I’m not entirely sure what I think about these posthumous recordings, where a living artist duets with a dead one. Some work well; others defile the dead artist’s memory. I think this one settles the argument in their favour.

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Here’s a slice of smooth summery jazz-funk from Southern California’s so-called Inland Empire – the area south-east of LA that includes Palm Springs and San Bernadino.

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One of the best riffs of all time when Muddy Waters recorded it back in 1955, it somehow sounds even better in the dextrous hands of George Thorogood a quarter of a century later.

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It’s always dangerous to try messing with perfection but this take on a Gil Scott-Heron classic stands up alongside his tribute to Lady Day and John Coltrane.

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When I first heard Roy Orbison I dismissed him as an old crooner singing overwrought ballads of no relevance to me with my cool musical tastes.

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When I first saw and heard Fontaines D.C. they were the most exciting new guitar band I’d seen in decades. I wasn’t the biggest fan of their second album but Dave Clarke’s remix transforms the song into a dancefloor banger.

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When I first heard this joyful celebration of Africa and freedom, on a mixtape made by Polly Harvey, I thought it must be by an African group. In fact it’s an entirely home-grown affair – a collaboration between the British neo-soul collective Sault and the British singer Michael Kiwanuka.

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I can’t pretend I was an early adopter of hip-hop and I can’t remember whether I heard this landmark song when it came out in 1983.

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This sweaty, soulful, stripped-back take on one of Jimi’s biggest tunes is by his first group – a few years after he left.

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It’s one of life’s great musical pleasures that at the age of 70 Kim Gordon is still making loud abrasive music that’s every bit as antisocial as she was back in downtown NYC in 1981.

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