It takes a bold and courageous artist to re-record her signature song after more than half a century, but Marianne Faithfull was nothing if not brave.

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This is the song that gave The Rolling Stones their first big US hit and helped make Irma Thomas the Soul Queen of New Orleans.

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I love a torch song as much as the next sentimental fool. So I was thrilled when this one made an appearance in The Brutalist.

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RIP Sam Moore, sole survivor – and soul survivor – of Sam & Dave, the duo known for their two biggest hits Soul Man and Hold On, I’m A Comin’.

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I came to Jethro Tull through their flutey folky stuff, matched to the occasional powerchord, but was never a big fan – largely because of Ian Anderson’s flute.

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I feel like everybody knows this song. But if you’re anything like me, you’re not sure how you know it. It certainly wasn’t from the time Nancy Wilson had her first hit with it back in 1964 because I was a tiny kid at the time.

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Etta James might not have come from the Mississippi Delta – she grew up Los Angeles and came of age in San Francisco – but she was a bona fide blues belter.

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The Bee Gees song written for Otis Redding but redone as a hippie country-soul heartbreaker. Gram Parsons and the Flying Burrito Brothers, give it a country twang replete with pedal steel guitar that was entirely absent from the original.

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If there’s one artist I wish I’d seen live more than any other, it’s probably Nina Simone. Especially when she was a regular at Ronnie Scott’s in the 1980s. Except I had probably not heard of her back then.

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The second single by The Bee Gees back in 1967 was originally written for their mentor Robert Stigwood and intended for Otis Redding to record.

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