small son). They also released "Blue Jay Way", another psychedelic tune, on an EP.

The music of Cream and of very early Pink Floyd is representative of British psychedelia. Independent record producer Joe Meek has been credited with inventing the phasing sound publicised most notably on the first UK hit of the band Status Quo entitled "Pictures of Matchstick Men" but also heard on hits such as Pink Floyd's "See Emily Play", the Lemon Pipers' "Green Tamborine" and Hawkwind's "Silver Machine". "I Can See for Miles" and "Pictures of Lily" by the Who, "Strawberry Fields Forever" by the Beatles and "We Love You" by the Rolling Stones are arguably the best examples of English psychedelic pop.

Músicas Psicadélicas

Crédito: Psychedelicatessen - lista elaborada a partir do artigo de Jon Savage no livro "I Want To Take You Higher" de 1997. Ordem cronológica. font face="arial narrow">

1. The Byrds - Eight Miles High (1ª versão) - Dezembro de 1965
   
2. The Charlatans - Alabama Bound - Primavera de 1966
   
3. Bob Dylan - Visions Of Johanna - Maio 26, 1966
   
4. Jefferson Airplane - Blues From An Airplane - Maio de 1966
   
5. Country Joe And the Fish - Section 43 - Agosto de 1966
   
6. The Great Society - Someone To Love - Verão de 1966
   
7. Captain Beefhart & The Magic Band - Electricity - Verão de 1966
   
8. Oxford Circle - Foolish Woman - Outono de 1966
   
9. 13th Floor Elevators - Roller Coaster - Outono de 1966
   
10. Vejtables - Feel the Music - Outono de 1966
    
11. The Count Five - Psychotic Reaction - Verão de 1966
    
12. The Misunderstood - Children Of The Sun - Outono de 1966
    
13. Sons Of Adam - Feathered Fish - Outono de 1966
    
14. Love - 7 And 7 Is - Setembro de 1966
    
15. The Beach Boys - Good Vibrations - Outubro de 1966
    
16. Sopwith Camel - Frantic Desolation - início de 1967
    
17. The Doors - The Crystal Ship - Janeiro de 1967
    
18. The Seeds - Mr. Farmer - Março de 1967
    
19. Kaleidoscope - Keep your Mind Open - Abril de 1967
    
20. The Electric Prunes - Get Me To The World On Time - Abril de 1967
    
21. Mystery Trend - Johnny Was A Good Boy - Maio de 1967
    
22. Moby Grape - Omaha - Maio de 1967
    
23. Third Bardo - I'm Five Years Ahead Of My Time - Verão de 1967
    
24. Jefferson Airplane - White Rabbit - Junho de 1967
    
25. Tim Buckley - Halucinations - Junho de 1967
    
26. Chocolate Watchband - Are You Gonna Be There (at the Love In) - Junho de 1967
    
27. Big Brother & The Holding Company - Ball And Chain - Junho de 1967
    
28. Painted Faces - Anxious Color - Verão de 1967
    
29. The Beau Brummels - Magic Hollow - Agosto de 1967
    
30. Buffalo Springfield - Broken Arrow - Outono de 1967
    
31. Strawberry Alarm Clock - Incense And Peppermints - Outubro de 1967
    
32. Love - The Red Telephone - Novembro de 1967
    
33. The Byrds - Change Is Now - Janeiro de 1968
    
34. Otis Redding - (Sittin' On) The Dock Of The Bay - Janeiro de 1968
    
35. The Baloon Farm - A Question Of Temperature - Março de 1968
    
36. Sly And The Family Stone - Dance To The Music - Março de 1968
    
37. Quicksilver Messenger Service - Pride Of Man - Maio de 1968
    
38. The Grateful Dead - That's It For The Other One - Verão de 1968
    
39. Iron Butterfly - In-A-Gadda-Da-Vida - Setembro de 1968
    
40. Steppenwolf - Magic Carpet Ride - Outubro de 1968
    
41. The Steve Miller Band - Song For Our Ancestors - Novembro de 1968
    
42. Lothar and the Hand People - Machines - Novembro de 1968
    
43. Tommy James and the Shondells - Crimson And Clover - Dezembro de 1968
    
44. White Lightning - William - início de 1969
    
45. Spirit - Dream Within A Dream - Janeiro de 1969
    
46. Alexander "Skip" Spence - War In Peace - Fevereiro de 1969
    
47. The Youngbloods - Darkness, Darkness - Primavera de 1969
    
48. Kak - Electric Sailor - Verão de 1969
    
49. The Grateful Dead - Mountains Of The Moon - Junho de 1969
    
50. Jimi Hendrix - The Star Spangled Banner - Agosto de 1969
    

1. The Beatles - Tommorow Never Knows - Abril de 1966
   
2. The Rolling Stones - Paint It Black - Maio de 1966
   
3. Creation - Making Time - Julho de 1966
   
4. Donovan - Season Of The Witch - Agosto de 1966
   
5. The Yardbirds - Happenings Ten Years Time Ago - Novembro de 1966
   
6. Cream - I Feel Free - Dezembro de 1966
   
7. The Beatles - Strawberry Fields Forever - Fevereiro de 1967
   
8. Pink Floyd - Interstellar Overdrive - Fevereiro de 1967
   
9. Smoke - My Friend Jack - Fevereiro de 1967
   
10. The Small Faces - Green Circles - Primavera de 1967
    
11. David McWilliams - Days Of Pearly Spencer - Primavera de 1967
    
12. The Poets - In Your Tower - Março de 1967
    
13. The Move - I Can Hear The Grass Grow - Abril de 1967
    
14. The Jimi Hendrix Experience - Are You Experienced ? - Maio de 1967
    
15. The Troggs - Night Of The Long Grass - Maio de 1967
    
16. Traffic - Paper Sun - Maio de 1967
    
17. John's Children - Midsummer Night's Scene - Verão de 1967
    
18. The Beatles - It's All Too Much - Maio / Junho de 1967
    
19. The Attack - Colours Of My Mind - Junho de 1967
    
20. The Small Faces - Itchycoo Park - Agosto de 1967
    
21. The Jimi Hendrix Experience - The Stars That Play With Laughing Sam's Dice - Agosto de 1967
    
22. Pink Floyd - Matilda Mother - Agosto de 1967
    
23. The Rolling Stones - We Love You - Agosto de 1967
    
24. The Who - Relax - Janeiro de 1968
    
25. Kaleidoscope - Flight From Ashiya - Setembro de 1967
    
26. The Pretty Things - Defecting Gray - Outono de 1967
    
27. The Herd - From The Underworld - Setembro de 1967
    
28. The 23rd Turnoff - Michael Angelo - Setembro de 1967
    
29. The Hollies - King Midas In Reverse - Outubro de 1967
    
30. Svensk - Dream Magazine - Outono de 1967
    
31. The Idle Race - Imposters of Life's Magazine - Outubro de 1967
    
32. Eric Burdon and the Animals - San Franciscan Nights - Outubro de 1967
    
33. The Troggs - Love Is all Around - Outubro de 1967
    
34. Tintern Abbey - Vacuum Cleaner - Novembro de 1967
    
35. Dantalian's Chariot - Madman Runing Through The Fields - Outono de 1967
    
36. Simon Dupree and the Big Sounds - Kites - Novembro de 1967
    
37. The Beatles - I Am The Walrus - Novembro de 1967
    
38. Tommorow - Revolution - Dezembro de 1967
    
39. Fairport Convention - It's Alright, Ma, It's Only Witchcraft - início de 1968
    
40. Status Quo - Pictures Of Matchstick Men - Janeiro de 1968
    
41. The Apple - The Otherside - início de 1968
    
42. The Mirror - Faster Than Light - Maio de 1968
    
43. Nirvana - Rainbow Chaser - Maio de 1968
    
44. Big Boy Pete - Cold Turkey - Maio de 1968
    
45. Family - Me My Friend - Junho de 1968
    
46. Pink Floyd - Jugband Blues - Setembro de 1968
    
47. The Crazy World Of Arthur Brown - Fire - Setembro de 1968
    
48. The Jimi Hendrix Experience - (A Merman I Should Turn To Be) Moon, Turn The Tides... Gently Gently Away - Outubro de 1968
    
49. The Nice - Diamond Hard Blue Apples Of The Moon - Novembro de 1968
    
50. Blind Faith - Can't Find My Way Home - Agosto de 1969