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Shuffle of the week #45

1. The Beach Boys – Darlin’ (The Beach Boys in Concert, 1973) [singlepic id=136 w=80 h=50 float=left]

Live version of a song that originally appeared on the ’67 album Wild Honey, being the second single after the title track. Songs like these (written by Brian and sung by Carl) can pep up any party thanks to the characteristic pace and vocal harmonies.

2. Peter Gabriel – Big Time (So, 1986) [singlepic id=362 w=80 h=50 float=left]

Peter Gabriel had been collecting real rock gems on his solo records from the very start, but the absence of experimental excesses on this (fifth) album (which seems to contain nothing but FM hits) made that these were no longer kept a secret for a greater audience. Lots of guest appearances on So, for example The Police’s Stewart Copeland (drums) and Daniel Lanois (guitar) on this song, while Lanois (after co-producing some albums from an Irish band with Brian Eno) also produced the album.

3. The Go! Team – The Power is On (Thunder, Lightning, Strike, 2004) [singlepic id=349 w=80 h=50 float=left]

Very turbulent song, which probably ended up on my shelf thanks to its use on the EA 2006 FIFA WC soundtrack. The resources for this album were limited, and that’s exactly what you hear. Not really something to remember in another ten years, just like the game it was used on.

4. Them Crooked Vultures – Interlude with Ludess (Them Crooked Vultures, 2009) [singlepic id=363 w=80 h=50 float=left]

An album that was received with lots of uproar at the time, but one that seems to have ended up in anonymity, just like the band. It of course never reached the level of originality of the QOTSA and Led Zep works, but really offers some sharp and muscled tracks that make you search after your air guitar. Unlike this one, that sounds like a modern version of the intro of ‘In the Court of the Crimson King’.

5. Vampire Weekend – California English (Contra, 2010) [singlepic id=364 w=80 h=50 float=left]

One of the truly indie bands of today that really matter. Surprising on their debut, expanding on this second album (this song being the ultimate example) and definitely affirming on their last record. VW showed guts and until now, that sufficed.

6. Robert Johnson – Preachin’ Blues (King of the Delta Blues Singers, 1961) [singlepic id=122 w=80 h=50 float=left]

Opening track of side two, recorded in 1936. Well known source of inspiration for guys like Eric Clapton , Jimi Hendrix and Bob Dylan.

7. Big Star – Dream Lover (Third/Sister Lovers, 1978) [singlepic id=361 w=80 h=50 float=left]

Fantastic album, that I only recently really discovered after lying around on the dusty shelf for some years (I now realize it was its fate). Big Star (Memphis) was one of those scarce rock bands during the seventies that didn’t go either hard rock or prog, but instead reverted to the lush but simple melodies of the sixties. With Alex Chilton and Chris Bell as their songwriting duo, they released two albums before breaking up in 1974. This third album was shelved and only released four years later as Third/Sister Lovers. Stripped dejection was never before alternated with unrestrained excitement in this way, drenched in a relaxed atmosphere that reminds of The Band’s Last Waltz.

8. Jefferson Airplane – Spare Chaynge (After Baking at Baxter’s, 1967) [singlepic id=221 w=80 h=50 float=left]

The odd man out on this very interesting Airplane album. Guitarist Jorma Kaukonen co-wrote this long instrumental with bass player Jack Casady and drummer Spencer Dryden, while Kantner, Balin and Slick are absent. Forerunner of Kaukonen and Casady’s blues rock project Hot Tuna.

9. Led Zeppelin – Night Flight (Physical Graffiti, 1975) [singlepic id=226 w=80 h=50 float=left]

Not much oeuvres can compete with that of Led Zeppelin: immediately settle a mythical reputation with your debut and freely preserve this the following six years, at a rate of one album a year (yeah, there’s a two year gap between Houses of the Holy and this one, but this is a double album). Really astonishing actually when considering the genesis of the band. This song is one of those great tracks on what is probably their best album: instrumental perfection that occasionally and deliberately gives space to Plant’s voice.

10. Anathema – Pitiless (Judgement, 1999) [singlepic id=262 w=80 h=50 float=left]

Album I already ran into twice, but apparently forgot to throw away. Way too grandiloquent, over and out.

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Shuffle of the week #44

1. The Velvet Underground – What Goes On (The Velvet Underground, 1969) [singlepic id=274 w=80 h=50 float=left]

One of my favorite Velvet-songs, this second track from their (post-Cale) third album. Pretty straight forward, with that awesome pushing Velvet guitar sound. The instrumental combo with the rhythm guitars and Doug Yule’s (replacing Cale) organ could easily be called one of rock’s greatest song climaxes ever.

2. The Cure – The Figurehead (Pornography, 1982) [singlepic id=358 w=80 h=50 float=left]

Just like Faith from 1981, this fourth album continues the bands practice from its break-through album Seventeen Seconds (1980): explicit melancholy written by the classic line-up Smith-Tolhurst-Gallup. This song in particular resembles The Smiths’ sound, especially the surprisingly melodic guitar riff and of course the desperate lament, but is fortified with that typical repeating drum and bass rhythm. The instrumental parts laid the groundwork for post rock, while Smith himself would rather concentrate on writing some solid pop songs later on.

3. XTC – 1000 Umbrellas (Skylarking, 1986) [singlepic id=360 w=80 h=50 float=left]

Andy Partridge signed the end of XTC’s touring history in 1982, as he started to suffer from stage fright. Just like The Beatles did earlier, XTC concentrated on working in the studio from then on and also picked up the idea of making a concept album. Skylarking was supposed to be about growing up, getting older and dying, all in one day. The result was an incredible album filled with orchestration, like the numerous string sections in this song, completely in line with the Paul McCartney Academy of Pop Music.

4. Afghan Whigs – Now You Know (Gentlemen, 1993) [singlepic id=125 w=80 h=50 float=left]

Typical guitar sound from the nineties, resembling that of their lumberjacket wearing peers from Washington. However, not only did their wardrobe differ, also the lyrics from this Cincinatti band sound much more mature and devoted, even reminding of Dylan sometimes. This is of course their best (and fourth) album, released one year after break-through album Congregation (great cover) and recorded in Memphis.

5. The Beatles – Not a Second Time (With the Beatles, 1963) [singlepic id=357 w=80 h=50 float=left]

Iconic pop album, released in the US as Meet The Beatles. It’s actually a mix of some of the bands’ live covers like ‘You Really Got A Hold On Me’, ‘Please Mister Postman’ and ‘Money’, together with the Fab Four’s first songwriting gems, like McCartney’s ‘All My Loving’. This one is a Lennon song without electric guitar, so no Harrison.

6. Smashing Pumpkins – To Forgive (Mellon Collie and The Infinite Sadness, 1995) [singlepic id=332 w=80 h=50 float=left]

For me personally one of the biggest rediscoveries last year. Billy Corgan already dominated the Pumpkins on their second album (Siamese Dream (1993), on which he frequently overdubbed the bass and guitar parts with his own stuff), and on this magnificent third (ultimate cocktail of riff & melody) he shined like never before, and never afterwards. The threatening, modest sound of this song would dominate the next album and also returned on Radiohead’s OK Computer .

7. Pavement – Conduit For Sale! (Slanted and Enchanted, 1992) [singlepic id=356 w=80 h=50 float=left]

More nineties, and not complaining. Californian trio that formed in 1989, played till 1999 and saw their status grow each year since. Great record that offers a lot, except pretention.

8. The Raconteurs – Top Yourself (Consolers of the Lonely, 2008) [singlepic id=359 w=80 h=50 float=left]

Second and (for now?) last album of The Raconteurs, written by Brendan Brenson and Jack White, the man who secured the heritage of all preliminary guitar music in the new century. Whatever band this guy played in, it never took long before I liked it.

9. David Bowie – Right (Young Americans, 1975) [singlepic id=355 w=80 h=50 float=left]

Bowie leaves his androgen identity behind and freely throws Marvin Gaye and Stevie Wonder into the blender in a way that makes all other attempts at white soul pale into insignificance. Featuring Carlos Alomar for the first time.

10. The Eagles – Life in the Fast Lane (Hotel California, 1976) [singlepic id=8 w=80 h=50 float=left]

A dash of funk blew over from the previous song into the guitar playing of Joe Walsh. Classic.

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Shuffle of the week #43

1. Eels – Hospital Food (Electro-Shock Blues, 1998) [singlepic id=354 w=80 h=50 float=left]

The Beautiful Freak from 1996 had his reasons to sing the blues on this second album, as he lost his mother (lung cancer) and sister (suicide), making him the only remaining member of the family after his father’s death in ’82. Good album (not really comparable to the later and great Blinking Lights), with a cover of Daniel Johnston’s ‘Living Life’ being often played during its supporting tour (an admiration that eventually led to a tribute album in 2004).

2. 13th Floor Elevators – Splash 1 (Now I’m Home) (The Psychedelic Sounds of the 13th Floor Elevators, 1966) [singlepic id=352 w=80 h=50 float=left]

One of my favorite sixties bands, despite (or maybe thanks to) their limited discography. Band that came from Texas, but when the lead single from this album (‘You’re Gonna Miss Me’) reached San Francisco and people there heard about this band that served as an elevator for your consciousness, their fame was made in the Bay Area. The Elevators started performing at the notorious Fillmore with bands like Quicksilver Messenger Service and The Great Society. After the release of their second great album, the band practically split up, despite the release of a third ‘album’ in 1969. Later work that ís worth mentioning: singer Rocky Erickson’s album True Love Cast Out All Evil (2010), a collaboration with Okkervil River.

3. The Smiths – Unhappy Birthday (Strangeways, Here We Come, 1987) [singlepic id=234 w=80 h=50 float=left]

Final (Marr even left the band before the release) and probably best Smiths album. It’s a classic thoroughbred cooperation between Marr (music) and Morrissey (lyrics), both acting on their top level.

4. Tortoise – Six Pack (Standards, 2001) [singlepic id=40 w=80 h=50 float=left]

Album that was already shuffled a couple of times before, but that couldn’t convince me. Called post-rock, alternative rock or indie rock, although I personally would never associate any of those genres with Tortoise.

5. Jethro Tull – For a Thousand Mothers (Stand Up, 1969) [singlepic id=16 w=80 h=50 float=left]

From Jethro Tull’s key album, on which this song is the memorable clincher. Ian Anderson must have realised he just created a pretty damn good album and on this track he throws out all his anger towards his parents, who were always doubting his potential. His voice and flute sound more uptempo than anywhere else on the album, finishing it off with a tremendous flute solo.

6. The Mothers of Invention – Concentration Moon (We’re Only in It for the Money, 1968) [singlepic id=111 w=80 h=50 float=left]

‘No Commercial Potential’ was the name of Zappa’s project (‘it’s all one big album’) that produced four of his best albums, with this one perhaps having the most commercial potential. That would have even been higher when the original cover artwork (parodying The Beatles‘ Sgt. Pepper’s and eventually being used as interior artwork) would have been used, but Zappa didn’t get permission from The Fab ‘only in it for the money’ Four’s managers. This is probably still the reason why some Zappa-fans don’t play any Beatles music in their bar.

7. The Byrds – Don’t Doubt Yourself, Babe (Mr. Tabourine Man, 1965) [singlepic id=21 w=80 h=50 float=left]

Of course a lot of Dylan-covers on The Byrds’ deciding breakthrough album, but this song was written by Jackie Deshannon. She supported The Beatles before during their first US ‘In it for the money’ Tour and also wrote some hit singles (like ‘Don’t Turn Your Back on Me’) together with Jimmy Page, before he started Led Zeppelin. Time to discover some more of her own music.

8. Creedence Clearwater Revival – Sweet Hitch-Hiker (Mardi Gras, 1972) [singlepic id=353 w=80 h=50 float=left]

Last track on Creedence’s last album, and maybe one of the best songs they ever made. Or should I say … he ever made? Always an interesting issue, but if one album makes clear that CCR would have been nothing but a very mediocre roadhouse band without John Fogerty’s songwriting, than it’s this one, thanks to its somehow hilarious historical account. The other members of the band would have requested to have additional say in the group’s musical decisions. As a result, Fogerty kind of obliged them to contribute songs equally, resulting in by far the worst Creedence-album, although Fogerty himself shines again with this song and his masterpiece ‘Someday Never Comes’. However, how many classics like this did he make during his solo career…?

9. The Moody Blues – House of Four Doors (In Search of the Lost Chord, 1968) [singlepic id=49 w=80 h=50 float=left]

Hands down one of the best albums ever made, on which the magnum opus (‘Legend of a Mind’) is captured between the two parts of ‘House of Four Doors, separated by John Lodge’s cello (aka the cracking door). The four doors the Moodys open during this first part represent four musical eras in European music: medieval minstrel music (acoustic guitar and flute), Baroque (harpsichord and cello), classical music (piano) and… modern rock music, as the opening of the last door is followed by the epic ‘Legend of a Mind’.

10. Fleet Foxes – Battery Kinzie (Helplessness Blues, 2011) [singlepic id=247 w=80 h=50 float=left]

Already three years old this one, but still played now and then in expectation of that crucial third album. Pecknold’s intentions were to create ‘that kind of cohesive sound’ like on Astral Weeks, ‘with guitar mistakes and without flawless vocals’. Did he succeed? I guess not, but there are a lot of gems out there on this album, like this one for example.

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Shuffle of the week #42

1. The Books – All Our Base Are Belong to Them (Thought for Food, 2002) [singlepic id=130 w=80 h=50 float=left]

Second time this one comes around, from Nick Zammuto and Paul de Jong’s (New York) debut album. Thought for Food is full of unorthodox sounds, combined with acoustic guitars and finished with a variety of samples to wake you up now and then. Any attempt to stick a label on it would be embarrassing, in general: weighed and found wanting.

2. Pink Floyd – Alan’s Psychedelic Breakfast (Atom Heart Mother, 1970)  [singlepic id=348 w=80 h=50 float=left]

Thirteen minutes long clincher of the album, featuring the trendsetting ‘no band no title’ artwork by Hipgnosis. Just like on Ummagumma, the individual members of the band compiled the second side with their compositions and this one (if it could be labeled as such) was ‘written’ by Nick Mason. You actually hear roadie Alan Styles having his breakfast while digging up sweet memories of breakfasts he had during the rest of his life. The instrumentals can be split up in three parts: ‘Rise and Shine’, ‘Sunny Side Up’ (a laid back part featuring Gilmour’s guitar) and ‘Morning Glory’ (spotlights on Wright’s piano).

3. Led Zeppelin – Rock and Roll (Led Zeppelin IV, 1971) [singlepic id=249 w=80 h=50 float=left]

Another stadium mastodont from the seventies, another ‘no band no title’ album cover. The unrivalled drum intro from Bonham originated from the introduction of Little Richard’s ‘Keep a Knockin’ while Page put in a classic rock and roll riff, as the track was the result of a jam session. Featuring founding Rolling Stones member Ian Stewart on piano.

4. Nick Cave and the Bad Seeds – Moonland (Dig, Lazarus, Dig!!!, 2008) [singlepic id=176 w=80 h=50 float=left]

Third track from their 14th album, obviously influenced by Cave’s side project Grinderman (considering the rather raw sound, probably the result of the short recording period). That’s about it, as Cave never really captivated me on disc, contrary to live.

5. José Gonzalez – Deadweight on Velveteen (Veneer, 2003) [singlepic id=158 w=80 h=50 float=left]

Shuffled ‘Hints’ before, which together with today’s track and The Knife-cover ‘Heartbeats’ (a culturally as well es commercially fully exploited song) is a sure highlight on this reasonable debut. Never lured me into getting his second album however.

6. Brian Wilson – They Can’t Take That Away from Me (Brian Wilson Reimagines Gershwin, 2010) [singlepic id=347 w=80 h=50 float=left]

Incredible happy sound from the master himself on this album full of Gershwin interpretations. Although Gershwin is obviously explicitly present on this record, this composition stands out because of Wilson’s flagrant injection with Beach Boys sound.

7. Sunset Rubdown – Stadiums and Shrines II (Shut Up I Am Dreaming, 2006) [singlepic id=114 w=80 h=50 float=left]

Another prominent representative of the early 2000’s Canadian indie rock scene, just like Apostle of Hustle last time. Not much to add to what was said last time, except that (despite recent releases from Krug’s otherproject Moonface), one can only hope for a fifth Rubdown album ever to be released.

8. The Great Society – Born to Be Burned (How It Was, 1968) [singlepic id=350 w=80 h=50 float=left]

Live recording from Grace Slick’s family band (featuring her former husband Jerry Slick and his brother Darby), released in the aftermath of Airplane’s success. That fame rose after Darby passed Grace his song ‘Somebody to Love’, that became a massive hit on Airplane’s Surrealistic Pillow. The setting of this album’s artwork was The Matrix club in San Francisco, where The Great Society played in 1966, as can be heard here.

9. Moody Blues – Evening (Days of Future Passed, 1967) [singlepic id=351 w=80 h=50 float=left]

Just like the breakfast we had, the evening can also be split in three parts: ‘Intro’, ‘The Sunset’ and ‘Twilight Time’. Outrageously symphonic at its transition point, thanks to The London Festival Orchestra’s contributon, after which it goes up-tempo towards its peak. Great track.

10. The Go! Team – Huddle Formation (Thunder, Lightning, Strike, 2004) [singlepic id=349 w=80 h=50 float=left]

Industrious end of this lovely music hour from this six from Brighton. Maybe another time.

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Shuffle of the week #41

1. The Lemonheads – Hannah & Gabi (It’s a Shame about Ray, 1992) [singlepic id=105 w=80 h=50 float=left]

North-America during the late eighties: many punk influenced high school bands are trying to make their own respectable music which was later called ‘alternative rock’, characterizing the pop climate of that time. Many were as short-lived as their songs and if they were lucky, they left us one good album. Lemonheads (Boston) had theirs with this one and it would never become much better afterwards (with several line-ups). Acoustic and electric guitar dance well together on this track.

2. Apostle of Hustle – Kings & Queens (Folkloric Feel, 2004) [singlepic id=341 w=80 h=50 float=left]

To the more recent past with another trio, from the flowering Canadian indie rock scene in the beginning of the new century. Apostle of Hustle was founded by Broken Social Scene guitarist Andrew Whiteman, during the recordings of their own album You Forgot It in People. His personal folkloric feel didn’t fit on this album, but thank God he didn’t waste it but threw it on another great record instead.

3. Tindersticks – No More Affairs (Tindersticks (II), 1995) [singlepic id=70 w=80 h=50 float=left]

First single from their second (really) album, which (just like its contemporaries, the self-eponymous debut and Curtains) I used to appreciate a few years ago. Started to repeat themselves at a certain point, although this was well intended in some cases.

4. The Doors – My Wild Love (Waiting for the Sun, 1968) [singlepic id=343 w=80 h=50 float=left]

Always a tough one to pick the strongest Doors album out of these five gems (disregarding The Soft Parade and the post-Morrison period). The first two (obviously) contain the band’s most original sound, Morrison Hotel probably is the rawest and hardest one, while LA Woman has that legendary gloom around it. But this one might have the best songs, like ‘Not to Touch the Earth’, ‘Spanish Caravan’ and closing song ‘Five to One’. This one is another interesting odd one, with Morrison acting as the high priest of a mendacious cult.

5. Traveling Wilburys – Last Night (Traveling Wilbury’s Vol. 1, 1988) [singlepic id=15 w=80 h=50 float=left]

The story of the notorious Wilburys might meanwhile be well known. This track was mainly written by Tom Petty, but especially captivates when Orbison shines during the bridge.

6. The White Stripes – I’m Bound to Pack it up (De Stijl, 2000) [singlepic id=344 w=80 h=50 float=left]

Played the life out of this great (second) album last year. The band tributed it to Dutch architect Gerrit Rietveld (an important temporary representative of the homonymous art movement) and Blind Willie McTell, who was honored another time by Jack White more recently, on his last solo album Lazaretto with his interpretation of McTell’s classic ‘Three Women Blues’.

7. Thom Yorke – And It Rained All Night (The Eraser, 2006) [singlepic id=345 w=80 h=50 float=left]

Singer of another great band from the 21st century, who also released some solo work afterwards (‘with their blessing’). This was his debut (and only) album, which is as reverting to the recent past (‘The Gloaming’ more specifically on this track) as predicting some later work with his band. However, in the end it’s above all Yorke without the rest, which keeps you hungry for those characteristic Kid A / Amnesiac grooves.

8. Steve Miller Band – While I’m Waiting (Abracadabra, 1982) [singlepic id=342 w=80 h=50 float=left]

Easy listening closing track from the band’s twelfth album. Not a great lover anymore, although it remains difficult to not sing along with tracks like ‘Keeps me Wondering Why’ and ‘Cool Magic’.

9. Simon & Garfunkel – Homeward Bound (Parsley, Sage, Rosemary and Thyme, 1966) [singlepic id=193 w=80 h=50 float=left]

One of Simon’s best known compositions (from their marvelous third album), written in an era when it was no option to post a picture of yourself waiting in a train station, to make clear to other people that you’re actually waiting in a train station. All you could do was, well, wait, and (if you were a genius) write a great song about it.

10. My Morning Jacket – Librarian (Evil Urges, 2008) [singlepic id=107 w=80 h=50 float=left]

Certainly daring, but not the band’s strongest album. This track however can delight me now and then.

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Shuffle of the week #40

1. Swan Lake – Pleasure Vessels (Beast Moans, 2006) [singlepic id=115 w=80 h=50 float=left]

Debut album from so-called Canadian supergroup (Mercer, Bejar and Krug). Krug provided the album title by describing its sound as ‘a boar dying in a tar pit’, which is also a way of saying that it’s not quite as good as the music they produced earlier with their respective bands. They released a second album in 2009, but their debut didn’t convince me to obtain that one.

2. The Beatles – Dr. Robert (Revolver, 1966) [singlepic id=339 w=80 h=50 float=left]

Many words were written about the true identity of Doctor Robert, who according to Sir Paul ‘kept New York high’. Apparently, it was not at all John Lennon, Robert MacPhail or Bob Dylan, but dr. Robert Freymann, the New York doc who provided the wealthy ‘Upper East Siders’ with vitamin shots including amphetamins.

3. Pearl Jam – Love Boat Captain (Riot Act, 2002) [singlepic id=338 w=80 h=50 float=left]

From the seventh Pearl Jam, that was released after a one year sabbatical (following the death of 9 fans at the Roskilde festival). Keyboards player Kenneth Gaspar made his entrance on this album, and most notably on this track. Adding a keyboards player was part of Pearl Jam being open to new things, which apparently also included having an opinion about things, instead of concentrating on the writing of exceedingly strong songs.

4. Paul Simon – Homeless (Graceland, 1986) [singlepic id=20 w=80 h=50 float=left]

One of those numerous gems on this absolute classic. The track is sung by Simon together with Ladysmith Black Mambazo, whose singer Joseph Shabalala co-wrote the song with Simon. Mister Shabalala came up with the music, which he lent from a traditional Zulu wedding tune, and the Zulu lyrics, while Mister Simon delivered the English lyrics.

5. The Decemberists – Cocoon (Castaways and Cutouts, 2002) [singlepic id=156 w=80 h=50 float=left]

Another one from 2002, this debut album from Portland’s finest band, entirely written by singer Colin Meloy. It was a pleasant first acquaintance with the band for me, and meanwhile I’ve become fan of later work, for example Picaresque that was released three years later. Besides Meloy’s affairs with the band, he also proceeds with a solo career by covering songs from his musical heroes like Morrissey and Sam Cooke.

6. Fistful of Mercy – In Vain or True (As I Call You Down, 2010) [singlepic id=337 w=80 h=50 float=left]

More music from the 21st century, this opening song from Fistful of Mercy’s only album. Another example of a so-called super group, consisting of Joseph Arthur, Dhani Harrison, Ben Harper and… Jim Keltner on drums! Keltner earlier played on solo-albums from John Lennon, Ringo Starr as well as Harrison’s father, and would even provide the drums on both Traveling Wilburys albums as Buster Sidebury. This is the most noteworthy fact about this album, that above all contains lots of embarrassing failures.

7. Animal Collective – No More Running (Merriweather Post Pavillion, 2009) [singlepic id=118 w=80 h=50 float=left]

From the same era, with a gem from one its greatest pop albums, created after the temporary departure of guitarist Deakin. Not that he’s a bad guitar player, but it obliged the group to renew their sound once more. An average band would perhaps replace the man, but inspired by Panda Bear’s genius’ Person Pitch, Animal Collective chose to replace the instrument.

8. Phish – Golgi Apparatus (Junta, 1989) [singlepic id=39 w=80 h=50 float=left]

Debut album from this obstinate band, on which absurdity is permanently lurking, musically as well as lyrically.

9. Bob Dylan – Just Like Tom Thumb’s Blues (Live 1966: The ‘Royal Albert Hall’ Concert, 1998) [singlepic id=335 w=80 h=50 float=left]

Great recording from one of rock’s most notorious concerts, at the Manchester Free Trade Hall during Dylan’s 1966 world tour (falsely attributed to the Royal Albert Hall). This classic from Highway 61 Revisited is to be found on side 2, with Dylan playing electrically together with The Hawks.

10. David Byrne & St. Vincent – Ice Age (Love This Giant, 2012) [singlepic id=336 w=80 h=50 float=left]

Closing in style with more recent work, although there’s clearly a veteran involved this time. Love This Giant was a collaboration between former Talking Heads guru David Byrne with art rock woman St. Vincent (Oklahoma). Most hit sensitive song on the album.