On the surface, this is little more than a thinly disguised rewrite of Like A Rolling Stone. But there’s something special about it too… especially that familiar guitar sound. Those licks, borrowed more or less straight from Mike Bloomfield’s on the Dylan song, are played by a young session player called Jimmy Hendrix.

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New year, New Order. This was a landmark release in so many ways when it came out in March 1983. Firstly because it marked the moment postpunk merged with electronic dance music, and made the link between 70s disco and 80s house music. Secondly because Blue Monday went on to become the biggest-selling 12-inch single of all time.

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Three hundred million YouTube viewers can’t be wrong – when it’s time to celebrate, this is the song. And what better time to celebrate than the turning of a new year.

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Kae Tempest and Loyle Carner teamed up to make a South London double act in 2014, blending poetry and hip hop to poignant efect in Guts. 

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There are many things I love about Sault, not least their initial anonymity, their eclecticism, and their refusal to play by the marketing-led rules of the music biz.

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Here’s a trio of songs for Christmas – one for opening the presents, another for after dinner at the end of the day, and one for Boxing Day.

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There’s a compelling argument that we’ve had enough Christmas songs to last a lifetime and don’t need any more. But this one has that same seasonal sense of sadness and nostalgia as Fairytale Of New York.

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Bass lines don’t come much funkier than this minimalist drum-and-bass obscurity by a short-lived mid-’70s band called Spaghetti Head.

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This is utterly heartbreaking. Once heard, never forgotten: Candi Staton’s first-hand memory of one of the worst racist terror incidents in US history, in which four little girls lost their lives.

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Here’s a sweet slice of Northern Soul to warm the cockles of the heart on the longest night of the year. Listen carefully and you can hear the guitar of future Fleetwood Mac member Bob Welch.

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