I’ve never been able to make up my mind whether I like the Lambrini Girls for their shouty punk energy or hate them, probably for the same reason.

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Isaac Hayes is such a natural star: muscular and shaven-headed with a deep and surprisingly sensitive voice, underpinned by funky, lavishly orchestrated jams.

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This is not just a great tune but a cleverly constructed composition – created by combining two tracks recorded 37 years apart.

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Like some ultra-sweet confection that rots your teeth, this novelty chart topper from 1999 is just so addictive you can’t help but love it. The appeal is a combination of three things: its infectious trance beat, that twangy Hawaiian guitar figure, and the breathy bedroom vocal.

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Kaylee Rose is a Nashville-based artist who taps into tradition with this song about a cheating partner, set to a simple backing. It’s the archetypal “three chords and the truth” – the phrase Harlan Howard used in the 1950s to sum up country music’s appeal.

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The sun has come out at last and this tune takes me back to the dancefloors of Ibiza where I wangled my way on work freebies a few times in the early ’90s.

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All-female punk band L7 made an X-rated impression on TV audiences with their first and last appearance on UK television in 1992.

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Melts are a band from Dublin that sound like the missing link between Joy Division and The Horrors, blending big post-punk guitars with psychedelic flourishes of organ and the detached vocals of Eoin Kenny.

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Keith Levene re-imagined and re-recorded PiL’s unreleased fourth album in 1984 as the mainly instrumental Commercial Zone.

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I’d never heard of JakoJako or the Dragon Bridge in Vietnam, which is the inspiration for this soothing slice of minimalist techno by the Berlin-based electronic artist.

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