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      <image:title>50 Best Albums of 2015 - &lt;em&gt;50. &lt;/em&gt; Kurt Vile - B'Lieve I'm Going Down...</image:title>
      <image:caption>Start with: Pretty Pimpim Adding more text for testing gallery where more text are required. Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;49. &lt;/em&gt; Ibeyi - Ibeyi</image:title>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;48. &lt;/em&gt;David Gilmour - Rattle That Lock</image:title>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;47. &lt;/em&gt;Deerhunter - Snakeskin</image:title>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;46. &lt;/em&gt;Tobias Jesso Jr. - How Could You Babe</image:title>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;45. &lt;/em&gt;In The Night</image:title>
      <image:caption>Aldus PageMaker including versions of Lorem Ipsum. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like</image:caption>
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      <image:caption>44. Ryley Walker - Primrose GreenI Start with: The High Road</image:caption>
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      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
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      <image:caption>Start with: Pretty Pimpim Adding more text for testing gallery where more text are required. Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
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      <image:caption>Start with: Pretty Pimpim Adding more text for testing gallery where more text are required. Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;37. &lt;/em&gt; Kurt Vile - B'Lieve I'm Going Down...</image:title>
      <image:caption>Start with: Pretty Pimpim Adding more text for testing gallery where more text are required. Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
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      <image:caption>44. Ryley Walker - Primrose GreenI Start with: The High Road</image:caption>
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      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;15. &lt;/em&gt;Summer Breaking</image:title>
      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e3c8f9a61ed8638144de/1504044779037/46.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;12. &lt;/em&gt;Ryley Walker - The High Road at Braund Studios</image:title>
      <image:caption>44. Ryley Walker - Primrose GreenI Start with: The High Road</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e3d003596ef2c22d1933/1504044797391/46.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;10. &lt;/em&gt;Ryley Walker - The High Road at Braund Studios</image:title>
      <image:caption>44. Ryley Walker - Primrose GreenI Start with: The High Road</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e705c534a545652c1a37/1504044882853/47.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;9. &lt;/em&gt;Deerhunter - Snakeskin</image:title>
      <image:caption>It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</image:caption>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;8. &lt;/em&gt;David Gilmour - Rattle That Lock</image:title>
      <image:caption>It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e72bcd0f6856ec300429/1504044882837/47.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;7. &lt;/em&gt;Deerhunter - Snakeskin</image:title>
      <image:caption>It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</image:caption>
    </image:image>
    <image:image>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;6. &lt;/em&gt;Summer Breaking</image:title>
      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e762ff7c50210a379a17/1504044981359/46.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;5. &lt;/em&gt;Ryley Walker - The High Road at Braund Studios</image:title>
      <image:caption>44. Ryley Walker - Primrose GreenI Start with: The High Road</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e77137c5810f8dcb8d59/1504044981364/47.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;4. &lt;/em&gt;Deerhunter - Snakeskin</image:title>
      <image:caption>It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</image:caption>
    </image:image>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;3. &lt;/em&gt;Summer Breaking</image:title>
      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/58dbc21f440243cca56b3046/59a5e793cf81e095fa74a18f/1504044981369/001.jpg</image:loc>
      <image:title>50 Best Albums of 2015 - &lt;em&gt;2. &lt;/em&gt;David Gilmour - Rattle That Lock</image:title>
      <image:caption>It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</image:caption>
    </image:image>
    <image:image>
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      <image:title>50 Best Albums of 2015 - &lt;em&gt;1. &lt;/em&gt;Summer Breaking</image:title>
      <image:caption>43. Mark Ronson - Uptown Special Start with: Summer Breaking</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59a5e7c2f14aa173ca79f4aa/1490797176431/</image:loc>
      <image:title>50 Best Albums of 2015</image:title>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/new-gallery</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-09-10</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b57931ccc5c5736a398b0e/59b57a5e8419c20a25d6d9c9/1505070124727/thinkthank-433.jpg</image:loc>
      <image:title>BLUR TOP TEN - &lt;em&gt;10. &lt;/em&gt; Blur - Think Tank</image:title>
      <image:caption>They liked to get in your face, often drunkenly, but their big bet, on English-flavoured pop at grunge’s apex, paid off. The subsequent alignment of UK pop culture behind their lead went to their heads, or did them in, or both, but it’s to their credit that the crash, when it came, fuelled music that bore the scars, in the scratchy comedown vibe of Blur, the deconstructive urges of 13, and beyond, into idiosyncratic solo projects.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b57931ccc5c5736a398b0e/59b5820bf5e23147568be970/1505070142413/gorillaz-433.jpg</image:loc>
      <image:title>BLUR TOP TEN - &lt;em&gt;9. &lt;/em&gt; GORILLAZ - GORILLAZ</image:title>
      <image:caption>And Blur live on. Reunited in 2009 after Graham Coxon’s 2002 exile, they’ve almost semi-regularly staged big gigs in Hyde Park, while a whole new Blur album, The Magic Whip, was carved out of off-the-cuff sessions conducted in Hong Kong in 2013. Time will tell if it secures a place in the pantheon. But No Distance Left To Run? Not on this evidence.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b57931ccc5c5736a398b0e/59b582199f8dce4dd2448ff4/1505070162501/modernlife-433.jpg</image:loc>
      <image:title>BLUR TOP TEN - &lt;em&gt;8. &lt;/em&gt; Blur - MODERN LIFE IS RUBBISH</image:title>
      <image:caption>These have included flibbertigibbet James’s footie-song supergroup, Fat Les, and Coxon’s guitar-slashing, Jilted John cris de coeur. Meanwhile, Albarn stormed classical citadels and danced to Afro grooves in Lagos and Mali.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b57931ccc5c5736a398b0e/59b57a058dd04187fcf35769/1505065477473/</image:loc>
      <image:title>BLUR TOP TEN</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59b58c52a8b2b050d1e86991/1505065477473/</image:loc>
      <image:title>BLUR TOP TEN</image:title>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/new-gallery-1</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-01-17</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d664e49f74562b0c184e25/1507308911606/Aswad_New_Chapter.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;50. &lt;/em&gt; Aswad - New Chapter</image:title>
      <image:caption>MOJO SAYS: Classy Brit reggae blending keening harmonies, doleful brass and an early ’80s inner-London edge.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d66542cd0f68087474449a/1507310048983/the%2Bparagons.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;49. &lt;/em&gt;The Paragons - On the Beach</image:title>
      <image:caption>MOJO SAYS: The tide was high, they were holding on, and rock steady crested a euphoric wave.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d6658980bd5e99b9551f33/1507310049012/beenie-man1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;48. &lt;/em&gt;Beenie Man - Art And Life</image:title>
      <image:caption>MOJO SAYS: Diverse cross-genre hook-ups from quick-lipped dancehall adventurer and early Pharrell-adopter.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d665ca2278e7f2e9350fe3/1507310049095/herman-chin-loy1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;47. &lt;/em&gt;Herman Chin Loy - Aquarius Rock</image:title>
      <image:caption>MOJO SAYS: OK, it breaks our general ‘no CD comps’ rule but this collects Chin Loy’s deeply funky, borderline-psychedelic late ’60s/early ’70s 45s, tough to find elsewhere.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d6661437c581603a0e8c51/1507310049127/Bunny_Wailer_-_Blackheart_Man1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;46. &lt;/em&gt;Bunny Wailer - Blackheart Man</image:title>
      <image:caption>MOJO SAYS: An iron fist in a silk glove, the gentlest Wailer’s solo debut packs a hazily laid-back cry of Rasta protest.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7706da8b2b0eca6378f96/1516188110251/mister-yellowman1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;45. &lt;/em&gt;Yellowman – Mister Yellowman</image:title>
      <image:caption>MOJO SAYS: Sometimes ridiculous, often very rude but always mesmerising dancehall classic from albino JA star.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77105e9bfdf1d72d77ada/1516188215843/rhythm-sound1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;44. &lt;/em&gt;Rhythm &amp; Sound w/ Tikiman – Showcase</image:title>
      <image:caption>MOJO SAYS: A master class in juggernautical deep dub techno, at the exhilarating junction where old-school reggae and ’90s electronica clash.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77144c027d86c3dd69957/1507310049120/horace-andy1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;43. &lt;/em&gt;Horace Andy - Skylarking</image:title>
      <image:caption>MOJO SAYS: The best early sides from Brentford Road studio’s haunting, unsettling, honey-sweet tenor.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77175e5dd5b440b260214/1516188318258/garnett_silk-its_growing1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;42. &lt;/em&gt;Garnet Silk – It's Growing (Live)</image:title>
      <image:caption>MOJO SAYS: The first spiritually elevating and PC dancehall album – a classic.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d771abf5e231a69a8e08e9/1516188269247/John%2BHolt%2B-%2B1000%2BVolts%2BOf%2BHolt%2B-%2BLP%2BRECORD-5534431.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;41. &lt;/em&gt;John Holt – 1,000 Volts Of Holt</image:title>
      <image:caption>MOJO SAYS: Ex-Paragons singer crafts pop reggae for the masses, led by perennial smoothie Help Me Make It Through the Night.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7781464b05fdde9d8c794/1516188298326/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;40. &lt;/em&gt;Scientist – Scientist Meets The Space Invaders</image:title>
      <image:caption>MOJO SAYS: King Tubby's engineer borrows the boss's echo box to make humid, super-heavy dub.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77858d7bdce90d54c6496/1507310049483/Steel%2BPulse%2B-%2BHandsworth%2BRevolution%2B-%2BLP%2BRECORD-4403731.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;39. &lt;/em&gt;￼Steel Pulse - Handsworth Revolution</image:title>
      <image:caption>MOJO SAYS: Militant Rasta missives in tough militant Marley style – straight outta punk-era Brum.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77a269f745607c7904a3a/1507310049954/Ken-Boothe-Rocksteady-LP-600x6001.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;38. &lt;/em&gt;￼Ken Boothe - Mr Rock Steady</image:title>
      <image:caption>MOJO SAYS: Prime late ’60s Studio One pop, essayed with emotive grace. The title doesn’t deceive.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77a5be5dd5b440b264be0/1507310050154/toots%2Band%2Bthe%2Bmaytals%2Bnever%2Bgrow%2Bold1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;37. &lt;/em&gt;￼The Maytals - Never Grow Old</image:title>
      <image:caption>MOJO SAYS: Exuberant harmonies with a gospel/barbershop tinge twist on super-early ska LP from future funky-reggae titans.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77a9bccc5c54d14c79407/1507310050174/BARRINGTON%2BLEVY%2B%2Bshoolin%2Btemple.....1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;36. &lt;/em&gt;Barrington Levy Shaolin Temple</image:title>
      <image:caption>MOJO SAYS: A 16-year-old Levy unleashes fruity dancehall cornerstone, with dub-happy wizard Scientist manning the desk.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77ad44c326dcba5df8f8b/1507310050986/roland%2Balphonso%2B-%2Bking%2Bsax1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;35. &lt;/em&gt;￼Roland Alphonso - King Of Sax</image:title>
      <image:caption>  MOJO SAYS: The Skatalites’ tenor sax magus blows sublimely jazzy notes over classic Studio One backing tracks.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77afec534a520dad14568/1507310050323/The%2BMighty%2BDiamonds%2B-%2BRight%2BTime%2B-%2BLP%2BRECORD-5424061.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;34. &lt;/em&gt;The Mighty Diamonds - Right Time</image:title>
      <image:caption>MOJO SAYS: Hard-bitten political ire expressed through exquisite three-part soul harmonies and unhurried roots-rocking rhythms.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77b30be42d6c4c59e9c74/1507310050786/augustus-pablo1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;33. &lt;/em&gt;￼Augustus Pablo - East of the River Nile</image:title>
      <image:caption>MOJO SAYS: Spectral ‘Far East’-sounding instrumentals blown through Pablo’s baleful melodica; takes up where the more dubby ‘King Tubby’s…’ left off.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d77b5551a584743e90e77e/1507310050409/eek-a-mouse1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;32. &lt;/em&gt;￼Eek-a-Mouse - Wa-Do-Dem</image:title>
      <image:caption>MOJO SAYS: Alias Ripton Hilton brings eccentric, squeaky singjay style to the dancehall and invents a brilliantly nonsensical subgenre of one.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d799b5017db2741e31f99f/1507310050500/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;31. &lt;/em&gt;Hollie Cook - Twice</image:title>
      <image:caption>MOJO SAYS: Pinballing bings and bongs, steel pans, Bollywood strings, Prince Fatty at the desk – this year’s classy UK pop reggae update is truly up there with the best of ’em.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d79a0b197aeae81be631a1/1507310050511/luciano1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;30. &lt;/em&gt;Luciano - Messenger</image:title>
      <image:caption>MOJO SAYS: Luciano turned his back on smutty ‘slackness’ for an album of elevated soul-reggae balminess.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d79a74b7411c9ed9a87bb3/1507310050759/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;29. &lt;/em&gt;SIZZLA - Bobo Ashanti</image:title>
      <image:caption>MOJO SAYS: Return-to-form from singjay dancehall star of steely conviction and old-school Rasta fire-power.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7a8614c0dbff0dad18f7f/1507309616922/black-uhuru1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;28. &lt;/em&gt;￼Black Uhuru - Anthem</image:title>
      <image:caption>MOJO SAYS: Sly Dunbar and Robbie Shakespeare’s polished ’80s production, all zingy syndrums and big pop tunes, creates massive seller.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7a8e5914e6bf5b2663b91/1507309642661/heptones1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;27. &lt;/em&gt;￼The Heptones - Cool Rasta</image:title>
      <image:caption>MOJO SAYS: Achingly soulful three-part harmonies on LP that jettisoned their previous romantic preoccupations in favour of mean ghetto vibrations.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7a94cd2b857bcd53f82eb/1507309673662/dillinger1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;26. &lt;/em&gt;DILLINGER - CB200</image:title>
      <image:caption>MOJO SAYS: Named for his Honda ’bike, this was home to the funky, hypnotic deejay apotheosis that’s Cokane In My Brain.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7a9e312abd915ac75a723/1507309691905/Marcia%2BGriffiths%2B-%2Bnaturally%2B1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;25. &lt;/em&gt;Marcia Griffiths - Naturally</image:title>
      <image:caption>MOJO SAYS: Fresh from Marley’s I-Threes, Marcia makes polished fem-reggae updating her old Bob Andy-penned Studio One jewels Feel Like Jumping and Tell Me Now.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7aa0a46c3c476af412fb6/1507309708168/various-club-ska.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;24. &lt;/em&gt;￼Various - Club Ska</image:title>
      <image:caption>MOJO SAYS: Essential early collection of classic ska 45s compiled for UK audience by legendary Scene Club DJ and Island A&amp;R man Guy Stevens.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7aa50e9bfdf48e3a01d3e/1507309743473/mikey%2Bdread%2BWorld%2BWar%2B3%2Blp.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;23. &lt;/em&gt;￼Mikey Dread - World War III</image:title>
      <image:caption>After working on The Clash’s Sandinista!, Dread returned to JA to create his second and best LP of deep-dub and distinctive biddly-biddlly toasts.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7aa868419c29bdae77040/1507309757272/gregoryisaacsnightnurse1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;22. &lt;/em&gt;￼Gregory Isaacs - Night Nurse</image:title>
      <image:caption>MOJO SAYS: The Cool Ruler glides effortlessly from seductive lovers rock towards sculptured dancehall mastery.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7aaba8419c29bdae7749c/1507306303780/upsetters.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;21. &lt;/em&gt;The Upsetters - Return Of Django</image:title>
      <image:caption>MOJO SAYS: Instrumental set from Lee ‘Scratch’ Perry’s sessioneers, heavy on funky chops and Spaghetti Western swagger.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ab65914e6bf5b2666713/1507306407564/The_bug_london_zoo.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;20. &lt;/em&gt;￼The Bug - London Zoo</image:title>
      <image:caption>MOJO SAYS: A confusion of dancehall, noise, hip hop and grime confirms reggae can shift-shape into sonic nourishment for modern times.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7abbdccc5c566a586f3f6/1507306508349/peter-tosh-legalize-it1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;19. &lt;/em&gt;￼Peter Tosh - Legalize It</image:title>
      <image:caption>MOJO SAYS: After quitting The Wailers, Tosh returned with sonically dense, admirably lazy-paced solo jewel promoting maximum spliffage.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ac33b0786946b6714429/1507306585099/U_Roy.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;18. &lt;/em&gt;￼U Roy - Version Galore</image:title>
      <image:caption>MOJO SAYS: Revolutionary deejay’s benchmark debut album, popularising the idea of rapping over someone else’s backing track until it ends. Hip-hop ahoy!</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ac63bce17627f911a092/1507306633089/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;17. &lt;/em&gt;￼Dr Alimantado - Best Dressed Chicken In Town</image:title>
      <image:caption>MOJO SAYS: Toasting reaches dizzying heights with this punk-loved clutch of the Doctor’s early singles.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ac989f8dce5a97ac5070/1507306704977/cultrue-cover1.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;16. &lt;/em&gt;￼culture - two sevens clash live</image:title>
      <image:caption>MOJO SAYS: An epochal title track, and an extraordinary LP as the vocal trio combine with massive orchestration to create a mood of portentous dread.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ad01c534a5dcb0ed66dd/1507306810101/BurningSpear-MarcusGarvey.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;15. &lt;/em&gt;￼Burning Spear - Marcus Garvey</image:title>
      <image:caption>MOJO SAYS: Uncompromising lyrics allied to potent rhythms equals militant greatness.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ad43be42d60509e9fb8b/1507306860799/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;14. &lt;/em&gt;￼Big Youth - Screaming Target</image:title>
      <image:caption>MOJO SAYS: Intense rhythms coupled with Youth’s deep, drawling delivery make for killer early deejay disc.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ad7aa8b2b0a8c112a39f/1507306931025/don-drummond.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;13. &lt;/em&gt;￼Don Drummond - The Best Of</image:title>
      <image:caption>MOJO SAYS: Minor-key retort to ska’s in-built jolliness from The Skatalites’ deeply troubled composer, trombonist and melodist.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7add98a02c7b1d27e241d/1507307029070/perry_super_ape.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;12. &lt;/em&gt;￼Lee Scratch Perry And The Upsetters - Super Ape</image:title>
      <image:caption>  MOJO SAYS: Perry’s 1976 productions for others are submerged in a gloriously eccentric murk of re-mixed vocal clips, horns, flute, melodica and, yes, dubby echo.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ae24a9db09b5a09ae09f/1507307091901/Bob-Marley_Exodus.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;11. &lt;/em&gt;￼Bob Marley &amp; The Wailers - Exodus</image:title>
      <image:caption>MOJO SAYS: Marley survives political shooting in JA, arrives in punk-crazed London, records squelchy, funky-reggae triumph.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7ae753e00beb7e3d76349/1507307275684/max-romeo.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;10. &lt;/em&gt;￼Max Romeo &amp; The Upsetters - War Ina Babylon</image:title>
      <image:caption>MOJO SAYS: Marley-endorsed landmark in socially conscious, political roots reggae crafted at Lee Perry’s Black Ark.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7af4b2278e79148341958/1507307623725/prince-buster.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;9. &lt;/em&gt;￼Prince Buster - FABulous Greatest Hits</image:title>
      <image:caption>MOJO SAYS: Legendary ska cut Al Capone aside, this collects Buster’s delightfully cheeky rock steady sides, ever full of humorous skits.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b073d7bdce112449c097/1507307729879/joe-gibbs.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;8. &lt;/em&gt;￼Joe Gibbs - African Dub All-Mighty Chapter 3</image:title>
      <image:caption>MOJO SAYS: A weighty sub-bass dub excursion pushing the envelope with chirpy keys and bizarro sound effects including door bells and thunderclaps.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b0ded55b4192391738d0/1507307860791/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;7. &lt;/em&gt;￼ Upsetters - 14 Dub Blackboard Jungle</image:title>
      <image:caption>MOJO SAYS: Lee Perry and King Tubby collaborate on pioneering dub album with extraordinary split-stereo mixes that collides to make a brand new sound. A masterpiece.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b16e8a02c7e38407dcb3/1507308080822/toots_and_the_maytals-funky_kingston-dragon_lp.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;6. &lt;/em&gt;￼Toots &amp; The Maytals - Funky Kingston</image:title>
      <image:caption>MOJO SAYS: The rough, rustic and churchy Maytals of the ska era are updated into a raucous rock stew that's impossible not to move to.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b2788419c2d28e85a634/1507308201894/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;5. &lt;/em&gt;￼The Congos - Heart Of The Congos</image:title>
      <image:caption>MOJO SAYS: Perfect dread harmonies amid a Lee Perry mix of staggering complexity and endless soft-edged density. The squashiest, most organic-sounding reggae LP ever.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b2baf43b550819501d7d/1507308465135/Ska-Boo-Da-Ba.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;4. &lt;/em&gt;￼Skatalites - Ska Boo-Da-Ba</image:title>
      <image:caption>MOJO SAYS: The definitive Jamaican ska band at their dizzyingly inventive peak, taking the island’s shuffling offbeat dance music into swinging jazz and Far Eastern territory. Still mindblowing.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b3d7ccc5c5a5d5f0cadf/1507308625716/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;3. &lt;/em&gt;￼Various - The Harder They Come</image:title>
      <image:caption>MOJO SAYS: The soundtrack to the film that took reggae to the world, top’n’tailed by singer/actor Jimmy Cliff’s tropical-pop title-track and hymnal Many Rivers To Cross.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b45f197aead54783917b/1507308678661/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;2. &lt;/em&gt;￼Augustus Pablo - King Tubby Meets Rockers Uptown</image:title>
      <image:caption>MOJO SAYS: Electronics wizard King Tubby chops up Augustus Pablo’s mournful productions on a DIY console built to terrify loudspeaker manufacturers. An eerie, mind-melting dub monster.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d7b491d2b857f3aea433c9/1507308736762/catch-a-fire-the-wailers-cd-bob-marley2.jpg</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;1. &lt;/em&gt;￼Bob Marley &amp; The Wailers - Catch A Fire</image:title>
      <image:caption>MOJO SAYS: The album that made Bob Marley – and reggae – global superstars. Peerless songs, breathtaking musicianship and, 40 years on, still box fresh.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59b58d11b07869610d12d2fd/59d6650f8e62d6502815c8b6/1507222756441/</image:loc>
      <image:title>The 50 Greatest Reggae Albums</image:title>
      <image:caption />
    </image:image>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/5a5f329e0d92977380df3074/1507308911606/</image:loc>
      <image:title>The 50 Greatest Reggae Albums - &lt;em&gt;50. &lt;/em&gt; Aswad - New Chapter</image:title>
      <image:caption>MOJO SAYS: Classy Brit reggae blending keening harmonies, doleful brass and an early ’80s inner-London edge.</image:caption>
    </image:image>
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    <loc>https://www.mojo4music.com/articles/10226/swervedriver-deep-wound</loc>
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    <loc>https://www.mojo4music.com/articles/10255/iggy-pop-white-christmas</loc>
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  <url>
    <loc>https://www.mojo4music.com/articles/10287/beatles-us-album-reissues-mark-50-years-of-their-us-invasion</loc>
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  <url>
    <loc>https://www.mojo4music.com/articles/10298/led-zeppelin-follow-spotify-rollout-with-remastered-albums-in-2014</loc>
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    <loc>https://www.mojo4music.com/articles/10300/beatles-tv-special-relives-ed-sullivan-breakthrough</loc>
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    <loc>https://www.mojo4music.com/articles/10325/high-on-fire-slave-the-hive</loc>
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    <lastmod>2017-09-28</lastmod>
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    <loc>https://www.mojo4music.com/articles/10335/r-e-m-s-best-album</loc>
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    <lastmod>2017-09-28</lastmod>
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    <loc>https://www.mojo4music.com/articles/10354/mojo-243-february-2014</loc>
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    <loc>https://www.mojo4music.com/articles/10363/20-best-christmas-songs</loc>
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    <loc>https://www.mojo4music.com/articles/10453/top-15-christmas-albums</loc>
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    <loc>https://www.mojo4music.com/articles/1047/robyn-hitchcock</loc>
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    <loc>https://www.mojo4music.com/articles/10544/happy-70th-birthday-keith-richards</loc>
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    <loc>https://www.mojo4music.com/articles/10559/melancholy-moments-with-paul-simon-and-wolfman-jack</loc>
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  <url>
    <loc>https://www.mojo4music.com/articles/10602/monks-kitchen-music-monks-kitchen</loc>
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    <lastmod>2017-09-28</lastmod>
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  <url>
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    <lastmod>2017-09-28</lastmod>
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  <url>
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    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2017-10-10</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc2568cab339fb541cbd01/1506564086861/bowie-770.jpg</image:loc>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca9be4c326dbd25b95804/1507633668231/MOJO171_Radiohead_CROP1.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 1. Radiohead - The Sonic Alchemists</image:title>
      <image:caption>Never, surely, have a band been so hard on themselves – but with what results! Consecutive ricti of self-criticism and chronic dissatisfaction have been the fuel as the Oxonian quintet (augmented – in recent times – by human metronome Clive Deamer) moved from lyrical, Floydian guitar rock (The Bends) and angsty episodic nu-prog (OK Computer through a controversial but subsequently fully-vindicated millennial electronica re-boot. Now pursuing an ongoing quest to recalibrate the relationship of band, business and audience while consigning all genre headings to the dumpster, and current inheritors of R.E.M.’s “Most Admired Band” laurels.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 2. Bob Dylan - The Enigma Recharged</image:title>
      <image:caption>He’s toured the world constantly, become the subject of a Hollywood movie, recorded 100 hours of his Theme Time Radio Hour broadcasts, continued to mine riches from his archives and still found time to write an utterly compelling first volume of autobiography. There are generations of music fans who are discovering Dylan’s music through the albums (including the truly wonderful Time Out Of Mind and “Love &amp; Theft”) he’s released in the last 20 years. This can only be a great thing.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca8d1268b96b747e9a236/1507633429571/MOJO141_WhiteStripes_CROP.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 3. The White Stripes - Saving The World With The Blues</image:title>
      <image:caption>The fact that their first album was dedicated to Son House gave a clear indication where The White Stripes were coming from. Like fellow Detroit renegades The Stooges, Jack and Meg White immersed themselves in the blues. Then, they dragged the art-from into a new Millennium. Their most celebrated album, Elephant, was recorded on eight tracks in East London’s Toe Rag Studios. It proved that not all rock music needed to sound processed. The band’s highly-charged sound was reinforced by a regimented sense of identity and a mystique which they willfully developed around their relationship. After six albums, The White Stripes split in 2011. They announced their demise with a suitably romantic flourish, declaring that the separation was designed to “preserve what is beautiful and special about the band."</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca87d03596ed02a2808ec/1507633369487/MOJO200_Tom-Waits_CD_CROP.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 4. Tom Waits - What's He Building In There?</image:title>
      <image:caption>Despite not having released any music between 1993’s The Black Rider and his 1999 masterpiece Mule Variations, the former barfly bard of L.A. has picked up more fans in the last 20 years than ever before. His voyage into the catacombs of Americana has continued to result in the sort of broken-down ballads and bone-shattering skronk-outs that could only flow from a man who continues to incinerate genres and sidestep every incoming cultural and musical trend. Happily, he remains out there on his own.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca7f0bce176a803252f97/1507633250832/David-Bowie-Id-Rather-Be-High-7701.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 5. David Bowie - The Avatar Of Aheadness</image:title>
      <image:caption>MOJO’s first ever guest editor (MOJO 104, July 2002) continued to create ground-breaking and affecting music through the ’90s and into the ’00s (1999’s ‘Hours…’ gave us the gorgeous Survive; 02’s Heathen the epic 5.15 The Angels Have Gone). Meanwhile, previous Bowie incarnations flitted like ghosts behind the nouvelles vagues of Britpop, neo-post-punk and electronic pop. Illness laid him low, but he returned last year in a quintessentially Bowie way: delivering a stunning album, The Next Day, whilst preserving the mystery and enigma we thought was lost to the internet age.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca78c8fd4d2e11c90e972/1507633108921/mojo-239-johnny-cash-770.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 6. Johnny Cash - The Return Of The Man In Black</image:title>
      <image:caption>The resurrection of Johnny Cash began in 1994 with the peerless first volume of American Recordings and continued up until his death at the age 71 in 2003. These revelatory acoustic versions of tracks by artists of more recent vintage – Nick Cave, Tom Petty, even Nine Inch Nails and Soundgarden – awoke the confessional soul of country music, bridging a gap across the decades and placing the voice of one of 20th Century recordings’ true originals into the lives of a new generation of devotees. Cash proved that age need be no barrier to relevance and success – a lesson the 21st Century has learned in spades.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca72cf14aa1f26de9783e/1507633025871/Nirvana-Kurt-story-7701.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 7. Nirvana - The Revenge Of The US Alt. Rock Underground</image:title>
      <image:caption>”The idea of a record deal, or to get on TV, never even remotely occurred [to me] until Nirvana got big,“ Beck told MOJO recently, speaking about the Seattle band‘s impact on fellow musicians. As Jon Savage‘s revelatory 1993 interview with Kurt Cobain [MOJO 238, September 2013] proved, the burden upon the band proved considerable, their outlook impacting on wider culture as a whole as they sought to change rock‘s mores. Musically speaking, Nirvana also proved that indie-rock could break through in America, a country hitherto in thrall to stadium rock and MTV. Equally, their ability to marry their punk aesthetic to a certain melodic classicism means that as we reach the twentieth anniversary of Kurt‘s passing, their music continues to resonate.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dca1c759cc688076be41c8/59dca6e3ccc5c5531172e600/1507632923745/Nick-Cave_MOJO-243-7701.jpg</image:loc>
      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 8. Nick Cave - He Sees A Darkness</image:title>
      <image:caption>Once the dictionary definition of Cult Artist – ploughing his lone groove relentlessly, never bending much, always delivering what his audience required – the former dark lord of Goth rock has spent MOJO’s lifetime edging into the light, finding new life in old topics (love and death: the blackly comic and really real) and fresh creative zones (films: writing them; scoring them). Proving that endurance and consistency will garner you National Treasure status eventually (Commonwealth Treasure, anyone?) he’s now bigger, and more widely appreciated, than ever, with his latest album, Push The Sky Away attesting to his creative drive and the musical dexterity of the incorrigible Bad Seeds.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 9. Jeff Buckley - The Fallen Hero Of Progressive Songwriting</image:title>
      <image:caption>The death of Jeff Buckley in May 1997 following a drowning accident robbed us of a truly unique voice. Three years earlier Buckley’s debut album, Grace, emerged, its melodramatic swoop and grandiose musical textures proving at odds with the post-climate into which it was released. Voted MOJO’s Album Of The Year, 20 years on it has lost none of its power. Whether it is on the smouldering Lila Wine, the hymnal Corpus Christi Carol or the opening Mojo Pin, Buckley’s vocals continue to astound. His reading of Leonard Cohen’s Hallelujah, meanwhile, remains definitive.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 10. U2 - Proving Bigger Can Mean Better</image:title>
      <image:caption>There’s no scarcity of anti-U2 sentiment – more so now, perhaps, than ever, since their tax-avoidance shenanigans – but there are fewer arguments against their vigour and clout, as the Dublin quartet defy time and tide to reset the parameters for how to be a ludicrously successful rock band: innovating on the live circuit (that much-mocked ‘claw’ centrepiece of their 2009-11 360° Tour helped them to £700m+ of business), and adjusting their place in the music landscape through avant-soundtrack (Passengers), art-rave (Pop), and mainstream rock (everything since). Coldplay, for one, have taken copious notes.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 11. Kanye West - Redefining, Rap, Celebrity, Menswear...</image:title>
      <image:caption>Fresh production work on Jay-Z’s 2001 album, The Blueprint (soul nuggets clashing with Bowie and the Doors) announced Chicagoan West’s talent, parlayed into innovative solo records drawing from increasingly eclectic soundworlds (folk, classical, synth-pop) and minting an over-sharing confessional blog-rap style whose triumph over the long-reigning gangsta idiom was symbolized when his 2007 album, Graduation, pipped 50 Cent’s Curtis in a hyped-up “sales race”. West’s genius for digital-era publicity makes him unignorable – his avidity for new musical territories makes him inimitable.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 12. Arcade Fire - The Neighbourhood Threat</image:title>
      <image:caption>Arguably the architects of the signature indie-rock sound of the last decade, the Canadian collective’s grand sonic ambitions and deft knack of channeling fear and loss into enchantment and ecstasy have turned them into a colossus. Rarely has a band of outsider spirits been welcomed into the mainstream with such open arms. By the time Funeral (2004) arrived on the shelves, their songs had blown the minds of Dylan, Springsteen, David Byrne, U2 and Chris Martin and turned David Bowie into their Number 1 fan. The rest of world merely followed suit.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 13. Bjork - The Icelandic Queen of Avant Scream</image:title>
      <image:caption>In her youth Björk sang a version of Tina Charles’ I Love To Love (But My Baby Just Loves To Dance). Then she discovered punk and her outlook changed. Several bands later, her presence provided The Sugarcubes with a distinctive edge prior to the release of Debut, her 1993 solo album, where her pop voice emerged once again. The difference, however, was that this was pop on Björk’s own terms. It was bold, ambitious and cut across time and genre. And there Björk has remained, an independent force in music creating sounds that cannot be replicated with a voice that – despite surgery on her vocal chords in 2012 – is both child-like, worldly-wise and utterly unique. Her latest app-as-album experiments also suggest that, as ever, Björk remains one step ahead of everyone else.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 14. Paul Weller - The Modfather, Inevitably</image:title>
      <image:caption>In 1993, as MOJO emerged, so did Weller’s Wild Wood, showcasing an artist revivified by an eclectic mix of music that brought Free, Nick Drake, Grant Green and Stevie Wonder into a new vision of tough, authentic English rock, just as a new generation of groups – Blur and Oasis among them – were accessing the spirit of The Jam. Weller proceeded to serve as the éminence grise of ’90s UK rock, laying down the sartorial and musical shibboleths, but it’s been his more open-minded post-2008 phase, with Krautrock, Debussy and folktronica suddenly up for grabs (feeding into 22 Dreams, Wake Up The Nation and the recent Sonik Kicks), that’s proved this Changingman is still open to reinvention.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 15. Artic Monkeys - From The Rubble To The Ritz...</image:title>
      <image:caption>10 years ago The Libertines promised British music so much, but 21st Century songwriter Alex Turner and his Sheffield pals were waiting in the wings. Since 2005 they’ve delivered the goods in the form of head-rushing punk, whip-smart lyrical acrobatics and earworming melodies that have been mercilessly copied, but never bettered. The first British group to emerge from the once-fresh, now-compromised arena of “social media buzz”, they’ve continued to stand slightly outside, looking in. That scepticism is almost as valuable a commodity as their increasingly assured musical chops, now encompassing contemporary R&amp;B slink, Zep-esque riffage, plus ’60s beat and torch-pop.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 16. Amy Winehouse - A Sorely Missed Cry From The Heart</image:title>
      <image:caption>Amy Winehouse may have had the blues, but she just got jazz, soul and hip-hop. Her greatest triumph, 2006’s Back To Black, channeled The Shangri-Las, Billie Holiday, ska and blue-beat through a devastating prism of young heartbreak and obsession. Amy’s best songs are magical combinations of the unflappably tough and dangerously vulnerable and her music remains a touchstone for any artist who intends to mine pop’s past to conjure a sound they can call their own.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 17. Arthur Russell - The God of Small Things</image:title>
      <image:caption>Over the last ten years Arthur Russell has replaced Nick Drake as the most frequently namedropped influence on new artists. As young musicians with guitars gave way to young producers in bedroom studios, so one lonesome author of interior melancholy replaced another. Listen to his 1986 solo album, &lt;em&gt;World of Echo&lt;/em&gt; or the remarkable compilations released in the wake of his untimely 1992 death at the age of 40 and you hear why. With Loose Joints and Dinosaur L Russell created an elastically singular dance music that has influenced Daft Punk, LCD Soundsystem, the dissonant edges of modern club production and every damned art-school dance-punk band of the mid Noughties. But Russell also made tapes and tapes of solo work, orchestral drone pieces, empty-house dub ballads, spare and reverberating country, tired folk melancholy and voice-and-cello songs of a pure and singular genius that have come to define the genre-blurred locked-in worlds of so much modern music, whilst simultaneously feeding into the eclectic aesthetics of such diverse acts as Wilco, Animal Collective, Radiohead, Antony And The Johnsons, Arcade Fire... The list, in this instance, really is endless.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 18. Blur/Damon Albarn - Britpop's Risk Taking Tendency</image:title>
      <image:caption>MOJO came to life on the cusp of an imperial phase in English pop and Blur encapsulated the new wave’s best instincts – art-school and post-punk-bred, swayed by classic English pop mores, inventive in the studio – and when the going got weird and the drugs and disillusionment kicked in Blur (1997) and 13 (1999)) Blur thrived where others fell away. Meanwhile, Albarn’s hip-hop-inspired Gorillaz ‘side-project’ fed back into the culture he raided and the Blur mainman’s hunger for new musical liaisons lit the way for the collaboration-crazy ’10s – Atoms For Peace et al&lt;</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 19. Nick Drake - The Eternal Lost Boy of British Folk</image:title>
      <image:caption>When Nick Drake released his second album, &lt;em&gt;Bryter Layter&lt;/em&gt; in 1970, it reportedly sold less than 3000 copies. His appearance on the cover of MOJO in January 1997 confirmed that while he was cruelly ignored up until his death in November 1974, his influence and reputation had permeated beyond a small coterie of those in the know. Indeed, the late Ian MacDonald’s cover story also served to turn on a new audience to the man’s taciturn charm and his visionary music. ’And now we rise/We are everywhere‘ reads the epitaph on Drake’s gravestone, quoting a lyric taken from From The Morning, the final song on his last album, &lt;em&gt;Pink Moon&lt;/em&gt;. Somehow, those very words seem to say much about the man’s increased influence.</image:caption>
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      <image:title>Articles - The 20 Most Important Artists Of The Last 20 Years - 20. The Flaming Lips - The Fabulous Freaks</image:title>
      <image:caption>Anyone who’s witnessed one of Wayne Coyne &amp; Co’s rocket-fuelled live shows will attest to a transcendant audio-visual experience quite unlike any other. These grand advances into the realm of communal psych-healing are a fair way from the mid-’90s guitar blitzkriegs typified by Clouds Taste Metallic, but the Lips never stand still, and it was with 1999’s visionary The Soft Bulletin and its crossover follow-up Yoshimi Battles The Pink Robots (2002) that the band found their true calling. As Coyne told MOJO in 2002: “Our best moments are an accumulation of the Bee Gees and the Butthole Surfers. To us that’s what music is about, living at both extremes.” Long may their voyage continue.</image:caption>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/articles/10667/get-christmas-blues</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - Get The Christmas Blues</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/10682/nick-cave-top-10-albums</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2017-10-10</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc255fcab339fb541cbbba/1506564041707/nick-cave-tom-oldham.jpg</image:loc>
      <image:title>Articles - Nick Cave's Top 10 Albums</image:title>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 1. The Boatman's Call - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>After the brutal Murder Ballads came the most beautiful Bad Seeds record of them all. This gorgeously meditative LP has three songs drawing on Cave’s romance with Polly Harvey – and another addressed to his former wife Viviane Carneiro. This personal content is mirrored musically – often it’s little more than Cave and keyboards. Alongside the album’s sumptuous solemnity, a wonderful dry wit enters with the opening couplet: “I don't believe in an interventionist God / But I know, darling, that you do.”Cave has maintained this arch tone when evaluating the album: “I’d got dumped by some and here I was making this great statement – about some fucking sheila</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 2. Abattoir Blues / The Lyre of Orpheus - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>After The Boatman’s Call, No More Shall We Partand Nocturama, it seemed the Bad Seeds had settled on a plateau - a place full of mournful, mid-paced balladeering. Worse, Nocturama made it seem an increasingly arid zone. This - two separate, contrasting albums; each with a different drummer - was a brilliantly audacious way to dispel such ideas. Here, suddenly, was, calypso, careening rock’n’roll - all fired along by an outrageous lyrical tumult that took in Karl Marx, ohnny Thunders, sundry birdlife and a suave re-telling of the Orphic myth</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 3. Murder Ballads - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>With a kill count of 64 Murder Balladsis a kind of death-based aural theme park - so stylised it’s sometimes as much Dennis The Menace as Dennis Nilsen. Yet, Kylie’s guest spot on Where The Wild Roses Grow made this the Bad Seeds’ biggest hit to this point - the album was Number 1 in Norway. Beneath the gore lies striking craftsmanship. Whether traditionals or originals, these are unlikely tales. Yet, Cave makes them genuinely shocking. For further odd joy, listen to the demo where B-sides &amp; Rarities&lt;/em&gt; box set.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 4. The Good Son - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>This album came after Cave had kicked drugs and booze at a clinic in Weston-super-Mare - and then relocated to São Paulo. South America is there in Foi Na Cruz, inspired by a Brazilian hymn. Cave’s newly calmer existence is manifested in the gloriously reflective The Ship Song. It rivaled The Mercy Seat as The Bad Seeds’ finest moment to this point - and acted as prototype for the stellar devotional ballads to come. The US Deep South element was also more controlled - Cave and Bargeld's call-and-response vocal on The Weeping Song became a favourite live set-piece.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 5. Tender Prey - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Kicking Against The Pricks covers LP featured three songs associated with Johnny Cash. This album eventually reversed the situation, with The Mercy Seat. This Bad Seeds signature tune is breathlessly compelling - in both its music and death row narrative. Based on tape loops of a drumstick hitting a bass-guitar’s strings, it’s a subtle but distinctive variant on rock’s eternal instrumentation. Deanna and City Of Refuge - respectively, adaptations of the hymn Oh Happy Day and a Blind Willie Johnson&lt;/strong&gt; song - showed The Bad Seeds' emerging with their own reading of the grand tradition.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 6. Push The Sky Away - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Cave’s most enigmatic, elegant and sophisticated meld of words and music, at times more of an impressionistic jazz event than a rock album and a triumph for Warren Ellis as The Bad Seeds’ musical co-ordinator. Cave, meanwhile, is a stoic, aged observer of humanity’s biologically-encoded foibles, watching the “local girls” of Water’s Edge “with a bible of tricks they do with their legs”. Made modern yet timeless by Nick Launay’s crisp mix, Jubilee Street builds to a pulsating sonic climax, Mermaids is slyly melodic and the extraordinary, apocalyptic Higgs Boson Blues appears to glimpse life, the universe and everything in the collision of Robert Johnson and Miley Cyrus. Stunning</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 7. Kicking Against The Pricks - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>A cover version – a wired take on Leonard Cohen’s Avalanche - opened the first Bad Seeds album, From Her To Eternity. But it was with this whole album of covers that Cave and The Bad Seeds signaled their full scope. There is blues (a Leadbelly medley) and canonical art-rock The Velvet Underground’s All Tomorrow’s Parties). But the authoritative way they took on such mainstream popular song as Something’s Gotten Hold Of My Heart suddenly made The Bad Seeds seem much more than some twitching, marginal punk-blues freak show.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 8. The Birthday Party - Junk Yard</image:title>
      <image:caption>The Birthday Partywere a musical black hole - ferociously sucking in all rock lore and gesture. Amazingly, they made it as far as this second full album - a record that sounds at once lobotomised and freakishly smart. The kamikaze logic peaks on Dead Joe - a madly ecstatic depiction of a car smash, like a collaboration between JG Ballard and The Ramones. But you can’t accuse frontman Cave of blithe youthful pretension here - his father had died in a road accident. Today’s CD version adds tracks, including the single Release The Bats</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 10. Your Funeral... My Trial - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Like a damaged film reel flickering between beauty, melancholy and desperation, this is the record that best captures the Bad Seeds' mid-'80s Berlin period – a time of heroin, a cameo slot in Wim Wenders’ And The Ass Saw The Angel. The album’s keystone is a rare thing – a Bad Seeds track with no Cave writing credit. Stranger Than Kindness is by Einstürzende Neubauten man Blixa Bargeld and Cave’s then on-off partner Anita Lane. Bargeld’s marvelously gnomic Teuton-grunt is also there in his vocal on The Carny.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums - 9. Let Love In - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>his eighth &lt;strong&gt;Bad Seeds studio album was recorded against an international backdrop. After a spell living in Brazil, Cave was back in London living in Kensington. The album was recorded in London and Melbourne and, in the lyrics of Jangling Jack, shows some. Overseen with a new fastidiousness from Cave, the album is at once bloody, reflective and beautiful - perhaps, cumulatively, suggesting a hopeless malfeasant being catapulted toward goodness by some astonishing act of fate. It centres on the two-part Do You Love Me - a stop-you-in-your-tracks study in infatuation and abuse.</image:caption>
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      <image:title>Articles - Nick Cave's Top 10 Albums</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/1071/mojo-issue-1-november-1993</loc>
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    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - MOJO Issue 1 / November 1993</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/10719/nick-cave-renaissance</loc>
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    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - Nick Cave's Renaissance</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/10729/jimi-hendrix-met-little-richard</loc>
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    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - When Jimi Hendrix Met Little Richard</image:title>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/articles/10741/phil-everly-1939-2014</loc>
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    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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  <url>
    <loc>https://www.mojo4music.com/articles/11595/20-things-need-know-beatles-rooftop-concert</loc>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc256fcab339fb541cbe25/1506564083779/beatles-rooftop-770.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert</image:title>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dca160c534a5f23644ade0/1507631505900/beatles-rooftop-20.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 20. And In The End...</image:title>
      <image:caption>As the rest of the band put down their instruments, it was left to John Lennon to bid the world farewell. “I’d like to say thank you on behalf of the group and ourselves and I hope we passed the audition.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dca0d1cd39c33ffeb43984/1507631363896/beatles-rooftop-18.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 18. Ready Steady Go!</image:title>
      <image:caption>The world got its first glimpse of the rooftop concert via the promo clip for the Get Back/Don’t Let Me Down single. It appeared four times on the UK’s Top Of The Pops between April 24 and May 22. A colour version was shown on the 1969 TOTP Christmas special. America got its first taste of the rooftop gig via the Get Back clip shown on The Glen Campbell Goodtime Hour on April 30.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dca0828dd041adeb5ab9ba/1507631302153/beatles-rooftop-17.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 17. It Could Have Been Fabulous</image:title>
      <image:caption>The rooftop concert was a short and sweet reminder of The Beatles at their live best, although not everyone was happy with the end result. As Ringo recounts in The Beatles Anthology: “I always feel let down about the police. When they came up I was playing away and I thought, ‘Oh great! I hope they drag me off.’ We were being filmed and it would have looked really great, kicking the cymbals and everything. Well, they didn’t of course, they just came bumbling in: ‘You’ve got to turn that sound down.’ It could have been fabulous.”</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dca041268b96b747e96112/1507631217990/beatles-rooftop-16.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 16. Sound &amp; Vision</image:title>
      <image:caption>Later that day, Glyn Johns mixed the recordings into stereo at Olympic Studios in Barnes. Johns would go on to helm recordings for Led Zeppelin, The Who, Faces, The Band, Eric Clapton and The Rolling Stones.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9ff88dd041adeb5ab5b4/1507631148073/beatles-rooftop-15.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 15. Play On</image:title>
      <image:caption>The third take of Get Back sees the police arrive on the roof. Lennon and Harrison’s amplifiers are switched off just before the first chorus, before kicking back in just in time for the solo. Paul’s soul preacher ad-lib arrives towards the end of the track: “You’ve been playing on the roofs again, and you know your Momma doesn’t like it, oh she gets angry, she’s gonna have you arrested!” A cheer from Ringo’s wife Maureen then prompts a deadpan “Thanks, Mo” from McCartney. These outtakes can be heard on the Anthology 3 version of Get Back.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9fb4edaed80a4b27eb56/1507631082001/hqdefault.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 14. Caught By The Fuzz</image:title>
      <image:caption>With traffic beginning to bottleneck on the street below, the police at nearby West End Central Police Station (located at 27 Savile Row) were summoned. Mal Evans had set up a hidden camera in the reception area of the Apple building that later captured their arrival. Ken Wharfe, a young policeman on duty that day, recalls his memories in the video above.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9f77cf81e0c47e1e5aab/1507631016058/beatles-rooftop-13.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 13. Beatlemania!</image:title>
      <image:caption>By this point, crowds had gathered in the streets below and on the surrounding rooftops for what must have been one of the greatest lunch break treats of all time. However, not everyone was pleased to see the biggest band in the world playing a free gig. Stanley Davis, the wool merchant next door, reportedly said: “I want this bloody noise stopped. It’s an absolute disgrace.” Other reactions of passers-by are captured in the Let It Be film and range from the elated (“Fantastic!” “Fabulous!”), to the buttoned-down (“This type of music has its place”) and the topical (“It’s nice to have something in this country for free at the moment”).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9f4280bd5e687eedd5c8/1507630950052/beatles-rooftop-12.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 12. Her Majesty</image:title>
      <image:caption>hile engineer Alan Parsons changes tapes, the band and Billy Preston run through an impromptu few bars of God Save The Queen. Three years later, Alan Parsons could be found at Abbey Road engineering Pink Floyd’s &lt;em&gt;The Dark Side of the Moon</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9f15d55b412cbda5bb98/1507630901814/beatles-rooftop-11.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 11. Say The Word</image:title>
      <image:caption>Lennon’s Dig A Pony kicks off with Ringo disposing of his cigarette (“Hold it!”) while one of the film’s production team, Kevin Harrington, kneels in front of John brandishing a clipboard of lyrics. John finishes the song with: “Thank you brothers... hands too cold to play the chords.” The original &lt;em&gt;Let It Be&lt;/em&gt; album version is missing the “All I want is…” vocal intro. Thanks, Phil Spector!</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9edac534a5f236449bfd/1507630857820/beatles-rooftop-10.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 10. The Pipes, The Pipes..</image:title>
      <image:caption>The One After 909, the studio version of which was recorded at Savile Row the day before, ends with John singing a few lines of Danny Boy. McCartney looks like he might join in. Ringo, meanwhile, lights a cigarette.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9e4618b27de5f10a7403/1507630738062/beatles-rooftop-9.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 9. Everybody Had A Hard Year</image:title>
      <image:caption>At the end of the next song – a blistering version of I’ve Got a Feeling – John Lennon’s mind is suitably blown. “Oh, my soul,” he says, “So hard”. Either that or his fingers had frozen.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9dd56f4ca35190d26f84/1507630621463/beatles-rooftop-8.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 8. I'm In Love For The First Time</image:title>
      <image:caption>The first of two takes of Don’t Let Me Down followed. The first can be seen in the footage of the rooftop concert (Lennon visibly enjoys fluffing the lyrics) while an edit of both was included on 2003’s Let It Be... Naked. You can hear a recording of Don’t Let Me Down from street level</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d9337c581029a95d758/1507630524200/beatles-rooftop-7.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 7. Get Back</image:title>
      <image:caption>The band began with a rehearsal of Get Back (they had recorded a studio version on January 24). The subsequent muted applause from the small crowd prompted McCartney to murmur a reference to Sussex/England cricketer Ted Dexter followed by Lennon’s: “We’ve had a request from Martin Luther”. The song was then played for a second time. The footage you see in the Let It Be film is an edit of the two performances.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d60a8b2b02864cf4a36/1507630468039/beatles-rooftop-6.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 6. The Inner Circle</image:title>
      <image:caption>Apple employees and the film crew surrounded the band, along with long-serving Beatles roadie Mal Evans, although two key personnel were missing. George Martin ensconced himself in the basement “worrying like mad if I was going to end up in Savile Row police station for disturbing the peace” while Neil Aspinall missed the gig completely: “I wasn’t there. I was in hospital having my tonsils out.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d25d55b412cbda5ae41/1507630803572/beatles-rooftop-5.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 5. Happiness Is A Warm Coat</image:title>
      <image:caption>It was a day for swapping clothes. Ringo’s distinctive red mac belonged to his wife Maureen, while John kept the cold at bay by donning Yoko’s fur coat.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9cbf46c3c48d677c45cb/1507630320732/beatles-rooftop-4.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 4. Positions, Please</image:title>
      <image:caption>It had been two years, five months and one day (or 885 days) since The Beatles’ last live performance at San Francisco’s Candlestick Park on August 29, 1966. For the rooftop concert, John and George broke away from their familiar onstage placements – John now stood in the middle with George to his left. Billy Preston and his Hammond B3 organ were situated behind McCartney and to the right of Ringo’s drums. Preston had arrived in London as part of Ray Charles’ band, and was drafted into the Let It Be sessions to act, as George Martin remembers, as “an emollient” to ease tensions within the group.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9c6bf14aa1f26de92af5/1507630219986/beatles-rooftop-3.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 3. Mach Schau!</image:title>
      <image:caption>The performance itself began at around 12pm on a bitterly cold Thursday lunchtime and lasted for 42 minutes. Approximately half of the gig is shown at the end of Let It Be. Director Michael Lindsay-Hogg and his team had boarded the roof prior to The Beatles’ arrival (witness McCartney jumping up and down to test the new stage) and two eight-track machines were running in the basement in order to record the sound. Several cameras were used, including those capturing the reaction of onlookers in the street below.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9c3cccc5c553117297c5/1507630171598/beatles-rooftop-2.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 2. The Concept</image:title>
      <image:caption>The idea of ending the Let It Be film with a live performance had been around for a while. Neil Aspinall: “They were talking about doing a concert on a boat or an amphitheatre in Greece… or at The Roundhouse in London.” Four days before the event, on January 26, the roof was chosen as the location for the movie’s conclusion. You can see the band discussing how to end the film in the final part of The Beatles Anthology series.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9baf197aeaa9a593014d/1507630088904/beatles-rooftop-1.jpg</image:loc>
      <image:title>Articles - 20 Things You Need To Know About The Beatles’ Rooftop Concert - 1. The Building</image:title>
      <image:caption>The Beatles purchased 3 Savile Row in the summer of 1968, quickly installing a studio in the basement. Following the &lt;em&gt;Let It Be sessions in January 1969, it would go on to host the recording of albums including Harry Nilsson’s &lt;em&gt;Son Of Schmilsson (1972), Tim Hardin’s Painted Head (1972), Ringo’s Ringo (1973), George’s Living In The Material World (1973), Roger Daltrey’s Daltrey(1973) and Badfinger’s Ass (1973). The building would remain under Apple ownership until 1976. In 2013, US clothes brand Abercrombie &amp; Fitch attempted to open an outlet at 3 Savile Row much to the outrage of the street’s heritage tailors.</image:caption>
    </image:image>
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      <image:title>Articles - How Well Do You Know The Doors?</image:title>
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    <loc>https://www.mojo4music.com/articles/1400/mojo-issue-51-february-1998</loc>
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    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - MOJO Issue 51 / February 1998</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/14002/damon-albarn-everyday-robots</loc>
    <changefreq>monthly</changefreq>
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    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - Damon Albarn – Everyday Robots</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/14018/10-most-technically-amazing-beatles-songs</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2017-10-10</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc258fcab339fb541cc478/1506564214888/beatles-abbey-road-770.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs</image:title>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc9b1d51a58476eab2917c/1507629893594/1-blue-jay-way.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 1. Blue Jay Way</image:title>
      <image:caption>Not the best-known Beatles track, but in many ways the most complex they ever recorded. This single track features nearly every Beatles “trick” they invented. There are changes created by the slowing down and speeding up of the tape. There is the swirling psychedelic twirl that comes from phasing/flanging. There is an electronic doubling of George’s voice. In the end section, there are heavy echoes on the cellos, stuttering away, at times repeating so heavily as to turn into feedback. And most unusual, the track was mixed first, then played through a spinning Leslie speaker. This jumble was recorded back onto the original tape, but in reverse! So the spinning backward version of the entire song fades in and out throughout the forward version. Still with us? Legend has it that they ran the signal through the Leslie so loudly that the speaker was permanently damaged.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc9ae49f8dceedaf3184f9/1507629843474/5-revolver.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 2. Tomorrow Never Knows</image:title>
      <image:caption>The last track on Revolver was actually the first song recorded for the album. Not only was its droning bass and drums a stylistic departure for the group, but the recording of the song is the perfect illustration of the Beatles’ experimental epiphany. Having dubbed the rhythm track and the vocals (with Lennon’s voice fed through a rotating Leslie speaker intended for organs) the group began to look for other elements to add. John and Paul — though Paul particularly — had recently begun to explore the world of avant-garde records and experimental sound recording. Taking inspiration from German composer Karlheinz Stockhausen, McCartney recorded several tape loops in his home studio, capturing abstract, repeating phrases onto literal loops of tape that cycled repeatedly through his tape recorder. Back at Abbey Road, these loops were loaded onto multiple tape machines, which were fed to the recording console. As the tape loops played endlessly, the group and engineer Geoff Emerick were able to raise and lower the volume of each loop at will, creating a sonic collage that faded in and out. One loop, the sound of Paul laughing, was transformed into a seagull-like sound when played back at a much faster speed. Other loops featured tamboura performances by Paul and an orchestral chord lifted from a classical LP. Some loops were played forward, some in reverse, all at different speeds, adding a cosmic texture emphasised by McCartney’s guitar solo (also reversed): a sucking, familiar-but-not-familiar effect soon to be copied by tribes of would-be psychedelic yoyagers.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc9a79b07869b5836b97a0/1507629788253/4-strawberry-fields.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 3. Strawberry Fields Forever</image:title>
      <image:caption>Certainly a beautiful and iconic Beatles song, recorded first as more of a "band" track with the usual Beatles instrumentation: drums, bass, guitars and keyboard (the beautiful Mellotron flutes heard at the opening). Later, John felt it didn’t capture what he was hoping for, so a more esoteric version was effected with strings and horns over a thick percussive backing track. Neither was satisfactory to Lennon, so he asked if the two could be combined. George Martin explained it would be quite tricky, as they were at different tempos and in different keys. As luck would have it, the faster one was in the higher key, so they could be matched by slowing the tape machine, thereby dropping the pitch &lt;em&gt;and&lt;/em&gt; the key simultaneously. Casual listeners never detect the splice, but the two halves are quite different pieces (sonically they are completely different, excepting the Lennon vocal). Even so, the resulting arrangement works brilliantly, as the complexity and intensity of the track intensify from beginning to end.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc9a208dd041adeb5a8c4d/1507629653091/3-white-album.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 4. Revolution #9</image:title>
      <image:caption>One of three tracks called Revolution they recorded in 1968, this is the apex (or low point, depending on your view) of the Beatles’ exploratory side. Like many ’60s musicians in various fields, the Beatles had been inspired by, which incorporated found sound and tape manipulation to create new textures and sounds. Revolution #9 is best seen as a musical sculpture, bringing together disparate pieces to create a unique form – a typically iconoclastic move by the world's most popular and best-selling group (George's &lt;em&gt;Electronic Sound&lt;/em&gt; LP and John and Yoko's &lt;em&gt;Two Virgins&lt;/em&gt; were to follow), unlikely to be rivalled by any genuine hit-making act (even Radiohead, Bowie, or Björk) in our lifetimes.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc99dda9db09b4a10d8be5/1507629587255/2-day-in-the-life.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 5. A Day In The Life Of</image:title>
      <image:caption>Famously, this is two unrelated compositions stitched into one, Lennon's news-reading musings sandwiching McCartney's morning wake-up call. In the closing part of each half, when the vocal suggests we are being “turned on”, massed orchestra layers begin to climb over each other in a huge din. Originally counted off as an empty space to be filled later, the idea came to crescendo the orchestral musicians (more used to specific written parts) by running each instrument from its lowest to its highest note. Knowing one "run" of it might not sound strong and scary enough, the band had asked for the impossible the night before: "Can we synchronise two tape recorders together to get more tracks?" Literally overnight, technical engineer Ken Townsend delivered exactly that. The result is spectacular and unique in pop, a tone-sculpture that climbs higher and higher following the lyric lead. And for the finale, when the orchestra had indeed peaked and stopped on tape, the band layered a mass chord of three pianos and a reed-organ on the floor of Abbey Road’s Studio 2 (not many studios can offer three differing pianos at once). This was not really "playing piano" in the normal way, but more a musical exclamation mark using pianos as purely percussive instruments.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc9987a8b2b02864cf2e0b/1507629500100/2-day-in-the-life.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 6. Being For The Benfit Of Mr Kite</image:title>
      <image:caption>Lennon's discovery of a vintage circus poster inspired some of the most unique and vivid Beatles lyrics. For the musical backdrop, he requested the track be evocative enough to allow him to “smell the sawdust”. With years of experience creating sonic draperies for some of the world's best comedy records, George Martin set himself to work. The Abbey Road harmonium paralleled the vintage sound of the accordions and steam organs of turn-of-the-century travelling shows, while an opening line played on the Mellotron stood in for a calliope. For the middle section, Martin took vintage steam-organ recordings and printed them to tape. He then cut the tape into short fragments and threw them up in the air to randomise them. Collected and re-spliced, the various circus organ parts gave an off-time forward-and-backward swirl of circus notes. Most never notice it, but the instrumental waltz section (1.01-1.30) alone is among the Beatles' masterpieces. The group and George Martin played it live – each part done to perfection in a full take. Two organs play runs of harmony, a modified guitar sound (with volume pedal) and a tambourine were recorded at half-speed, then played back at normal speed – an octave higher than recorded. Yet another Beatles time-bending experiment that removes the song from the normal world.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc994837c581029a95b8b5/1507629435656/1-blue-jay-way.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 7. I Am The Walrus</image:title>
      <image:caption>...Walrus remains a standout track, if only for its all-round oddness. Whether George Martin could fully comprehend the images and concepts of the LSD-baptised Beatles is moot, but his execution of warped moods remains peerless. Again, the cellos were close-miked, bringing out the scratchiness over the warm notes. Lennon’s voice is deliberately distorted, one of the earliest such treatments on a vocal. In the middle of the two halves, the song breaks down and the whine of a radio being tuned (Ringo) is inserted. In the mix, the radio experiment caught just a snippet of Shakespeare's King Lear being broadcast (these were the days before sample clearances). When it came time to do the stereo mix, the happenstance of the radio breakdown could not be recreated, so it had to be 'borrowed' from the mono mix, with some special EQ on opposite sides to fake a stereo effect. The Mike Sammes Singers were employed to add a backing chorus, which was an odd choice, given their reputation for light, poppy repertoire. But George Martin’s score, and the surreal text ("Stick it up your jumpah!" etc.) gave a disturbing effect that delighted Lennon. As its writer would go on to say about the track, “Enough little bitties to keep you going, even 100 years later.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc991159cc688076be01d5/1507629372565/7-because.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 8. I Want You (She's So Heavy)</image:title>
      <image:caption>I Want You (She's So Heavy) illustrates the impact of Billy Preston on the Beatles sound (you didn't think John or Paul played those tricky organ licks, did you?). More importantly, the song leads deep into drone/power-rock territory with the gargantuan riffage at the end – using eight layers of guitar tracking, the wall of strings hammering on and on, cycling endlessly. Meanwhile, a storm of noise rises up - played by Lennon on a newly-acquired Moog modular synthesizer. Lennon eschewed the keyboard as controller, instead patching the Moog’s noise module straight into a set of filters, each set up somewhat like a modern graphic equalizer. Playing the knobs of the equalizer allowed a wide range of noise tones to crest and fall, a tornado of intensity peaking higher and higher until an unexpected off-time edit (cut point chosen by Lennon) brings the whole structure to an immediate and shocking halt.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc98e137c581029a95b60f/1507629319392/5-revolver.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 9. Eleanor Rigby</image:title>
      <image:caption>We’re used to it now, but the stark, cold mood of Eleanor Rigby is largely due to George Martin’s brilliant string arrangement. In direct contrast with Yesterday and most other Beatles string parts, Rigby was recorded with microphones placed right up to the strings, close enough to intimidate the players. Normally strings were recorded at a distance to retain the ambience and smoothing of room reverb. But Martin and engineer Geoff Emerick knew the song required a special touch, and the rough and scratchy strings bring a strident urgency to the atypically dark McCartney lyrics. Oddly, McCartney has always said he could have done a better job on the vocal, as he had a bit of a cold when it was recorded. True, the lack of power and control can be heard once you know this historical detail, but the frailty and slight wobble of his voice actually works better for the pathos of the track.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc98979f8dceedaf317374/1507629269607/7-because.jpg</image:loc>
      <image:title>Articles - The 10 Most Technically Amazing Beatles Songs - 10. Because</image:title>
      <image:caption>Post Les Paul and Mary Ford, the concept of layering voices or guitars was not new, but was it ever executed so beautifully? For Because, the simple melodies of the vocal were in an arpeggio - one note after another spelling out the notes of a chord. Each track of melody featured George, Paul and John together – that classic Beatles vocal mix. But then with one melody essentially triple-tracked by three Beatles, more melodies were laid on (each one a triple) to flesh out the sound. The result is a gorgeous texture, a stack of Beatles in full chorale mode. The Moog is featured, though subtly, in a way that disguises its status as "a synth". Another unusual keyboard is the basis for the track: a Baldwin Electric Harpsichord, a late '60s version of the baroque instrument but with a stylish Perspex top and Danish-furniture legs!</image:caption>
    </image:image>
  </url>
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      <image:title>Articles - MOJO Issue 9 / August 1994</image:title>
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      <image:title>Articles - Stream The GOASTT's Midnight Sun Album In Full</image:title>
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      <image:title>Articles - MOJO Issue 52 / March 1998</image:title>
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      <image:title>Articles - MOJO Issue 10 / September 1994</image:title>
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      <image:title>Articles - MOJO Issue 53 / April 1998</image:title>
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      <image:title>Articles - MOJO Issue 11 / October 1994</image:title>
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      <image:title>Articles - MOJO Issue 12 / November 1994</image:title>
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      <image:title>Articles - MOJO Issue 54 / May 1998</image:title>
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      <image:title>Articles - Ray LaMontagne – Supernova</image:title>
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      <image:title>Articles - Captain Beefheart &amp; The Magic Band Devour German TV In 1972</image:title>
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      <image:title>Articles - MOJO Issue 12 a / December 1994</image:title>
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      <image:title>Articles - MOJO Issue 55 / June 1998</image:title>
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      <image:title>Articles - MOJO Issue 14 / January 1995</image:title>
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      <image:title>Articles - MOJO Issue 56 / July 1998</image:title>
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    <loc>https://www.mojo4music.com/articles/1428/mojo-issue-15-february-1995</loc>
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      <image:title>Articles - MOJO Issue 15 / February 1995</image:title>
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    <loc>https://www.mojo4music.com/articles/1430/mojo-issue-57-august-1998</loc>
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      <image:title>Articles - MOJO Issue 57 / August 1998</image:title>
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    <loc>https://www.mojo4music.com/articles/14307/led-zeppelin-whole-lotta-love-rough-mix</loc>
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    <loc>https://www.mojo4music.com/articles/1432/mojo-issue-16-march-1995</loc>
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      <image:title>Articles - MOJO Issue 16 / March 1995</image:title>
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    <loc>https://www.mojo4music.com/articles/14320/50-weirdest-albums</loc>
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    <loc>https://www.mojo4music.com/articles/1434/mojo-issue-17-april-1995</loc>
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      <image:title>Articles - MOJO Issue 17 / April 1995</image:title>
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    <loc>https://www.mojo4music.com/articles/14352/warpaint-keep-healthy-el-p-remix</loc>
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    <loc>https://www.mojo4music.com/articles/14377/magic-numbers-shot-dark</loc>
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      <image:title>Articles - VIDEO PREMIERE: The Magic Numbers – Shot In The Dark</image:title>
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    <loc>https://www.mojo4music.com/articles/1438/mojo-issue-18-may-1995</loc>
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      <image:title>Articles - MOJO Issue 18 / May 1995</image:title>
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    <loc>https://www.mojo4music.com/articles/14393/little-dragon-nabuma-rubberband</loc>
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      <image:title>Articles - Little Dragon – Nabuma Rubberband</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/1440/mojo-issue-19-june-1995</loc>
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      <image:title>Articles - MOJO Issue 19 / June 1995</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/1442/mojo-issue-58-september-1998</loc>
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      <image:title>Articles - MOJO Issue 58 / September 1998</image:title>
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    <loc>https://www.mojo4music.com/articles/14423/dexys-gig-doc-nowhere-is-home</loc>
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      <image:title>Articles - Dexys Premiere Gig-Doc Nowhere Is Home In London</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/1444/mojo-issue-20-july-1995</loc>
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      <image:title>Articles - MOJO Issue 20 / July 1995</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/14458/morrissey-recites-new-single-promo-clip</loc>
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    <lastmod>2017-09-28</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc2594cab339fb541cc575/1506564250115/Morrissey-recites-World-Peace-770.jpg</image:loc>
      <image:title>Articles - Morrissey 'Recites' New Single In Startling Promo Clip</image:title>
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    <loc>https://www.mojo4music.com/articles/1446/mojo-issue-21-august-1995</loc>
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    <lastmod>2017-09-28</lastmod>
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      <image:title>Articles - MOJO Issue 21 / August 1995</image:title>
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    <loc>https://www.mojo4music.com/articles/14471/watch-neil-young-jack-white-jimmy-fallon</loc>
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    <lastmod>2017-09-28</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc2594cab339fb541cc577/1506564250557/Neil-Young-Jack-White-Jimmy-Fallon.jpg</image:loc>
      <image:title>Articles - Watch Neil Young Record Live In Jack White’s Booth On Fallon</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/1448/mojo-issue-22-september-1995</loc>
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    <priority>0.5</priority>
    <lastmod>2017-09-28</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc24c6cab339fb541c971d/1506565013523/MOJO22_Blur.jpg</image:loc>
      <image:title>Articles - MOJO Issue 22 / September 1995</image:title>
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  <url>
    <loc>https://www.mojo4music.com/articles/14485/bob-dylan-best-albums-60s</loc>
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    <priority>0.5</priority>
    <lastmod>2017-11-24</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59cc2595cab339fb541cc5bc/1506564261776/bob-dylan-artist-guide.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s</image:title>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05e52bce1768a5bad08c6/1508925067366/highway-61.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 1. Highway 61 Revisited</image:title>
      <image:caption>COLUMBIA | 1965 All-electric debut, discomfiture abounds, times out of joint, protest can’t get any purchase. Desolation Row marks the spot – “The riot squad is restless” – Dylan looking down on a tilt-a-whirl world of jive surrealism that feels so thought-out you want to think and think and think it through. Same for Just Like Tom Thumb’s Blues, Tombstone Blues and Highway 61 itselfL: lyrics working on brain and intuition, while flesh and bone lurch to the Bloomfield/Kooper band’s stumblebum fairground R&amp;B. Though you may well have to be sober to play drunk like that. And Dylan makes every honed word heard way above the uproar.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05dcd6f4ca3b7ef0be10a/1508924997351/freewheelin-dylan.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 2. The Freewheelin' Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1963 Dylan’s first self-penned long-player produced three majestic political songs: A Hard Rain’s A-Gonna Fall, Blowin’ In The Wind and Masters Of War. This was living dread for the ages. But a soul can bear only so much civil strife and nuclear war, so you’re invited to caper away with Bob Dylan’s Blues or Talking World War III Blues (“I’ll let you be in my dreams if I can be in yours”). And the love songs match that range, from the gambolling Honey, Just Allow Me One More Chance to the bone-deep Girl From The North Country. The songs received all the attention, but Dylan sings like a whiney Frank Sinatra, a marvel of intimate rightnowness.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05d8c4c0dbf084e7a5cbb/1508924861435/bringing-it-all-back-home.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 3. Bringing It All Back Home</image:title>
      <image:caption>COLUMBIA | 1965 The half-and-half album with the electric side coming first, both parts mainly recorded within the space of a few New York days. But the two sides don’t feel so different now – whether they are plugged in or not, She Belongs To Me, Love Minus Zero/No Limit, Mr. Tambourine Man and It’s All Over Now, Baby Blue are all glorious songs. And when it comes to music power, he’ll knock you off your feet either way, from rawkus Maggie’s Farm to the acoustic riff of It’s Alright, Ma (I’m Only Bleeding). First the lapel-grabbing tunes yank you in and then you’re lost in the imaginative rush of the lyrics, albeit often wild-to-surreal; you get what he’s talking about even if you don’t know what he’s saying.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05c5f6f4ca3b7ef0bd507/1508924799548/blonde-on-blonde.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 4. Blonde on Bloinde</image:title>
      <image:caption>COLUMBIA | 1966 Nothing but the girl. Song after song about how it all went wrong. Immerse yourself in delicate moments like Dylan’s embarrassed reluctance every time he comes back to those “visions of Johanna”. And/or trivially enquire: “Is this the one about Joan Baez?” The lyrics avalanche jaw-dropping imagery, but repetitive theme and musical tone grind at times – despite I Want You and Just Like A Woman’s rolling thunderous wondrousness. But… for some this is of course the Best Album Of All Time. So, conceivably, wrong to enjoy rowdy, dirty Rainy Day Women #12 &amp; 35 or Obviously Five Believers better than more normally revered material.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05c2de5dd5bc5861ed732/1508924495849/dylan-1966.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 5. The Bootleg Series Vol. 4 Live 1966: The “Royal Albert Hall” Concert</image:title>
      <image:caption>COLUMBIA | 1998 Hear the man yell “Judas!”, and Dylan’s backlash with “You’re a liar!” and, to the band, “Play it fuckin’ loud!” Hear the Dylan decade splitting in two, first CD acoustic, second electric, both brilliant. Gloriously solo, She Belongs To Me and Just Like A Woman yoke together beauty and sarcasm through the quality of his singing (yup!), while Tell Me Momma and Leopard-Skin Pill-Box Hat rock with brutal fire and harsh laughs too. Like A Rolling Stone closes the set with what Tony Glover’s sleevenote calls the “velvet sneer” of “How does it feeeel?”</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05a85b1ffb65236c0c542/1508924417652/another-side-dylan+%281%29.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 6. Another Side Of Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1964 Another side already? Protested too much? After the dour The Times They Are A-Changin’, Dylan took to love and fun. Motorpsycho Nitemare, a still guffawsome highlight of his comic songsmithery, saw him holler, “I like Fidel Castro and his beard!” in order to escape a lustful wench by outraging her McCarthyite farmer father (of course). Then the romance really opened up. All I Really Want To Do and It Ain’t Me, Babe can hardly stop laughing, while Spanish Harlem Incident and My Back Pages bathe in tender-true warmth, excelled only by To Ramona’s sorrowed sensuality… “Your cracked country lips / I still wish to kiss”. A sigh, a tear, a giggle, all good.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05a39017db2250ecd68c0/1508923993882/bob-dylan-bob-dylan.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 7. Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1962 The very start of the biggest change he ever wrought, lighting up acoustic folk and blues for the mass audience. There are no topical politics just yet – and here Dylan wrote only the self-introductory Talkin’ New York and the tribute Song To Woody – so in covering the mainstream ‘traditional’ catalogue, the success of everything here depends on his performances. Well, &lt;em&gt;ecce homo&lt;/em&gt;. Harmonica driving along, the guitar is solidly rhythm or as fancy as Robert Johnson, whatever suits the song, while his voice is unbridled in terror or rage (Fixin’ To Die) or laughing at some daftness he can’t resist (Pretty Peggy-O). Despite all the frowning, no “serious artist” ever left more near-corpsing laughter on his records than Bob Dylan in the 1960s.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059cb32601e51d731015f/1508923947817/dylan-times.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 8. The Times They Are A-Changin’</image:title>
      <image:caption>COLUMBIA | 1964 Dylan’s lone joke-free ’60s release. It’s grim Oop North (Minnesota). Literally, in North Country Blues’ tale from his native Iron Range about workers, mines and towns dying. But then With God On Our Side nags away at war while the more durably narrative Only A Pawn In Their Game and The Lonesome Death Of Hattie Carroll expose the entrails of civil rights campaign-era racism. Boots Of Spanish Leather and Restless Farewell admit a little welcome warmth, if ambivalently. Meanwhile, on a wintry note, the fierce title track appears to be ripe for a post-Global Warming revival with its opening admonishment, “Admit that the waters / Around you have grown.”</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059904c0dbf084e7a3d05/1508923833830/john-wesley-harding.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - 9. John Wesley Harding</image:title>
      <image:caption>COLUMBIA | 1967 Mystery. Enigma. Lots of evil and few decibels. Dylan’s return from post-motorbike-crash basement woodshedding headed for the country, certainly, with simple Nashville bass and drums back-up. But, apart from Harding’s Robin Hoodery, it is drenched in sin and fear, epitomised by what caught the attention of Jimi Hendrix in All Along The Watchtower. Too much confusion, the hour is getting late, two riders approaching… John Wesley Harding reeks of unease. Until Dylan relented and added the last two tracks, smoochy 12-bar Down Along The Cove and basking romance I’ll Be Your Baby Tonight. And there’s not a chorus in the house, by the way.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059552aeba59449b2901f/1516189941598/nashville-skyline.jpg</image:loc>
      <image:title>Articles - Bob Dylan In The ’60s - &lt;em&gt;10.&lt;/em&gt; Nashville Skyline</image:title>
      <image:caption>COLUMBIA | 1969 This charming stetson-doffer closes what was a very lively decade – for Dylan more than most. To mark the auspicious occasion he went full-on country, duetting with Johnny Cash (Girl From The North Country) and creating a new voice, barely recognisable from the old: palatal and fruity. It was all change again, then. Even the writing came from a Dylan previously unknown. Straight, no metaphors, no surreal excursions, only love, sweet or on the fritz – sexy and meaning it in Lay Lady Lay and To Be Alone With You, sexy and punfully double-entendred in Country Pie and Peggy Day (“Love to spend the night with Peggy Day”). The smile suited him.</image:caption>
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    <loc>https://www.mojo4music.com/articles/14489/bob-dylan-full-moon-empty-arms</loc>
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    <lastmod>2017-11-24</lastmod>
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      <image:title>Articles - Roy Harper - 1. Stormcock</image:title>
      <image:caption>HARVEST | 1971 The roots of Harper’s finest album lie in his pilgrimage to Big Sur, California, where he wrote One Man Rock’n’Roll Band, his critique of the pointlessness of violence. Hors D’Oeuvres, the album’s opener – an eight minute slow-burner with multi-layered vocals – was inspired by the brutal fate of Caryl Chessman, on death row for 10 years before being sent to the gas chamber in May 1960. Same Old Rock, the album’s centrepiece, boasts several movements, its lyrics attacking organised religion against near-hymnal backing and with a towering guitar solo by Jimmy Page. The album closes with a love song, Me And My Woman, augmented by David Bedford’s magisterial arrangements. No record has sounded like &lt;em&gt;Stormcock&lt;/em&gt; before or since. A masterpiece.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04ddde9bfdfb6e4095960/1508920854668/harper-flat.jpg</image:loc>
      <image:title>Articles - Roy Harper - 2.  Flat, Baroque And Berserk</image:title>
      <image:caption>HARVEST | 1970 By 1969 Harper’s reputation was considerable. According to the man himself pop stardom was “a distinct possibility.” Signing to EMI’s progressive subsidiary, Harvest, he recorded at Abbey Road for the first time, resulting in his first Top 20 album. Appearing on the sleeve in repose (presumed stoned), Roy delivered 12 tracks that confirmed his unique position between the folk and underground scenes. Key cuts included Don’t You Grieve, Tom Tiddler’s Ground, Another Day (later covered by Peter Gabriel and Kate Bush, and This Mortal Coil), and the searing attack on imperialism, I Hate The White Man. The latter put paid to that potential pop career.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04d9732601e51d730a951/1508920779130/harper-roy-lifemask-1973.jpg</image:loc>
      <image:title>Articles - Roy Harper - 3.  Lifemask</image:title>
      <image:caption>HARVEST | 1973 Such was Harper’s stock that by 1972 he was asked to appear in Made, a film being directed by John MacKenzie (later credits: The Long Good Friday, The Fourth Protocol). Roy contributed some of the music to the film – including “failed single” Bank Of The Dead (featuring Jimmy Page). But he had also been diagnosed with a potentially life-threatening lung condition, and mortality informs the title of this album, and The Lord’s Prayer, the single track that occupies Side Two, where Harper – thinking time is short - attempts to tackle the ills of 150,000 years of civilization in 22 minutes and 55 seconds.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04d5fb1ffb65236c0663f/1508920712423/haprer-man-and-myth.jpg</image:loc>
      <image:title>Articles - Roy Harper - 4.  Man And Myth</image:title>
      <image:caption>BELLA UNION | 2013 After years of uncertainty and declaring himself “retired”, Harper returned with his first album for 13 years and delivered a career highlight. Once again, he tackled the personal (Time Is Temporary is a rumination on ageing) and the political (Cloud Cuckooland, with Pete Townshend on guitar). Despite being hailed as a remarkable comeback, the album’s momentum stalled when Harper was charged with historic sexual abuse in November 2013. Maintaining his innocence throughout, he was unanimously cleared of all charges in 2015 and vowed to “restart my working life.”</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04c87f9a61ec09159378a/1508920644971/roy-harper-valentine.jpg</image:loc>
      <image:title>Articles - Roy Harper - 5. Valentine</image:title>
      <image:caption>HARVEST | 1974 If Stormcock is a deep and saturnine affair, Valentine is its more gregarious counterpoint featuring tracks that are more accessible, evidenced by a reworking of the traditional North Country (aka North Country Girl). Harper’s scabrous edge is evident on Male Chauvinist Pig Blues, while his epic musical sensibilities shine on Twelve Hours Of Sunset, enhanced by Dave Bedford’s classical arrangements. To promote Valentine, Harper played the Rainbow Theatre on February 14 with an all-star band featuring Jimmy Page, Ronnie Lane, Keith Moon, and Max Middleton from the Jeff Beck Group, some of their performance being included on the equally fine Flashes From The Archives Of Oblivion.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04c4f49fc2bb5ab5d273a/1508920443691/RoyHarperFolkjokeopus.jpg</image:loc>
      <image:title>Articles - Roy Harper - 6. Folkjokeopus</image:title>
      <image:caption>LIBERTY | 1969 Teaming up with Shel Talmy on his second album, &lt;em&gt;Come Out Fighting Ghengis Smith&lt;/em&gt;, Harper continued his relationship with The Who’s producer on this follow-up. The opening brace of Sgt Sunshine and She’s The One rock far more openly than previous material, while One For All (written about his friend and saxophone iconoclast Albert Ayler) is a beauteous eight minute-plus guitar-driven piece. The album’s crowning glory is the gargantuan, evocative McGoohan’s Blues – all 17 minutes and 55 seconds of it – that tackles the evils of the world via lyrics that reference Harper’s young son Nick and Patrick McGoohan’s predicament in The Prisoner.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04c0990bcce8fabfbd2d4/1508920384907/roy-harperhq_border_1.jpg</image:loc>
      <image:title>Articles - Roy Harper - 7. HQ</image:title>
      <image:caption>HARVEST | 1975 Recorded in tandem with Pink Floyd’s &lt;em&gt;Wish You Were Here&lt;/em&gt; at Abbey Road, HQ features David Gilmour guesting alongside Led Zeppelin’s John Paul Jones on The Game. The rest of the album features Trigger, Harper’s backing band that consisted of ex-Yes/King Crimson drummer Bill Bruford, future Pistols producer/Sharks guitarist Chris Spedding and bassist Dave Cochran. However, the star turn on what is his most accessible album are the Grimethorpe Colliery Band, who add an emotional undertow to one of Roy’s most poignant songs, When An Old Cricketer Leaves The Crease, a tune that manages to intertwine the concepts of Englishness and mortality to remarkable effect.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04be39f8dcee391a41266/1508920339894/roy_harper-death_or_glory_-front.jpg</image:loc>
      <image:title>Articles - Roy Harper - 8. Death Or Glory?</image:title>
      <image:caption>On his 17th album Harper returned to his acoustic musical base and travelled to the depths of despair, his failed 10 year marriage informing brutally honest tracks like One More Tomorrow (sample lyric: “Without you, my heart will break”), while the closing If I Can features the man sobbing for 24 seconds. Conversely, moments of defiance include The War Came Home Tonight (a critique of the Gulf War) and The Tallest Tree (dedicated to environmentalist Chico Mendes), while Evening Star was written for Robert Plant’s daughter Carmen and performed at her wedding to Charlie Jones on May 18, 1991.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04b9c914e6be5ad862a39/1508920266323/harper-jugula.jpg</image:loc>
      <image:title>Articles - Roy Harper - 9. Whatever Happened To Jugula? (with Jimmy Page</image:title>
      <image:caption>BEGGARS BANQUET | 1985 Having escaped from EMI and experienced business difficulties that saw his Hereford farm repossessed, Harper teamed up with Jimmy Page on this full studio album. A dense, progressive affair, the album begins with the brooding, grandiose Nineteen Forty Eightish (1948 being the publication date and original title of George Orwell’s 1984) before moving on to Bad Speech, an inflammatory piece of Harper poetry. Hangman, Frozen and Hope (co-written by David Gilmour) are fine moments on an album where the production is of its time and where the closing stoned tomfoolery/gross-out of Advertisement proves that a good time was had by all.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04b3d18b27d403f5bb372/1508920204917/royharder-love-and-loss-1.jpg</image:loc>
      <image:title>Articles - Roy Harper - 10. Songs Of Love And Loss Vols 1 &amp; 2</image:title>
      <image:caption>SALVO | 2011 There have been a number of Harper compilations down the years but this two CD set is the most recent, released to kick-start the man’s 70th birthday celebrations. As with everything that Harper does, there is a conceptual thread to this collection, focusing on his love songs (Francesca, Another Day and Frozen Moment) and reflective moments (Waiting For Godot, I’ll See You Again, South Africa). Both discs were sequenced by Roy to work as self-contained albums and provide a satisfying update on 2005’s Counter Culture anthology which is equally recommended for those looking for an entrée into the man’s work.</image:caption>
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      <image:title>Articles - Roy Harper</image:title>
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    <loc>https://www.mojo4music.com/chuck-berry-10</loc>
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    <lastmod>2017-10-10</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59d4c94d2278e78c2beb6e87/1507625408762/</image:loc>
      <image:title>Chuck Berry 10 - 10. Sweet Little Sixteen - (Chess Single 1958)</image:title>
      <image:caption>She gets around, this gal: Pittsburgh, New Orleans, San Francisco. How exactly she finds her way back to her school desk every Monday morning is a mystery, but that’s no concern of Chuck’s. He’s too busy making like Tex Avery’s wolf just like all those other nogoodnik rock’n’rollers on bandstands nationwide. The swaggering model for The Beach Boys’ Surfin’ USA.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59d4c9bcf7e0abf6298ceaa6/1507626490700/</image:loc>
      <image:title>Chuck Berry 10 - 9. Come On(Chess single, 1961)</image:title>
      <image:caption>A pile-up of bad vibes – terrible car, departed sweetheart, multiple wrong numbers – that swings like a bastard, due in no small way to Ebby Harding’s syncopated drums and Martha Berry’s earthy backup vox. The Stones have much to be grateful for, and here’s Keith paying back some of the interest in Taylor Hackford’s 1987 doc, Hail! Hail! Rock’n’Roll.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59d4ca4d3e00be7a66853d30/1507625713153/hqdefault+%282%29.jpg</image:loc>
      <image:title>Chuck Berry 10 - 8. Promised Land - (Chess single, 1964)</image:title>
      <image:caption>Berry’s ability to create instant myth with a few words and an elegant sufficiency of chords is typified by this odyssey across America by wheels and wings. Silk suit, T-bone steak and Los Angeles is his reward.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59d4ca8818b27de95fc31de8/1507625820121/hqdefault+%283%29.jpg</image:loc>
      <image:title>Chuck Berry 10 - 7. You Can’t Catch Me(Chess single, 1956)</image:title>
      <image:caption>elentless rocker with an elastic beat, notoriously borrowed by John Lennon in the lyric for Come Together ("Here come old flat top..." etc) that was later to cause him so much aggro.  Not much song, but lots and lots of rock’n’roll.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59d4cb8cca70ec509bfb8fb9/1507117475410/hqdefault.jpg</image:loc>
      <image:title>Chuck Berry 10 - 10 Sweet Little Sixteen</image:title>
      <image:caption>Chess Single 1958</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc88a55404e26cafd33e7a/1507117969566/hqdefault.jpg</image:loc>
      <image:title>Chuck Berry 10 - Chuck Berry "Sweet Little Sixteen"</image:title>
      <image:caption>Chess Single 1958</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc896b64549a9833bc48b5/1507625125809/</image:loc>
      <image:title>Chuck Berry 10 - Chuck Berry "Sweet Little Sixteen"</image:title>
      <image:caption>Chess Single 1958</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8bcecf81e0c47e1dd471/1507625980649/</image:loc>
      <image:title>Chuck Berry 10 - 6. Brown Eyed Handsome Man - (Chess b-side, 1956)</image:title>
      <image:caption>rrested on charges of unemployment...” Try armed robbery, Mann Act infractions and misdemeanour possession of marijuana, Chuck! Again, a game Robert Cray does the hard yards on Berry’s behalf in Hail! Hail! Rock’n’Roll.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8c140abd045b7ccd4021/1507626077620/</image:loc>
      <image:title>Chuck Berry 10 - 5. Memphis, Tennessee(Chess b-side, 1959)</image:title>
      <image:caption>Wistful, almost ghostly b-side to Back In The U.S.A., whose vocal must have had some impact on the Dylan of, and later, this. he guitar tuning goes a bit south in the middle, but that’s all part of Chuck’s devil-may-care charm. Spoiler alert! It’s his daughter.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8c8bf14aa1f26de8ba7d/1507626153494/</image:loc>
      <image:title>Chuck Berry 10 - 4. No Particular Place To Go(Chess single, 1964)</image:title>
      <image:caption>Chuck is nonchalance incarnate during a typically risqué attempt to remove a young lady friend’s safety belt – while driving! – to better facilitate his nefarious plans. On the original 45, Chuck is actually outplayed by the unknown bassist, until the concluding solo, which is as persistent as his previous fumblings.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8cce12abd9f0c232fff3/1507626242617/</image:loc>
      <image:title>Chuck Berry 10 - 3. Maybellene - (Chess single, 1955)</image:title>
      <image:caption>Berry’s hillbilly jazz DNA shows in his high-energy debut single for Chess. Cars and girls figure (he’s chasing his cheatin’ woman in his “Cadillac doing about 95”), pointing the way forward for rock themes generally. Maracas-player Jerome Green adds a soupçon of Bo Diddley.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8d39b07869b5836b39be/1507626339772/</image:loc>
      <image:title>Chuck Berry 10 - 2. Roll Over Beethoven - (Chess single, 1956)</image:title>
      <image:caption>Berry’s King Of Rock’n’Roll status (the Queen of course was Little Richard) rests partly on his ownership of the rock’n’roll manifesto song (see also, Rock And Roll Music, Let It Rock...) and this is his best. Don’t forget to tell “Chikoski” the news.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d4c8eebebafbeff15b291b/59dc8d859f8dceedaf312604/1507626418375/</image:loc>
      <image:title>Chuck Berry 10 - 1. Johnny B Goode - (Chess single, 1958)</image:title>
      <image:caption>The most memorable guitar intro in the entire history of music encapsulates everything rock’n’roll about rock’n’roll.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59dc8dfaf14aa1f26de8c42a/1507117372967/</image:loc>
      <image:title>Chuck Berry 10</image:title>
    </image:image>
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    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-06</lastmod>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;50. &lt;/em&gt;Forever (Good Vibrations in Central Park 1971)</image:title>
      <image:caption>MOJO SAYS: A broken man, simply trying his best.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65baa8e62d692cc3a8952/1507220393813/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - The Beach Boys - Forever (Good Vibrations in Central Park 1971)</image:title>
      <image:caption>MOJO SAYS: A broken man, simply trying his best.</image:caption>
    </image:image>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65bc580bd5e41d1dc10a2/1507290285851/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;49. &lt;/em&gt;Wind Chimes</image:title>
      <image:caption>MOJO SAYS: Not so much sloppy as fally-over, and wonderfully so.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65c688419c2ff3e0c0cd0/1507290285856/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;48. &lt;/em&gt;Help Me Rhonda</image:title>
      <image:caption>MOJO SAYS: A sea-change in spring '65. Perfectionism had arrived.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65ce664b05fd30acb5bcd/1507290285938/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;47. &lt;/em&gt;Vega-Tables</image:title>
      <image:caption>MOJO SAYS: The stripped back re-take of this endearingly daft song gives the group's harmonies space.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65d35e45a7c84cecb6fd5/1507290285969/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;46. &lt;/em&gt;Do It Again</image:title>
      <image:caption>MOJO SAYS: Mike Love reinvents the brand as a totem to nostalgia, youth and the beach.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65d8b2aeba5e47bb7c338/1507290285972/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;45. &lt;/em&gt;Wild Honey</image:title>
      <image:caption>MOJO SAYS: A reflection of Brian's retreat from the mid-’60s production race.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65dfea803bbc66ee32b15/1507290285997/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;44. &lt;/em&gt;That's Not Me</image:title>
      <image:caption>MOJO SAYS: A nostalgic, two-minute, 22-second paean to rueful self-awareness.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65e5aa8b2b004617dd978/1507290286063/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;43. &lt;/em&gt;Little Deuce Coupe</image:title>
      <image:caption>MOJO SAYS: Threw fuel on the red-hot hot-rod song craze.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65eaa03596e34eb48c7c7/1507290286071/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;42. &lt;/em&gt;Let Him Run Wild</image:title>
      <image:caption>MOJO SAYS: With key and tempo changes bolder and weirder than anything before, this was Brian's signpost to the psychedelic country up ahead.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65efa9f74562b0c17ede2/1507290286111/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;41. &lt;/em&gt;Long Promised Road</image:title>
      <image:caption>MOJO SAYS: The sound of Carl Wilson settling into musical leadership, with reservations.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65f358a02c748afcc189c/1507290286184/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;40. &lt;/em&gt;"Cuddle Up"</image:title>
      <image:caption>MOJO SAYS: A ballad that’s warm and adoring and desperate and lonely.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d65fc2e45a7c84cecb93c0/1507290287400/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;39. &lt;/em&gt; When I Grow Up (To Be A Man)</image:title>
      <image:caption>MOJO SAYS: An ode to youth's fleeting nature.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d6600dedaed8cc235c9c92/1507290286180/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;38. &lt;/em&gt;Cool, Cool Water</image:title>
      <image:caption>MOJO SAYS: You can do more than just surf on it: a hymn to the spiritual qualities of H2O.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;37. &lt;/em&gt; Sloop John B</image:title>
      <image:caption>MOJO SAYS: Forlorn wish for home, or acid-derived ‘trip’ from hell? Trad-arr, but transformed, definitive.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d660a6f6576ec4e90e3fcb/1507290286248/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;36. &lt;/em&gt;Tears in the Morning</image:title>
      <image:caption>MOJO SAYS: Bruce Johnston's time to shine, with help from 'the funky Frenchman' Michel Colombier.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d6617918b27d09621b1c9e/1507290286300/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;35. &lt;/em&gt;All Summer Long</image:title>
      <image:caption>MOJO SAYS: A UK-only single, but by now the Brits preferred The Beatles.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;34. &lt;/em&gt;Barbara Ann</image:title>
      <image:caption>MOJO SAYS: The "bane" of Carl Wilson's existence became one of band's defining sounds.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d6624ca9db099a7df63d16/1507290286407/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;33. &lt;/em&gt;Break Away</image:title>
      <image:caption>MOJO SAYS: The hit-making hot rod years were over, the uncertain '70s looming.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d662a2f9a61e1e471dd4f3/1507290286424/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;32. &lt;/em&gt;You're So Good to Me</image:title>
      <image:caption>MOJO SAYS: The closest they got to Northern soul.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d662ead2b85722182b1eea/1507290286427/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;31. &lt;/em&gt;I Can Hear Music</image:title>
      <image:caption>MOJO SAYS: A less stodgy version of The Ronettes' 1966 original.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d6639e1f318de7978ee00a/1507290286437/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;30. &lt;/em&gt;Here Today</image:title>
      <image:caption>MOJO SAYS: Its impact derives from Brian Wilson's grander scheme.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d663f44c0dbfd47215dcdf/1507290287399/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;29. &lt;/em&gt;Darlin'</image:title>
      <image:caption>MOJO SAYS: Reassuringly swept-up production with a smattering of horns and assembly singing.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d664548fd4d2e6b0797600/1507290286532/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;28. &lt;/em&gt;Disney Girls</image:title>
      <image:caption>MOJO SAYS: Chasing an unreachable high - it’s a hallucination without the hallucinogens.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d66499f6576ec4e90e82ce/1507290286559/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;27. &lt;/em&gt;Surfin' U.S.A.</image:title>
      <image:caption>MOJO SAYS: The best advert So-Cal's surfing culture ever got.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;26. &lt;/em&gt;The Warmth Of The Sun</image:title>
      <image:caption>MOJO SAYS: Brian trancends pain to deliver words of hope and comfort.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;25. &lt;/em&gt;Fun, Fun, Fun</image:title>
      <image:caption>MOJO SAYS: This frabjous surf/hot rod rocker is one of the group's most literal.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d6658d3e00be241f2eb70c/1507290286637/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;24. &lt;/em&gt;Pet Sounds</image:title>
      <image:caption>MOJO SAYS: An ambiguous, jet-age update of Martin Denny-style 1950s exotica.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d665fc2aeba5254b468368/1507290286675/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;23. &lt;/em&gt;I'm Waiting For The Day</image:title>
      <image:caption>MOJO SAYS: One of the lavishly orchestrated gems which give Pet Sounds its astonishing depth.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;22. &lt;/em&gt;Our Prayer</image:title>
      <image:caption>MOJO SAYS: Emanating the warmth of the California sun rather than the interior cool of a Baroque kirche.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;21. &lt;/em&gt;Do You Like Worms?</image:title>
      <image:caption>MOJO SAYS: The original's serene aura epitomises Brian's sandbox meditations.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;20. &lt;/em&gt;I Know There's an Answer</image:title>
      <image:caption>MOJO SAYS: A fried treatise on how LSD separates the turned-on 'us' from the uptight 'them'.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;19. &lt;/em&gt;In My Room</image:title>
      <image:caption>MOJO SAYS: Brian's place of refuge might well be somewhere bad thoughts fester.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;18. &lt;/em&gt;Surfer Girl</image:title>
      <image:caption>MOJO SAYS: The most acute and piercing kind of nostalgia: nostalgia for something that never existed.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;17. &lt;/em&gt;Let's Go Away for Awhile</image:title>
      <image:caption>MOJO SAYS: Hawaiian guitar, vibraphone and tympani all suggest a yearning for freedom and peace of mind.  </image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;16. &lt;/em&gt;Sail on sailor</image:title>
      <image:caption>MOJO SAYS: Its rolling melody, Morse code rhythm and soulful vocal from Blondie Chaplin make this an early-’70s highlight.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;15. &lt;/em&gt;Don't Worry Baby</image:title>
      <image:caption>MOJO SAYS: Like many of the best Beach Boys tracks, its beauty masks concern and doubt.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;14. &lt;/em&gt;You Still Believe In Me</image:title>
      <image:caption>MOJO SAYS: Amid the music-box melancholia, the bicycle bell tings and antique car horns betray an infant playfulness.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76c40e5dd5b440b25d8bc/1507290201982/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;13. &lt;/em&gt; I Just Wasn't Made For These Times</image:title>
      <image:caption>MOJO SAYS: The Theremin's debut on a pop record, but Wilson would soon take it to even greater heights.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76c6c49fc2b6facbbe843/1507290301392/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;12. &lt;/em&gt;Feel Flows</image:title>
      <image:caption>MOJO SAYS: A cosmic soup spiced with manager Jack Rieley's looniest lyrics: "Unfolding enveloping missiles of soul".</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76cdfcd0f68e30c0829ff/1507290422855/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;11. &lt;/em&gt;Cabin Essence (1967 Music Video)</image:title>
      <image:caption>MOJO SAYS: A micro-symphony to the US that's more strange than sepia-toned.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76d4c03596e0b2e75d0ef/1507290463356/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;10. &lt;/em&gt;I Get Around</image:title>
      <image:caption>MOJO SAYS: Mike Love is in his element, but it was Brian who headed, soon enough, for "a new place where the kids are hip".</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;9. &lt;/em&gt;Wouldn't It Be Nice (Original Video)</image:title>
      <image:caption>MOJO SAYS: The eternal frustration of the doorstep kiss.</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;8. &lt;/em&gt;Don't Talk (Put Your Head On My Shoulders) ((Stereo Remaster))</image:title>
      <image:caption>MOJO SAYS: Only Brian could convey the reverence of lovers drinking in each other's essence among the silence.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76e19bebafb762b804d4d/1507290671332/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - ￼  &lt;em&gt;7. &lt;/em&gt; Heroes and Villains</image:title>
      <image:caption>MOJO SAYS: Given the chance to "sunny down snuff", who wouldn't?</image:caption>
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      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;6. &lt;/em&gt;Beach Boys (Lyrics)</image:title>
      <image:caption>MOJO SAYS: Caroline will haunt you.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76e62cd0f68e30c083537/1507310120291/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;5. &lt;/em&gt; 'Til I Die</image:title>
      <image:caption>MOJO SAYS: Brian was feeling hopeless, insignificant, and, in contrast to his physical bulk, "very small".</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76e931f318db8c85e90b6/1507310120675/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;4. &lt;/em&gt;California Girls (1965)</image:title>
      <image:caption>MOJO SAYS: A list song, yes, but what a list song!</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76ec4e9bfdf1d72d7682d/1507310120351/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;3. &lt;/em&gt;God only knows</image:title>
      <image:caption>MOJO SAYS: How many other songs of devotional wonderment begin with a line like "I may not always love you"?</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76ef88419c2e1411ddf9d/1507310120392/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;2. &lt;/em&gt;Good Vibrations</image:title>
      <image:caption>MOJO SAYS: A song that everyone recognises, but only one man knows for sure what it really means.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76f1929f1877c7fda722d/1507310120405/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;1. &lt;/em&gt;Surf's Up</image:title>
      <image:caption>MOJO SAYS: Not so much timeless but a song out of time, an elegy whose richness and mystery only deepens with age.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d65a824c0dbf835bb82f10/59d76e42a8b2b0eca6377f5b/1507310120223/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - Caroline No - Beach Boys (Lyrics)</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59d7ba2837c5812f8661809d/1507220555140/</image:loc>
      <image:title>The Beach Boys’ 50 Greatest Songs - &lt;em&gt;50. &lt;/em&gt;Forever (Good Vibrations in Central Park 1971)</image:title>
      <image:caption>MOJO SAYS: A broken man, simply trying his best.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/the-50-weirdest-albums-ever</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-01-17</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7baec64b05fac6d50ae1c/1516189731552/I+Trawl+The+Megahertz.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;50. &lt;/em&gt;Paddy McAloon – I Trawl The Megahertz</image:title>
      <image:caption>MOJO SAYS: Steve McQueen, we hardly knew you.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bb45a8b2b0e4ec0dfc13/1507398602054/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;49. &lt;/em&gt;Basil Kirchin - Quantum</image:title>
      <image:caption>MOJO SAYS: Music and sound manipulated into something entirely other.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bb7c29f1873d5ebf6317/1516189094414/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;48. &lt;/em&gt;Ottilie Patterson - Spring Song</image:title>
      <image:caption>MOJO SAYS: Insane/inspired romp through period poetry and more.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bbbff14aa156ef7308d6/1507761188833/47.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;47. &lt;/em&gt;Bongwater Double Bummer</image:title>
      <image:caption>MOJO SAYS: Sprawling 2-LP debut from New York art couple who made Kim and Thurston look like Margot and Jerry Leadbetter.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bc2cb078697ee4be5d5c/1507761188973/46.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;46. &lt;/em&gt;Ennio Morricone - Escalation</image:title>
      <image:caption>MOJO SAYS: Wildly psychedelic opus to peculiar painted lady film.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bc79bce1766117da70f3/1507761188976/45.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;45. &lt;/em&gt;John Zorn - Naked City</image:title>
      <image:caption>MOJO SAYS: Genre-slashing "compositional workshop" led by NYC jazz heretic Zorn.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d7bdb364549a85caa31feb/1507310604114/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;50. &lt;/em&gt;￼Paddy McAloon - I Trawl The Megahertz</image:title>
      <image:caption>MOJO SAYS: Steve McQueen, we hardly knew you.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87a657131a562e47c3d66/1507761188989/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;44. &lt;/em&gt;AR &amp; Machines - Echo</image:title>
      <image:caption>MOJO SAYS: German guitar guru's crazed journey to the centre of the instrument.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87ab3f7e0ab21edbf6b5a/1507761189076/43.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;43. &lt;/em&gt;William S Fischer - Circles</image:title>
      <image:caption>MOJO SAYS: Mutant R&amp;B from New York City's answer to David Axelrod.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87b39914e6b0b821d61eb/1507761189142/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;42. &lt;/em&gt;Wild Man Fischer - An Evening With Wild Man Fischer</image:title>
      <image:caption>MOJO SAYS: Frank Zappa unleashes the outsider artist's outsider artist on an unsuspecting world.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87bcd49fc2bc1e53e9032/1507761189150/41.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;41. &lt;/em&gt;Throbbing Gristle - Second Annual Report</image:title>
      <image:caption>MOJO SAYS: Punk preached chaos and anarchy, but only TG truly achieved it.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87d65268b96ed79bfb9dc/1507761189138/40.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;40. &lt;/em&gt;Pink Floyd - The Piper At The Gates Of Dawn</image:title>
      <image:caption>MOJO SAYS: Underground goes overground in womb-spaceship to the stars.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87dbe4c0dbf0142aacc52/1507761189141/39.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;39. &lt;/em&gt;Mercury Rev - Boces</image:title>
      <image:caption>MOJO SAYS: Kosmic Katskills kombo unlearn the rules of rock music. Flutes are involved.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87e0df5e231512a06e186/1507761189225/38.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;38. &lt;/em&gt;Tim Buckley - Starsailor</image:title>
      <image:caption>MOJO SAYS: Folk singer as screaming mood instrument. Starsailor fans need not apply.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d87e8990bade192aefebb8/1507761189219/37.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;37. &lt;/em&gt;Dreamies Auralgraphic Entertainment</image:title>
      <image:caption>MOJO SAYS: 52 minute psychedelic odyssey: the '60s aren’t over yet.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d9115abebafb24a35a4f8a/1507761189248/36.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;36. &lt;/em&gt;Cybotron - Cyber Ghetto</image:title>
      <image:caption>MOJO SAYS: Grim vision of technoid future ruled "by the dark overlords of conformity".  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d911faf7e0ab21edc37dc3/1507761189322/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;35. &lt;/em&gt;C.A. Quintet - Trip Thru Hell</image:title>
      <image:caption>MOJO SAYS: A tribal re-enactment of the apocalypse by the ghosts of The Count Five.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d913f1e45a7c0ce23f410f/1507761189380/34.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;34. &lt;/em&gt;Barbra Streisand - …And Other Musical Instruments</image:title>
      <image:caption>MOJO SAYS: Not your usual Barbra LP. Oh no.  </image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d91420017db2e1bf074768/1507761189410/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;33. &lt;/em&gt;The Stark Reality - …Discovers Hoagy Carmichael’s Music Shop</image:title>
      <image:caption>MOJO SAYS: Boston funkateers’ dizzying one-off atonal psych-jazz junket.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d914531f318d0de5d24a10/1507761456719/32.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;32. &lt;/em&gt;Steven Jesse Bernstein - Prison</image:title>
      <image:caption>MOJO SAYS: A suicidal Seattle writer records his last testament with the help of half of Pigeonhed.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59d915e1d7bdcef13177e704/1507761625171/31.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;31. &lt;/em&gt;Scott Walker - Tilt</image:title>
      <image:caption>MOJO SAYS: A "torture chamber music" entree into one man’s private hell.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de91f08419c2d28950a6b1/1507758708947/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;30. &lt;/em&gt;Esquivel! - Four Corners Of The World</image:title>
      <image:caption>MOJO SAYS: Speed thrills by Mexican avatar of bachelor pad pyrotechnics.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de922790badef914b81187/1507758679501/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;29. &lt;/em&gt; Alexander 'Skip' Spence - Oar</image:title>
      <image:caption>MOJO SAYS: Post-breakdown psychedelia from former Moby Grape and Jefferson Airplane man.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de929a9f7456e38de2e1b1/1507758780356/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;28. &lt;/em&gt; Joe Meek And The Blue Men - I Hear A New World</image:title>
      <image:caption>MOJO SAYS: The Clangers co-directed by Brian Eno and Liberace.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de92d1c534a50f7d64c8cf/1507758959920/27.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;27. &lt;/em&gt; Comets On Fire - Field Recordings From The Sun</image:title>
      <image:caption>MOJO SAYS: Santa Cruz shamen dyno-blast psych-rock into the 21st century.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9378f14aa1aa2b3f3760/1507759033472/26.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;26. &lt;/em&gt; Diamanda Galas - Plague Mass</image:title>
      <image:caption>MOJO SAYS: Apocalyptic anti-liturgy. Not for the faint-hearted.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de93c90abd047282b1277a/1507759098915/25.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;25. &lt;/em&gt; The Monks - Black Monk Time</image:title>
      <image:caption>MOJO SAYS: GIs In Deutschland go AWOL, get tonsures, write punk rulebook.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de940f03596ee7131c3ef4/1507759156716/24.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;24. &lt;/em&gt; Gordon Jenkins - Seven Dreams</image:title>
      <image:caption>MOJO SAYS: Because they thought "nightmares" in the title wouldn’t sell?</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9560c027d82d92990e83/1507759525117/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;23. &lt;/em&gt; Frank Zappa - Lumpy Gravy</image:title>
      <image:caption>MOJO SAYS: A mind-blowing mélange of modernist classical ambition and basement-level hippy blather.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de95b5e9bfdf961230319f/1507759593169/22.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;22. &lt;/em&gt; Perrey &amp; Kingsley - Kaleidoscopic Vibrations: Spotlight On The Moog</image:title>
      <image:caption>MOJO SAYS: The world remade as ferocious cartoon, via Moog-electrodes to the testicles.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de95f9268b96c326c0804c/1507759632614/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;21. &lt;/em&gt; Patty Waters - College Tour</image:title>
      <image:caption>MOJO SAYS: The woman who influenced Diamanda Galas and Yoko Ono.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de96424c0dbfb7c5103716/1507759697786/20.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;20. &lt;/em&gt; Boredoms - Super Ae</image:title>
      <image:caption>MOJO SAYS: Osaka’s noise terrorists find infinite groove on the surface of the sun.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de965e2278e72843019f99/1507759737757/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;19. &lt;/em&gt; Hawkwind - Space Ritual</image:title>
      <image:caption>MOJO SAYS: Space barbarians set the controls for the heart of the brain.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de968c9f7456e38de31800/1507759795494/18.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;18. &lt;/em&gt; My Bloody Valentine - Loveless</image:title>
      <image:caption>MOJO SAYS: Indie navel-gazers push amps, pedals and record label to melting point.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9723e3df2822ee3621a9/1507759964099/17.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;17. &lt;/em&gt; Lightning Bolt Wonderful Rainbow</image:title>
      <image:caption>MOJO SAYS: Breakthrough tumult from elemental experimental duo: riffs, noise, chaos.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de977951a58485608d5df9/1507760016189/16.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;16. &lt;/em&gt; The Residents - Ralph Records 10th Anniversary Radio Special!</image:title>
      <image:caption>MOJO SAYS: The Residents drive one half of Penn and Teller insane...</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de97a7d2b857fa239430fb/1507760082497/15.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;15. &lt;/em&gt; The Holy Modal Rounders - The Moray Eels Eat...</image:title>
      <image:caption>MOJO SAYS: Acid-folk opus from Rounders’ spin-off, featuring Sam Shepard.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de97f080bd5e963fd29876/1507760130189/15.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;14. &lt;/em&gt; The Beatles - Sgt. Pepper's Lonely Hearts Club Band</image:title>
      <image:caption>MOJO SAYS: How to blow the finest minds of your generation without even trying.</image:caption>
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      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;13. &lt;/em&gt; The Velvet Underground - White Light/White Heat</image:title>
      <image:caption>MOJO SAYS: Speed, sex, and drugs. Rock'n'roll? Barely.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9856b7411cb24634494e/1507760244915/12.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;12. &lt;/em&gt; Os Mutantes Os Mutantes</image:title>
      <image:caption>MOJO SAYS: Brazilian LSD teens dismantle Beatles, put them back together wrong.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9932b1ffb68165c7a9e5/1507760456432/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;11. &lt;/em&gt; The Flaming Lips - Zaireeka</image:title>
      <image:caption>MOJO SAYS: Four psychedelic masterpieces. Play simultaneously.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de99612278e7284301c607/1507760522031/10.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;10. &lt;/em&gt;  White Noise - An Electric Storm</image:title>
      <image:caption>MOJO SAYS: Directions to the next century by a million short cuts.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de99a9e5dd5b98aa74415f/1507760606134/9.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;9. &lt;/em&gt;  The United States Of America - The United States Of America</image:title>
      <image:caption>MOJO SAYS: "The price is right – the cost of one admission is your mind."</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de99ee6f4ca3f9e704a1bb/1507760637691/8.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;8. &lt;/em&gt; John Coltrane - Ascension</image:title>
      <image:caption>MOJO SAYS: “A guaranteed soul rinsing,” promised the original sleeve-notes...</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9a17b07869a6b4b0f53f/1507760679613/7.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;7. &lt;/em&gt; The Jimi Hendrix Experience - Axis: Bold As Love</image:title>
      <image:caption>MOJO SAYS: Three go mad on 4-track. Rock guitar takes a vacation in Wonderland.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9a3af6576e9799330484/1507760736507/6.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;6. &lt;/em&gt; Faust - The Faust Tapes</image:title>
      <image:caption>MOJO SAYS: Freewheeling, jump-cutting Krautrock in excelsis.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9abce9bfdf96123075e8/1507760865521/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;5. &lt;/em&gt; Butthole Surfers - Locust Abortion Technician</image:title>
      <image:caption>MOJO SAYS: LSD, slaughterhouses, AM radio, scary clowns and Ozzy Osbourne conspire on one of the most unsettling records of all time.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9b03197aeac813bbb335/1507760915977/4.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;4. &lt;/em&gt; Funkadelic Maggot Brain</image:title>
      <image:caption>MOJO SAYS: "Play like your mother just died," George Clinton ordered Eddie Hazel. So he did.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9b2f9f7456e38de35538/1507760959558/3.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;3. &lt;/em&gt; Miles Davis - Agharta</image:title>
      <image:caption>MOJO SAYS: Uncompromising jazz/rock/funk thing, knocked out in an afternoon.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9b5a914e6bbbe2bf4649/1507761003225/2.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;2. &lt;/em&gt; Sun Ra - Space Is The Place</image:title>
      <image:caption>MOJO SAYS: The man from Saturn wants to take you back there.</image:caption>
    </image:image>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59d7baa6b1ffb637abe6847d/59de9b7ebce1769ff7311c14/1507761050869/1.jpg</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;1. &lt;/em&gt; Captain Beefheart Trout Mask Replica</image:title>
      <image:caption>MOJO SAYS: The claustrophobic inside-outsider art-blues of the Magic Band’s wildest hour.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/5a5f3823ec212d22697c405e/1516189731552/</image:loc>
      <image:title>The 50 Weirdest Albums Ever - &lt;em&gt;50. &lt;/em&gt;Paddy McAloon – I Trawl The Megahertz</image:title>
      <image:caption>MOJO SAYS: Steve McQueen, we hardly knew you.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/15-amazing-brazilian-songs</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-11</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc8e5929f1876a4586dc7c/1507626649066/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 1. Sergio Mendes &amp; Brasil 66 - Mas que nada</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc8ec4cf81e0c47e1de830/1507761735956/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 2. Astrud Gilberto &amp; Stan Getz - The Girl From Ipanema</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc8ec4be42d6289086ad0c/1507761735961/</image:loc>
      <image:title>15 Amazing Brazilian Songs - Astrud Gilberto &amp; Stan Getz ◊ The Girl From Ipanema ◊ 1964</image:title>
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      <image:title>15 Amazing Brazilian Songs - 3. Elis Regina e Milton Nascimento - Caxangá</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc8f3c6f4ca35190d20764/1507761736097/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 4. Caetano Veloso-Asa Branca</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc8f59e3df281768b0bfd8/1507761736079/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 5. Gilberto Gil - "Expresso 2222"</image:title>
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      <image:title>15 Amazing Brazilian Songs - 7. Novos Baianos - Samba da Minha Terra</image:title>
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      <image:title>15 Amazing Brazilian Songs - 9. Samba de Orly - Toquinho &amp; Vinícius</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc9015f5e2317170f57672/1507761736209/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 10. Joyce - "Clareana"</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc9046197aeaa9a592b1d6/1507761736207/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 11. MILTON nascimento - nada será como antes</image:title>
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      <image:title>15 Amazing Brazilian Songs - 12. FOOL ON THE HILL - Sergio Mendes &amp; Brasil '66</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc908d9f8dceedaf313aaa/1507761736349/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 13. Desafinado by Joao Gilberto</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc90a732601e9d148e2c00/1507761736332/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 14. GAL COSTA - VOLTA - 1973</image:title>
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      <image:title>15 Amazing Brazilian Songs - 15. Os Mutantes- Panis Et Circensis &amp; Bat Macumba (Complete French TV-1969)</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc8e34017db28a6c9aa60f/59dc90f74c0dbffb0151d776/1507761736172/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 8. Baden Powell - Manha de Carnaval (1970)</image:title>
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      <image:title>15 Amazing Brazilian Songs</image:title>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59de9e488419c2d2895156f5/1507626649066/</image:loc>
      <image:title>15 Amazing Brazilian Songs - 1. Sergio Mendes &amp; Brasil 66 - Mas que nada</image:title>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/new-gallery-4</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-10</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9baf197aeaa9a593014d/1507630088904/beatles-rooftop-1.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 1. The Building</image:title>
      <image:caption>The Beatles purchased 3 Savile Row in the summer of 1968, quickly installing a studio in the basement. Following the &lt;em&gt;Let It Be sessions in January 1969, it would go on to host the recording of albums including Harry Nilsson’s &lt;em&gt;Son Of Schmilsson (1972), Tim Hardin’s Painted Head (1972), Ringo’s Ringo (1973), George’s Living In The Material World (1973), Roger Daltrey’s Daltrey(1973) and Badfinger’s Ass (1973). The building would remain under Apple ownership until 1976. In 2013, US clothes brand Abercrombie &amp; Fitch attempted to open an outlet at 3 Savile Row much to the outrage of the street’s heritage tailors.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9c3cccc5c553117297c5/1507630171598/beatles-rooftop-2.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 2. The Concept</image:title>
      <image:caption>The idea of ending the Let It Be film with a live performance had been around for a while. Neil Aspinall: “They were talking about doing a concert on a boat or an amphitheatre in Greece… or at The Roundhouse in London.” Four days before the event, on January 26, the roof was chosen as the location for the movie’s conclusion. You can see the band discussing how to end the film in the final part of The Beatles Anthology series.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9c6bf14aa1f26de92af5/1507630219986/beatles-rooftop-3.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 3. Mach Schau!</image:title>
      <image:caption>The performance itself began at around 12pm on a bitterly cold Thursday lunchtime and lasted for 42 minutes. Approximately half of the gig is shown at the end of Let It Be. Director Michael Lindsay-Hogg and his team had boarded the roof prior to The Beatles’ arrival (witness McCartney jumping up and down to test the new stage) and two eight-track machines were running in the basement in order to record the sound. Several cameras were used, including those capturing the reaction of onlookers in the street below.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9cbf46c3c48d677c45cb/1507630320732/beatles-rooftop-4.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 4. Positions, Please</image:title>
      <image:caption>It had been two years, five months and one day (or 885 days) since The Beatles’ last live performance at San Francisco’s Candlestick Park on August 29, 1966. For the rooftop concert, John and George broke away from their familiar onstage placements – John now stood in the middle with George to his left. Billy Preston and his Hammond B3 organ were situated behind McCartney and to the right of Ringo’s drums. Preston had arrived in London as part of Ray Charles’ band, and was drafted into the Let It Be sessions to act, as George Martin remembers, as “an emollient” to ease tensions within the group.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d25d55b412cbda5ae41/1507630803572/beatles-rooftop-5.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 5. Happiness Is A Warm Coat</image:title>
      <image:caption>It was a day for swapping clothes. Ringo’s distinctive red mac belonged to his wife Maureen, while John kept the cold at bay by donning Yoko’s fur coat.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d60a8b2b02864cf4a36/1507630468039/beatles-rooftop-6.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 6. The Inner Circle</image:title>
      <image:caption>Apple employees and the film crew surrounded the band, along with long-serving Beatles roadie Mal Evans, although two key personnel were missing. George Martin ensconced himself in the basement “worrying like mad if I was going to end up in Savile Row police station for disturbing the peace” while Neil Aspinall missed the gig completely: “I wasn’t there. I was in hospital having my tonsils out.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9d9337c581029a95d758/1507630524200/beatles-rooftop-7.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 7. Get Back</image:title>
      <image:caption>The band began with a rehearsal of Get Back (they had recorded a studio version on January 24). The subsequent muted applause from the small crowd prompted McCartney to murmur a reference to Sussex/England cricketer Ted Dexter followed by Lennon’s: “We’ve had a request from Martin Luther”. The song was then played for a second time. The footage you see in the Let It Be film is an edit of the two performances.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9dd56f4ca35190d26f84/1507630621463/beatles-rooftop-8.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 8. I'm In Love For The First Time</image:title>
      <image:caption>The first of two takes of Don’t Let Me Down followed. The first can be seen in the footage of the rooftop concert (Lennon visibly enjoys fluffing the lyrics) while an edit of both was included on 2003’s Let It Be... Naked. You can hear a recording of Don’t Let Me Down from street level</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9e4618b27de5f10a7403/1507630738062/beatles-rooftop-9.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 9. Everybody Had A Hard Year</image:title>
      <image:caption>At the end of the next song – a blistering version of I’ve Got a Feeling – John Lennon’s mind is suitably blown. “Oh, my soul,” he says, “So hard”. Either that or his fingers had frozen.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9edac534a5f236449bfd/1507630857820/beatles-rooftop-10.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 10. The Pipes, The Pipes..</image:title>
      <image:caption>The One After 909, the studio version of which was recorded at Savile Row the day before, ends with John singing a few lines of Danny Boy. McCartney looks like he might join in. Ringo, meanwhile, lights a cigarette.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9f15d55b412cbda5bb98/1507630901814/beatles-rooftop-11.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 11. Say The Word</image:title>
      <image:caption>Lennon’s Dig A Pony kicks off with Ringo disposing of his cigarette (“Hold it!”) while one of the film’s production team, Kevin Harrington, kneels in front of John brandishing a clipboard of lyrics. John finishes the song with: “Thank you brothers... hands too cold to play the chords.” The original &lt;em&gt;Let It Be&lt;/em&gt; album version is missing the “All I want is…” vocal intro. Thanks, Phil Spector!</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9b93f7e0ab3dbb25b0d0/59dc9f4280bd5e687eedd5c8/1507630950052/beatles-rooftop-12.jpg</image:loc>
      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 12. Her Majesty</image:title>
      <image:caption>hile engineer Alan Parsons changes tapes, the band and Billy Preston run through an impromptu few bars of God Save The Queen. Three years later, Alan Parsons could be found at Abbey Road engineering Pink Floyd’s &lt;em&gt;The Dark Side of the Moon</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 13. Beatlemania!</image:title>
      <image:caption>By this point, crowds had gathered in the streets below and on the surrounding rooftops for what must have been one of the greatest lunch break treats of all time. However, not everyone was pleased to see the biggest band in the world playing a free gig. Stanley Davis, the wool merchant next door, reportedly said: “I want this bloody noise stopped. It’s an absolute disgrace.” Other reactions of passers-by are captured in the Let It Be film and range from the elated (“Fantastic!” “Fabulous!”), to the buttoned-down (“This type of music has its place”) and the topical (“It’s nice to have something in this country for free at the moment”).</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 14. Caught By The Fuzz</image:title>
      <image:caption>With traffic beginning to bottleneck on the street below, the police at nearby West End Central Police Station (located at 27 Savile Row) were summoned. Mal Evans had set up a hidden camera in the reception area of the Apple building that later captured their arrival. Ken Wharfe, a young policeman on duty that day, recalls his memories in the video above.</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 15. Play On</image:title>
      <image:caption>The third take of Get Back sees the police arrive on the roof. Lennon and Harrison’s amplifiers are switched off just before the first chorus, before kicking back in just in time for the solo. Paul’s soul preacher ad-lib arrives towards the end of the track: “You’ve been playing on the roofs again, and you know your Momma doesn’t like it, oh she gets angry, she’s gonna have you arrested!” A cheer from Ringo’s wife Maureen then prompts a deadpan “Thanks, Mo” from McCartney. These outtakes can be heard on the Anthology 3 version of Get Back.</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 16. Sound &amp; Vision</image:title>
      <image:caption>Later that day, Glyn Johns mixed the recordings into stereo at Olympic Studios in Barnes. Johns would go on to helm recordings for Led Zeppelin, The Who, Faces, The Band, Eric Clapton and The Rolling Stones.</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 17. It Could Have Been Fabulous</image:title>
      <image:caption>The rooftop concert was a short and sweet reminder of The Beatles at their live best, although not everyone was happy with the end result. As Ringo recounts in The Beatles Anthology: “I always feel let down about the police. When they came up I was playing away and I thought, ‘Oh great! I hope they drag me off.’ We were being filmed and it would have looked really great, kicking the cymbals and everything. Well, they didn’t of course, they just came bumbling in: ‘You’ve got to turn that sound down.’ It could have been fabulous.”</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 18. Ready Steady Go!</image:title>
      <image:caption>The world got its first glimpse of the rooftop concert via the promo clip for the Get Back/Don’t Let Me Down single. It appeared four times on the UK’s Top Of The Pops between April 24 and May 22. A colour version was shown on the 1969 TOTP Christmas special. America got its first taste of the rooftop gig via the Get Back clip shown on The Glen Campbell Goodtime Hour on April 30.</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 19. The Toppermost of The Poppermost</image:title>
      <image:caption>The Beatles weren’t the only band of the era to take to the top of a building to play their songs. Two months before, in November 1968, Jean Luc Godard filmed Jefferson Airplane playing on a midtown Manhattan roof and it’s always worth reminding yourself of The Rutles’ rooftop show (“a good version” according to George Harrison) which you can check out above.</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 20. And In The End...</image:title>
      <image:caption>As the rest of the band put down their instruments, it was left to John Lennon to bid the world farewell. “I’d like to say thank you on behalf of the group and ourselves and I hope we passed the audition.”</image:caption>
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      <image:title>20 Things You Need To Know About The Beatles’ Rooftop Concert - 1. The Building</image:title>
      <image:caption>The Beatles purchased 3 Savile Row in the summer of 1968, quickly installing a studio in the basement. Following the &lt;em&gt;Let It Be sessions in January 1969, it would go on to host the recording of albums including Harry Nilsson’s &lt;em&gt;Son Of Schmilsson (1972), Tim Hardin’s Painted Head (1972), Ringo’s Ringo (1973), George’s Living In The Material World (1973), Roger Daltrey’s Daltrey(1973) and Badfinger’s Ass (1973). The building would remain under Apple ownership until 1976. In 2013, US clothes brand Abercrombie &amp; Fitch attempted to open an outlet at 3 Savile Row much to the outrage of the street’s heritage tailors.</image:caption>
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  <url>
    <loc>https://www.mojo4music.com/nick-caves-top-10-albums</loc>
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    <lastmod>2017-10-10</lastmod>
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      <image:title>Nick Caves Top 10 Albums - 10. Your Funeral... My Trial - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Like a damaged film reel flickering between beauty, melancholy and desperation, this is the record that best captures the Bad Seeds' mid-'80s Berlin period – a time of heroin, a cameo slot in Wim Wenders’ And The Ass Saw The Angel. The album’s keystone is a rare thing – a Bad Seeds track with no Cave writing credit. Stranger Than Kindness is by Einstürzende Neubauten man Blixa Bargeld and Cave’s then on-off partner Anita Lane. Bargeld’s marvelously gnomic Teuton-grunt is also there in his vocal on The Carny.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 9. Let Love In - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>his eighth &lt;strong&gt;Bad Seeds studio album was recorded against an international backdrop. After a spell living in Brazil, Cave was back in London living in Kensington. The album was recorded in London and Melbourne and, in the lyrics of Jangling Jack, shows some. Overseen with a new fastidiousness from Cave, the album is at once bloody, reflective and beautiful - perhaps, cumulatively, suggesting a hopeless malfeasant being catapulted toward goodness by some astonishing act of fate. It centres on the two-part Do You Love Me - a stop-you-in-your-tracks study in infatuation and abuse.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 8. The Birthday Party - Junk Yard</image:title>
      <image:caption>The Birthday Partywere a musical black hole - ferociously sucking in all rock lore and gesture. Amazingly, they made it as far as this second full album - a record that sounds at once lobotomised and freakishly smart. The kamikaze logic peaks on Dead Joe - a madly ecstatic depiction of a car smash, like a collaboration between JG Ballard and The Ramones. But you can’t accuse frontman Cave of blithe youthful pretension here - his father had died in a road accident. Today’s CD version adds tracks, including the single Release The Bats</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 7. Kicking Against The Pricks - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>A cover version – a wired take on Leonard Cohen’s Avalanche - opened the first Bad Seeds album, From Her To Eternity. But it was with this whole album of covers that Cave and The Bad Seeds signaled their full scope. There is blues (a Leadbelly medley) and canonical art-rock The Velvet Underground’s All Tomorrow’s Parties). But the authoritative way they took on such mainstream popular song as Something’s Gotten Hold Of My Heart suddenly made The Bad Seeds seem much more than some twitching, marginal punk-blues freak show.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 6. Push The Sky Away - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Cave’s most enigmatic, elegant and sophisticated meld of words and music, at times more of an impressionistic jazz event than a rock album and a triumph for Warren Ellis as The Bad Seeds’ musical co-ordinator. Cave, meanwhile, is a stoic, aged observer of humanity’s biologically-encoded foibles, watching the “local girls” of Water’s Edge “with a bible of tricks they do with their legs”. Made modern yet timeless by Nick Launay’s crisp mix, Jubilee Street builds to a pulsating sonic climax, Mermaids is slyly melodic and the extraordinary, apocalyptic Higgs Boson Blues appears to glimpse life, the universe and everything in the collision of Robert Johnson and Miley Cyrus. Stunning</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 5. Tender Prey - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>Kicking Against The Pricks covers LP featured three songs associated with Johnny Cash. This album eventually reversed the situation, with The Mercy Seat. This Bad Seeds signature tune is breathlessly compelling - in both its music and death row narrative. Based on tape loops of a drumstick hitting a bass-guitar’s strings, it’s a subtle but distinctive variant on rock’s eternal instrumentation. Deanna and City Of Refuge - respectively, adaptations of the hymn Oh Happy Day and a Blind Willie Johnson&lt;/strong&gt; song - showed The Bad Seeds' emerging with their own reading of the grand tradition.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 4. The Good Son - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>This album came after Cave had kicked drugs and booze at a clinic in Weston-super-Mare - and then relocated to São Paulo. South America is there in Foi Na Cruz, inspired by a Brazilian hymn. Cave’s newly calmer existence is manifested in the gloriously reflective The Ship Song. It rivaled The Mercy Seat as The Bad Seeds’ finest moment to this point - and acted as prototype for the stellar devotional ballads to come. The US Deep South element was also more controlled - Cave and Bargeld's call-and-response vocal on The Weeping Song became a favourite live set-piece.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 3. Murder Ballads - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>With a kill count of 64 Murder Balladsis a kind of death-based aural theme park - so stylised it’s sometimes as much Dennis The Menace as Dennis Nilsen. Yet, Kylie’s guest spot on Where The Wild Roses Grow made this the Bad Seeds’ biggest hit to this point - the album was Number 1 in Norway. Beneath the gore lies striking craftsmanship. Whether traditionals or originals, these are unlikely tales. Yet, Cave makes them genuinely shocking. For further odd joy, listen to the demo where B-sides &amp; Rarities&lt;/em&gt; box set.</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 2. Abattoir Blues / The Lyre of Orpheus - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>After The Boatman’s Call, No More Shall We Partand Nocturama, it seemed the Bad Seeds had settled on a plateau - a place full of mournful, mid-paced balladeering. Worse, Nocturama made it seem an increasingly arid zone. This - two separate, contrasting albums; each with a different drummer - was a brilliantly audacious way to dispel such ideas. Here, suddenly, was, calypso, careening rock’n’roll - all fired along by an outrageous lyrical tumult that took in Karl Marx, ohnny Thunders, sundry birdlife and a suave re-telling of the Orphic myth</image:caption>
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      <image:title>Nick Caves Top 10 Albums - 1. The Boatman's Call - Nick Cave &amp; The Bad Seeds</image:title>
      <image:caption>After the brutal Murder Ballads came the most beautiful Bad Seeds record of them all. This gorgeously meditative LP has three songs drawing on Cave’s romance with Polly Harvey – and another addressed to his former wife Viviane Carneiro. This personal content is mirrored musically – often it’s little more than Cave and keyboards. Alongside the album’s sumptuous solemnity, a wonderful dry wit enters with the opening couplet: “I don't believe in an interventionist God / But I know, darling, that you do.”Cave has maintained this arch tone when evaluating the album: “I’d got dumped by some and here I was making this great statement – about some fucking sheila</image:caption>
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  <url>
    <loc>https://www.mojo4music.com/new-gallery-3</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-10</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59dc9874ccc5c55311727b2b/59dc98979f8dceedaf317374/1507629269607/7-because.jpg</image:loc>
      <image:title>The 10 Most Technically Amazing Beatles Songs - 10. Because</image:title>
      <image:caption>Post Les Paul and Mary Ford, the concept of layering voices or guitars was not new, but was it ever executed so beautifully? For Because, the simple melodies of the vocal were in an arpeggio - one note after another spelling out the notes of a chord. Each track of melody featured George, Paul and John together – that classic Beatles vocal mix. But then with one melody essentially triple-tracked by three Beatles, more melodies were laid on (each one a triple) to flesh out the sound. The result is a gorgeous texture, a stack of Beatles in full chorale mode. The Moog is featured, though subtly, in a way that disguises its status as "a synth". Another unusual keyboard is the basis for the track: a Baldwin Electric Harpsichord, a late '60s version of the baroque instrument but with a stylish Perspex top and Danish-furniture legs!</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 9. Eleanor Rigby</image:title>
      <image:caption>We’re used to it now, but the stark, cold mood of Eleanor Rigby is largely due to George Martin’s brilliant string arrangement. In direct contrast with Yesterday and most other Beatles string parts, Rigby was recorded with microphones placed right up to the strings, close enough to intimidate the players. Normally strings were recorded at a distance to retain the ambience and smoothing of room reverb. But Martin and engineer Geoff Emerick knew the song required a special touch, and the rough and scratchy strings bring a strident urgency to the atypically dark McCartney lyrics. Oddly, McCartney has always said he could have done a better job on the vocal, as he had a bit of a cold when it was recorded. True, the lack of power and control can be heard once you know this historical detail, but the frailty and slight wobble of his voice actually works better for the pathos of the track.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 8. I Want You (She's So Heavy)</image:title>
      <image:caption>I Want You (She's So Heavy) illustrates the impact of Billy Preston on the Beatles sound (you didn't think John or Paul played those tricky organ licks, did you?). More importantly, the song leads deep into drone/power-rock territory with the gargantuan riffage at the end – using eight layers of guitar tracking, the wall of strings hammering on and on, cycling endlessly. Meanwhile, a storm of noise rises up - played by Lennon on a newly-acquired Moog modular synthesizer. Lennon eschewed the keyboard as controller, instead patching the Moog’s noise module straight into a set of filters, each set up somewhat like a modern graphic equalizer. Playing the knobs of the equalizer allowed a wide range of noise tones to crest and fall, a tornado of intensity peaking higher and higher until an unexpected off-time edit (cut point chosen by Lennon) brings the whole structure to an immediate and shocking halt.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 7. I Am The Walrus</image:title>
      <image:caption>...Walrus remains a standout track, if only for its all-round oddness. Whether George Martin could fully comprehend the images and concepts of the LSD-baptised Beatles is moot, but his execution of warped moods remains peerless. Again, the cellos were close-miked, bringing out the scratchiness over the warm notes. Lennon’s voice is deliberately distorted, one of the earliest such treatments on a vocal. In the middle of the two halves, the song breaks down and the whine of a radio being tuned (Ringo) is inserted. In the mix, the radio experiment caught just a snippet of Shakespeare's King Lear being broadcast (these were the days before sample clearances). When it came time to do the stereo mix, the happenstance of the radio breakdown could not be recreated, so it had to be 'borrowed' from the mono mix, with some special EQ on opposite sides to fake a stereo effect. The Mike Sammes Singers were employed to add a backing chorus, which was an odd choice, given their reputation for light, poppy repertoire. But George Martin’s score, and the surreal text ("Stick it up your jumpah!" etc.) gave a disturbing effect that delighted Lennon. As its writer would go on to say about the track, “Enough little bitties to keep you going, even 100 years later.”</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 6. Being For The Benfit Of Mr Kite</image:title>
      <image:caption>Lennon's discovery of a vintage circus poster inspired some of the most unique and vivid Beatles lyrics. For the musical backdrop, he requested the track be evocative enough to allow him to “smell the sawdust”. With years of experience creating sonic draperies for some of the world's best comedy records, George Martin set himself to work. The Abbey Road harmonium paralleled the vintage sound of the accordions and steam organs of turn-of-the-century travelling shows, while an opening line played on the Mellotron stood in for a calliope. For the middle section, Martin took vintage steam-organ recordings and printed them to tape. He then cut the tape into short fragments and threw them up in the air to randomise them. Collected and re-spliced, the various circus organ parts gave an off-time forward-and-backward swirl of circus notes. Most never notice it, but the instrumental waltz section (1.01-1.30) alone is among the Beatles' masterpieces. The group and George Martin played it live – each part done to perfection in a full take. Two organs play runs of harmony, a modified guitar sound (with volume pedal) and a tambourine were recorded at half-speed, then played back at normal speed – an octave higher than recorded. Yet another Beatles time-bending experiment that removes the song from the normal world.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 5. A Day In The Life Of</image:title>
      <image:caption>Famously, this is two unrelated compositions stitched into one, Lennon's news-reading musings sandwiching McCartney's morning wake-up call. In the closing part of each half, when the vocal suggests we are being “turned on”, massed orchestra layers begin to climb over each other in a huge din. Originally counted off as an empty space to be filled later, the idea came to crescendo the orchestral musicians (more used to specific written parts) by running each instrument from its lowest to its highest note. Knowing one "run" of it might not sound strong and scary enough, the band had asked for the impossible the night before: "Can we synchronise two tape recorders together to get more tracks?" Literally overnight, technical engineer Ken Townsend delivered exactly that. The result is spectacular and unique in pop, a tone-sculpture that climbs higher and higher following the lyric lead. And for the finale, when the orchestra had indeed peaked and stopped on tape, the band layered a mass chord of three pianos and a reed-organ on the floor of Abbey Road’s Studio 2 (not many studios can offer three differing pianos at once). This was not really "playing piano" in the normal way, but more a musical exclamation mark using pianos as purely percussive instruments.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 4. Revolution #9</image:title>
      <image:caption>One of three tracks called Revolution they recorded in 1968, this is the apex (or low point, depending on your view) of the Beatles’ exploratory side. Like many ’60s musicians in various fields, the Beatles had been inspired by, which incorporated found sound and tape manipulation to create new textures and sounds. Revolution #9 is best seen as a musical sculpture, bringing together disparate pieces to create a unique form – a typically iconoclastic move by the world's most popular and best-selling group (George's &lt;em&gt;Electronic Sound&lt;/em&gt; LP and John and Yoko's &lt;em&gt;Two Virgins&lt;/em&gt; were to follow), unlikely to be rivalled by any genuine hit-making act (even Radiohead, Bowie, or Björk) in our lifetimes.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 3. Strawberry Fields Forever</image:title>
      <image:caption>Certainly a beautiful and iconic Beatles song, recorded first as more of a "band" track with the usual Beatles instrumentation: drums, bass, guitars and keyboard (the beautiful Mellotron flutes heard at the opening). Later, John felt it didn’t capture what he was hoping for, so a more esoteric version was effected with strings and horns over a thick percussive backing track. Neither was satisfactory to Lennon, so he asked if the two could be combined. George Martin explained it would be quite tricky, as they were at different tempos and in different keys. As luck would have it, the faster one was in the higher key, so they could be matched by slowing the tape machine, thereby dropping the pitch &lt;em&gt;and&lt;/em&gt; the key simultaneously. Casual listeners never detect the splice, but the two halves are quite different pieces (sonically they are completely different, excepting the Lennon vocal). Even so, the resulting arrangement works brilliantly, as the complexity and intensity of the track intensify from beginning to end.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 2. Tomorrow Never Knows</image:title>
      <image:caption>The last track on Revolver was actually the first song recorded for the album. Not only was its droning bass and drums a stylistic departure for the group, but the recording of the song is the perfect illustration of the Beatles’ experimental epiphany. Having dubbed the rhythm track and the vocals (with Lennon’s voice fed through a rotating Leslie speaker intended for organs) the group began to look for other elements to add. John and Paul — though Paul particularly — had recently begun to explore the world of avant-garde records and experimental sound recording. Taking inspiration from German composer Karlheinz Stockhausen, McCartney recorded several tape loops in his home studio, capturing abstract, repeating phrases onto literal loops of tape that cycled repeatedly through his tape recorder. Back at Abbey Road, these loops were loaded onto multiple tape machines, which were fed to the recording console. As the tape loops played endlessly, the group and engineer Geoff Emerick were able to raise and lower the volume of each loop at will, creating a sonic collage that faded in and out. One loop, the sound of Paul laughing, was transformed into a seagull-like sound when played back at a much faster speed. Other loops featured tamboura performances by Paul and an orchestral chord lifted from a classical LP. Some loops were played forward, some in reverse, all at different speeds, adding a cosmic texture emphasised by McCartney’s guitar solo (also reversed): a sucking, familiar-but-not-familiar effect soon to be copied by tribes of would-be psychedelic yoyagers.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 1. Blue Jay Way</image:title>
      <image:caption>Not the best-known Beatles track, but in many ways the most complex they ever recorded. This single track features nearly every Beatles “trick” they invented. There are changes created by the slowing down and speeding up of the tape. There is the swirling psychedelic twirl that comes from phasing/flanging. There is an electronic doubling of George’s voice. In the end section, there are heavy echoes on the cellos, stuttering away, at times repeating so heavily as to turn into feedback. And most unusual, the track was mixed first, then played through a spinning Leslie speaker. This jumble was recorded back onto the original tape, but in reverse! So the spinning backward version of the entire song fades in and out throughout the forward version. Still with us? Legend has it that they ran the signal through the Leslie so loudly that the speaker was permanently damaged.</image:caption>
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      <image:title>The 10 Most Technically Amazing Beatles Songs - 10. Because</image:title>
      <image:caption>Post Les Paul and Mary Ford, the concept of layering voices or guitars was not new, but was it ever executed so beautifully? For Because, the simple melodies of the vocal were in an arpeggio - one note after another spelling out the notes of a chord. Each track of melody featured George, Paul and John together – that classic Beatles vocal mix. But then with one melody essentially triple-tracked by three Beatles, more melodies were laid on (each one a triple) to flesh out the sound. The result is a gorgeous texture, a stack of Beatles in full chorale mode. The Moog is featured, though subtly, in a way that disguises its status as "a synth". Another unusual keyboard is the basis for the track: a Baldwin Electric Harpsichord, a late '60s version of the baroque instrument but with a stylish Perspex top and Danish-furniture legs!</image:caption>
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    <lastmod>2017-10-10</lastmod>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 20. The Flaming Lips - The Fabulous Freaks</image:title>
      <image:caption>Anyone who’s witnessed one of Wayne Coyne &amp; Co’s rocket-fuelled live shows will attest to a transcendant audio-visual experience quite unlike any other. These grand advances into the realm of communal psych-healing are a fair way from the mid-’90s guitar blitzkriegs typified by Clouds Taste Metallic, but the Lips never stand still, and it was with 1999’s visionary The Soft Bulletin and its crossover follow-up Yoshimi Battles The Pink Robots (2002) that the band found their true calling. As Coyne told MOJO in 2002: “Our best moments are an accumulation of the Bee Gees and the Butthole Surfers. To us that’s what music is about, living at both extremes.” Long may their voyage continue.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 19. Nick Drake - The Eternal Lost Boy of British Folk</image:title>
      <image:caption>When Nick Drake released his second album, &lt;em&gt;Bryter Layter&lt;/em&gt; in 1970, it reportedly sold less than 3000 copies. His appearance on the cover of MOJO in January 1997 confirmed that while he was cruelly ignored up until his death in November 1974, his influence and reputation had permeated beyond a small coterie of those in the know. Indeed, the late Ian MacDonald’s cover story also served to turn on a new audience to the man’s taciturn charm and his visionary music. ’And now we rise/We are everywhere‘ reads the epitaph on Drake’s gravestone, quoting a lyric taken from From The Morning, the final song on his last album, &lt;em&gt;Pink Moon&lt;/em&gt;. Somehow, those very words seem to say much about the man’s increased influence.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 18. Blur/Damon Albarn - Britpop's Risk Taking Tendency</image:title>
      <image:caption>MOJO came to life on the cusp of an imperial phase in English pop and Blur encapsulated the new wave’s best instincts – art-school and post-punk-bred, swayed by classic English pop mores, inventive in the studio – and when the going got weird and the drugs and disillusionment kicked in Blur (1997) and 13 (1999)) Blur thrived where others fell away. Meanwhile, Albarn’s hip-hop-inspired Gorillaz ‘side-project’ fed back into the culture he raided and the Blur mainman’s hunger for new musical liaisons lit the way for the collaboration-crazy ’10s – Atoms For Peace et al&lt;</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 17. Arthur Russell - The God of Small Things</image:title>
      <image:caption>Over the last ten years Arthur Russell has replaced Nick Drake as the most frequently namedropped influence on new artists. As young musicians with guitars gave way to young producers in bedroom studios, so one lonesome author of interior melancholy replaced another. Listen to his 1986 solo album, &lt;em&gt;World of Echo&lt;/em&gt; or the remarkable compilations released in the wake of his untimely 1992 death at the age of 40 and you hear why. With Loose Joints and Dinosaur L Russell created an elastically singular dance music that has influenced Daft Punk, LCD Soundsystem, the dissonant edges of modern club production and every damned art-school dance-punk band of the mid Noughties. But Russell also made tapes and tapes of solo work, orchestral drone pieces, empty-house dub ballads, spare and reverberating country, tired folk melancholy and voice-and-cello songs of a pure and singular genius that have come to define the genre-blurred locked-in worlds of so much modern music, whilst simultaneously feeding into the eclectic aesthetics of such diverse acts as Wilco, Animal Collective, Radiohead, Antony And The Johnsons, Arcade Fire... The list, in this instance, really is endless.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 16. Amy Winehouse - A Sorely Missed Cry From The Heart</image:title>
      <image:caption>Amy Winehouse may have had the blues, but she just got jazz, soul and hip-hop. Her greatest triumph, 2006’s Back To Black, channeled The Shangri-Las, Billie Holiday, ska and blue-beat through a devastating prism of young heartbreak and obsession. Amy’s best songs are magical combinations of the unflappably tough and dangerously vulnerable and her music remains a touchstone for any artist who intends to mine pop’s past to conjure a sound they can call their own.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 15. Artic Monkeys - From The Rubble To The Ritz...</image:title>
      <image:caption>10 years ago The Libertines promised British music so much, but 21st Century songwriter Alex Turner and his Sheffield pals were waiting in the wings. Since 2005 they’ve delivered the goods in the form of head-rushing punk, whip-smart lyrical acrobatics and earworming melodies that have been mercilessly copied, but never bettered. The first British group to emerge from the once-fresh, now-compromised arena of “social media buzz”, they’ve continued to stand slightly outside, looking in. That scepticism is almost as valuable a commodity as their increasingly assured musical chops, now encompassing contemporary R&amp;B slink, Zep-esque riffage, plus ’60s beat and torch-pop.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 14. Paul Weller - The Modfather, Inevitably</image:title>
      <image:caption>In 1993, as MOJO emerged, so did Weller’s Wild Wood, showcasing an artist revivified by an eclectic mix of music that brought Free, Nick Drake, Grant Green and Stevie Wonder into a new vision of tough, authentic English rock, just as a new generation of groups – Blur and Oasis among them – were accessing the spirit of The Jam. Weller proceeded to serve as the éminence grise of ’90s UK rock, laying down the sartorial and musical shibboleths, but it’s been his more open-minded post-2008 phase, with Krautrock, Debussy and folktronica suddenly up for grabs (feeding into 22 Dreams, Wake Up The Nation and the recent Sonik Kicks), that’s proved this Changingman is still open to reinvention.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 13. Bjork - The Icelandic Queen of Avant Scream</image:title>
      <image:caption>In her youth Björk sang a version of Tina Charles’ I Love To Love (But My Baby Just Loves To Dance). Then she discovered punk and her outlook changed. Several bands later, her presence provided The Sugarcubes with a distinctive edge prior to the release of Debut, her 1993 solo album, where her pop voice emerged once again. The difference, however, was that this was pop on Björk’s own terms. It was bold, ambitious and cut across time and genre. And there Björk has remained, an independent force in music creating sounds that cannot be replicated with a voice that – despite surgery on her vocal chords in 2012 – is both child-like, worldly-wise and utterly unique. Her latest app-as-album experiments also suggest that, as ever, Björk remains one step ahead of everyone else.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 12. Arcade Fire - The Neighbourhood Threat</image:title>
      <image:caption>Arguably the architects of the signature indie-rock sound of the last decade, the Canadian collective’s grand sonic ambitions and deft knack of channeling fear and loss into enchantment and ecstasy have turned them into a colossus. Rarely has a band of outsider spirits been welcomed into the mainstream with such open arms. By the time Funeral (2004) arrived on the shelves, their songs had blown the minds of Dylan, Springsteen, David Byrne, U2 and Chris Martin and turned David Bowie into their Number 1 fan. The rest of world merely followed suit.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 11. Kanye West - Redefining, Rap, Celebrity, Menswear...</image:title>
      <image:caption>Fresh production work on Jay-Z’s 2001 album, The Blueprint (soul nuggets clashing with Bowie and the Doors) announced Chicagoan West’s talent, parlayed into innovative solo records drawing from increasingly eclectic soundworlds (folk, classical, synth-pop) and minting an over-sharing confessional blog-rap style whose triumph over the long-reigning gangsta idiom was symbolized when his 2007 album, Graduation, pipped 50 Cent’s Curtis in a hyped-up “sales race”. West’s genius for digital-era publicity makes him unignorable – his avidity for new musical territories makes him inimitable.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 10. U2 - Proving Bigger Can Mean Better</image:title>
      <image:caption>There’s no scarcity of anti-U2 sentiment – more so now, perhaps, than ever, since their tax-avoidance shenanigans – but there are fewer arguments against their vigour and clout, as the Dublin quartet defy time and tide to reset the parameters for how to be a ludicrously successful rock band: innovating on the live circuit (that much-mocked ‘claw’ centrepiece of their 2009-11 360° Tour helped them to £700m+ of business), and adjusting their place in the music landscape through avant-soundtrack (Passengers), art-rave (Pop), and mainstream rock (everything since). Coldplay, for one, have taken copious notes.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 9. Jeff Buckley - The Fallen Hero Of Progressive Songwriting</image:title>
      <image:caption>The death of Jeff Buckley in May 1997 following a drowning accident robbed us of a truly unique voice. Three years earlier Buckley’s debut album, Grace, emerged, its melodramatic swoop and grandiose musical textures proving at odds with the post-climate into which it was released. Voted MOJO’s Album Of The Year, 20 years on it has lost none of its power. Whether it is on the smouldering Lila Wine, the hymnal Corpus Christi Carol or the opening Mojo Pin, Buckley’s vocals continue to astound. His reading of Leonard Cohen’s Hallelujah, meanwhile, remains definitive.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 8. Nick Cave - He Sees A Darkness</image:title>
      <image:caption>Once the dictionary definition of Cult Artist – ploughing his lone groove relentlessly, never bending much, always delivering what his audience required – the former dark lord of Goth rock has spent MOJO’s lifetime edging into the light, finding new life in old topics (love and death: the blackly comic and really real) and fresh creative zones (films: writing them; scoring them). Proving that endurance and consistency will garner you National Treasure status eventually (Commonwealth Treasure, anyone?) he’s now bigger, and more widely appreciated, than ever, with his latest album, Push The Sky Away attesting to his creative drive and the musical dexterity of the incorrigible Bad Seeds.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 7. Nirvana - The Revenge Of The US Alt. Rock Underground</image:title>
      <image:caption>”The idea of a record deal, or to get on TV, never even remotely occurred [to me] until Nirvana got big,“ Beck told MOJO recently, speaking about the Seattle band‘s impact on fellow musicians. As Jon Savage‘s revelatory 1993 interview with Kurt Cobain [MOJO 238, September 2013] proved, the burden upon the band proved considerable, their outlook impacting on wider culture as a whole as they sought to change rock‘s mores. Musically speaking, Nirvana also proved that indie-rock could break through in America, a country hitherto in thrall to stadium rock and MTV. Equally, their ability to marry their punk aesthetic to a certain melodic classicism means that as we reach the twentieth anniversary of Kurt‘s passing, their music continues to resonate.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 6. Johnny Cash - The Return Of The Man In Black</image:title>
      <image:caption>The resurrection of Johnny Cash began in 1994 with the peerless first volume of American Recordings and continued up until his death at the age 71 in 2003. These revelatory acoustic versions of tracks by artists of more recent vintage – Nick Cave, Tom Petty, even Nine Inch Nails and Soundgarden – awoke the confessional soul of country music, bridging a gap across the decades and placing the voice of one of 20th Century recordings’ true originals into the lives of a new generation of devotees. Cash proved that age need be no barrier to relevance and success – a lesson the 21st Century has learned in spades.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 5. David Bowie - The Avatar Of Aheadness</image:title>
      <image:caption>MOJO’s first ever guest editor (MOJO 104, July 2002) continued to create ground-breaking and affecting music through the ’90s and into the ’00s (1999’s ‘Hours…’ gave us the gorgeous Survive; 02’s Heathen the epic 5.15 The Angels Have Gone). Meanwhile, previous Bowie incarnations flitted like ghosts behind the nouvelles vagues of Britpop, neo-post-punk and electronic pop. Illness laid him low, but he returned last year in a quintessentially Bowie way: delivering a stunning album, The Next Day, whilst preserving the mystery and enigma we thought was lost to the internet age.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 4. Tom Waits - What's He Building In There?</image:title>
      <image:caption>Despite not having released any music between 1993’s The Black Rider and his 1999 masterpiece Mule Variations, the former barfly bard of L.A. has picked up more fans in the last 20 years than ever before. His voyage into the catacombs of Americana has continued to result in the sort of broken-down ballads and bone-shattering skronk-outs that could only flow from a man who continues to incinerate genres and sidestep every incoming cultural and musical trend. Happily, he remains out there on his own.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 3. The White Stripes - Saving The World With The Blues</image:title>
      <image:caption>The fact that their first album was dedicated to Son House gave a clear indication where The White Stripes were coming from. Like fellow Detroit renegades The Stooges, Jack and Meg White immersed themselves in the blues. Then, they dragged the art-from into a new Millennium. Their most celebrated album, Elephant, was recorded on eight tracks in East London’s Toe Rag Studios. It proved that not all rock music needed to sound processed. The band’s highly-charged sound was reinforced by a regimented sense of identity and a mystique which they willfully developed around their relationship. After six albums, The White Stripes split in 2011. They announced their demise with a suitably romantic flourish, declaring that the separation was designed to “preserve what is beautiful and special about the band."</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 2. Bob Dylan - The Enigma Recharged</image:title>
      <image:caption>He’s toured the world constantly, become the subject of a Hollywood movie, recorded 100 hours of his Theme Time Radio Hour broadcasts, continued to mine riches from his archives and still found time to write an utterly compelling first volume of autobiography. There are generations of music fans who are discovering Dylan’s music through the albums (including the truly wonderful Time Out Of Mind and “Love &amp; Theft”) he’s released in the last 20 years. This can only be a great thing.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 1. Radiohead - The Sonic Alchemists</image:title>
      <image:caption>Never, surely, have a band been so hard on themselves – but with what results! Consecutive ricti of self-criticism and chronic dissatisfaction have been the fuel as the Oxonian quintet (augmented – in recent times – by human metronome Clive Deamer) moved from lyrical, Floydian guitar rock (The Bends) and angsty episodic nu-prog (OK Computer through a controversial but subsequently fully-vindicated millennial electronica re-boot. Now pursuing an ongoing quest to recalibrate the relationship of band, business and audience while consigning all genre headings to the dumpster, and current inheritors of R.E.M.’s “Most Admired Band” laurels.</image:caption>
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      <image:title>The 20 Most Important Artists Of The Last 20 Years - 20. The Flaming Lips - The Fabulous Freaks</image:title>
      <image:caption>Anyone who’s witnessed one of Wayne Coyne &amp; Co’s rocket-fuelled live shows will attest to a transcendant audio-visual experience quite unlike any other. These grand advances into the realm of communal psych-healing are a fair way from the mid-’90s guitar blitzkriegs typified by Clouds Taste Metallic, but the Lips never stand still, and it was with 1999’s visionary The Soft Bulletin and its crossover follow-up Yoshimi Battles The Pink Robots (2002) that the band found their true calling. As Coyne told MOJO in 2002: “Our best moments are an accumulation of the Bee Gees and the Butthole Surfers. To us that’s what music is about, living at both extremes.” Long may their voyage continue.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/ray-davis</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-11</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd83fa8b2b090a394350c/1507711113192/</image:loc>
      <image:title>Ray Davis - 1. The Kinks - Got Love If Ypu Want It</image:title>
      <image:caption>Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd89f51a584fb1e9e499c/1507711962460/</image:loc>
      <image:title>Ray Davis - 2. The Kinks - You Really Got Me</image:title>
      <image:caption>A more exciting rock’n’roll record has never existed and maybe never will. But behind the scenes, as Ray relates in the latest MOJO magazine, shows like this Shindig one in 1965 were fraught with awkwardness.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd8faf5e231bb8c746adb/1507711962447/</image:loc>
      <image:title>Ray Davis - 3. The Kinks - Sunny Afternoon</image:title>
      <image:caption>In the snow</image:caption>
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      <image:title>Ray Davis - 4. The Kinks - Lola</image:title>
      <image:caption>This performance is from 1972 on Germany’s fantastic Beat Club TV show. Quiet start. Amazing outfits.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd95eedaed89a4177a312/1507711962461/</image:loc>
      <image:title>Ray Davis - 5. The Kinks - Acute Schizophrenia Paranoia Blues</image:title>
      <image:caption>Was this song meant to be humorous or was there madness in his method? Here, in a 1973 BBC concert, Ray’s at his most intense and strange, as the band take it from North London to New Orleans on this key track from &lt;em&gt;Muswell Hillbillies</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd9f8cd0f68e1a9757d24/1507711962467/</image:loc>
      <image:title>Ray Davis - 6. Ray Davies Interview Sleepwalker March 8, 1977</image:title>
      <image:caption>A brilliant example of the kind of approach to promotion that America found so offputting – and yet The Kinks were on the rise and their &lt;em&gt;Sleepwalker&lt;/em&gt; album was their first Top 30 US album since their debut. Ray points at Dave: “We’re divorced at the moment.” Dave appears to mouth: “Arsehole.” And just look at Tony Bennett’s hair.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddda92c027d8a917f06338/1507711962465/</image:loc>
      <image:title>Ray Davis - 7. The Kinks - All Day And All Of The Night</image:title>
      <image:caption>This 1979, Providence, Rhode Island set epitomises why The Kinks ended the ’70s so strongly in the States: kinetic showmanship, hard rock dynamics, audience engagement. It was as if the band were making up for lost time.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59dddafd8419c208bc2f0a34/1507711962468/</image:loc>
      <image:title>Ray Davis - 8. Damon Albarn &amp; Ray Davies "Waterloo Sunset"</image:title>
      <image:caption>n UK TV show The White Room in 1995, Britpop’s debt to Godfather Ray’s melodic facility and observational poetry is laid bare. Ray’s phrasing here is wonderful.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59dddb2ad7bdce34b0bc7066/1507711962470/</image:loc>
      <image:title>Ray Davis - 9. Ray Davies After The Fall</image:title>
      <image:caption>A heartbreaking song from Ray’s 2006 album, &lt;em&gt;Other People’s Lives&lt;/em&gt;, that grasps for the meaning of life and comes up short. God doesn’t care – perhaps on a good day it seems worth it, for a bit. Typical Ray Davies.</image:caption>
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      <image:title>Ray Davis - 10 Ray Davies - Poetry</image:title>
      <image:caption>Taster from the Kinks Kommander’s excellent new album surveys a world manipulated and degraded by commerce. “Where’s the poetry?” he asks, quite reasonably. Not crazy after all, then.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59ddd829e9bfdf3c309db617/59ddd849d63352e01564b3f9/1507711039020/</image:loc>
      <image:title>Ray Davis</image:title>
      <image:caption />
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59dddbfe9f745618485470de/1507711113192/</image:loc>
      <image:title>Ray Davis - 1. The Kinks - Got Love If Ypu Want It</image:title>
      <image:caption>Ace clip from the dawn of the band. Check the hanky on Mick Avory’s snare, the groovy girls dancing and Ray’s pseudo nervous breakdown from 1.07. And the freakout ending! Wow!</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/new-gallery-5</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-11</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59de9f67cd39c391c43cc2ca/1507762125655/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;50. &lt;/em&gt; Huggy Bear - Herjazz</image:title>
      <image:caption>MOJO SAYS: The DIY ethic of C86 meets the radical activist spirit of riot grrrl.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59de9fe4b07869a6b4b14238/1507762187316/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;49. &lt;/em&gt; The Delgados - The Great Eastern</image:title>
      <image:caption>MOJO SAYS: The Hamilton four-piece’s third album is packed with grand orchestral epics. They left the template for “indie” looking redundant.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea0179f7456e38de39ca7/1507762238724/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;48. &lt;/em&gt; James - Village Fire</image:title>
      <image:caption>MOJO SAYS: An enthrallingly odd mix of delicacy, awkwardness, heart and muscle.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea05751a58485608dd9f6/1507762283649/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;47. &lt;/em&gt; Swell Maps - Read About Seymour</image:title>
      <image:caption>MOJO SAYS: Brothers Epic Soundtracks and Nikki Sudden drew on Can, T.Rex and the Pistols to create their jerky 1977 debut.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea07fcd39c391c43cd146/1507762319330/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;46. &lt;/em&gt; Camera Obscura - Lloyd, I’m Ready To Be Heartbroken</image:title>
      <image:caption>MOJO SAYS: Ebullient, beefed-up ’60s pop stylings with joyous hammond organ and an infectious guitar line.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea12fb1ffb68165c818e3/1507762557186/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;45. &lt;/em&gt; Half Man Half Biscuit - The Trumpton Riots EP</image:title>
      <image:caption>MOJO SAYS: The Fall-esque Trumpton Riots allied topical comment on civic disturbance with ’70s kids-TV whimsy.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea18d3e00beeac83850f2/1507762592274/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;44. &lt;/em&gt; The Wild Swans The Revolutionary Spirit</image:title>
      <image:caption>MOJO SAYS: Liverpool romantics intone verses of Blakean portent over florid keyboard surges and dramatic drums.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea1b2a803bb017c513bc6/1507762626456/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;43. &lt;/em&gt; The Pooh - Sticks On Tape</image:title>
      <image:caption>MOJO SAYS: Huw Williams’ arch bubblegum theorists had a killer guitar lick, Spectoresque drums and a half-decent melody.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea1d1cd39c391c43ce3df/1507762667788/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;42. &lt;/em&gt; Fire Engines - Candyskin</image:title>
      <image:caption>MOJO SAYS: Edinburgh No Wave-inspired quartet provide nursery slopes treble-funk garnished with serene string glissandos and David Henderson’s adenoidal yelp.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea2032aeba54285097a1c/1507762709631/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;41. &lt;/em&gt; McCarthy - Keep An Open Mind Or Else</image:title>
      <image:caption>MOJO SAYS: Barking oddballs offer a soaring 12-string melody tied to a footstomping beat and lyrics that screamed, “Be reasonable!”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea22a268b96c326c12c24/1507762747354/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;40. &lt;/em&gt; Jane And Barton It’s A Fine Day</image:title>
      <image:caption>MOJO SAYS: Realised by vocalist Jane Lancaster, Edward Barton’s song is a cappella and Haiku-like, suggesting a sundered relationship with deep sadness – grist to indie pop’s miserabilist mill.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea24bf09ca4135b1aab1d/1507762791497/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;39. &lt;/em&gt; Josef K - The Missionary</image:title>
      <image:caption>MOJO SAYS: Josef K epitomise indie’s infatuation with ephemeral doomed brilliance. Recorded in 1981, The Missionary’s tundra-funk fusillade blueprinted every indie dancefloor dalliance for the next 25 years.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea27059cc6888e987dbb3/1507762835317/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;38. &lt;/em&gt; Ride - Ride EP</image:title>
      <image:caption>MOJO SAYS: ’60s psych melodies pre-fluffed with a thick carpet of post-MBV/Mary Chain guitar fuzz.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea29fb7411cb24634d7a7/1507762868671/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;37. &lt;/em&gt; The Bodines - Therese</image:title>
      <image:caption>MOJO SAYS: Hailing from Glossop in Derbyshire, this genius Bodines single is a breathless romantic gulp of twin guitar twirl.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea2c903596ee7131d0963/1507762916240/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;36. &lt;/em&gt; Shop Assistants - Safety Net</image:title>
      <image:caption>MOJO SAYS: Finest offering by Edinburgh’s Shangri-Las for C86ers. Loud buzzsaw guitars and drums that sound like cardboard boxes.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea36129f18789e2a00a8f/1507763097408/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;35. &lt;/em&gt; The Primitives - Really Stupid</image:title>
      <image:caption>MOJO SAYS: This Coventry set recorded effervescent bubblegum pop, all buzzsaw guitars, feedback and infectious choruses. Morrissey was a fan.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea3a3f09ca4135b1abccd/1507763140026/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;34. &lt;/em&gt; Saint Etienne - So Tough</image:title>
      <image:caption>MOJO SAYS: Ambitious multi-styled pop. It is impossible to remain unmoved by Hobart Paving.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea3db9f7456e38de3cfb3/1507763196301/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;33. &lt;/em&gt; The Sea Urchins - Pristine Christine</image:title>
      <image:caption>MOJO SAYS: Soundtracking the Birmingham Mod pop scene with beautifully inept jingly-jangly Byrds-meets-Velvet Underground pop.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea40fcd39c391c43cff4c/1507763241610/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;32. &lt;/em&gt; Elastica Line Up</image:title>
      <image:caption>MOJO SAYS: An infectious dissection of mid-’90s groupiedom with riffs and rhythms purloined from Wire.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea43de9bfdf961230f806/1507763271626/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;31. &lt;/em&gt; Stereolab Peng!</image:title>
      <image:caption>MOJO SAYS: Merging VU fuzz, Neu! drone, Francophone pop, lounge exotica and vintage keyboard-ery.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea453bce1769ff7319484/1507763326139/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;30. &lt;/em&gt; The Wedding Present - George Best</image:title>
      <image:caption>MOJO SAYS: The band’s debut set the template for David Gedge’s unique, often abrasive take on indie-pop. It remains their definitive UK indie offering.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea48f18b27ddf3baccd66/1507763818267/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;29. &lt;/em&gt; Young Marble Giants - Colossal Youth</image:title>
      <image:caption>MOJO SAYS: YMG’s only album was a sustained exercise in minimalist brio and an idiosyncratic jewel in Rough Trade’s pre-Smiths crown.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea4e8b1ffb68165c847be/1507763809371/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;28. &lt;/em&gt; New Order - Temptation</image:title>
      <image:caption>MOJO SAYS: Manchester’s gloomiest invested their greatest moment with washes of colour that sentenced an entire indie aesthetic to the sidelines: RIP Miserabilism, 1979-81.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea576cf81e02d88b1f7bc/1507763802974/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;27. &lt;/em&gt; Franz Ferdinand - Take Me Out</image:title>
      <image:caption>MOJO SAYS: A daring composite of two equally infectious songs, it begins like a deluxe Pastels then morphs into an urgent, disco-rock stomp.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea590ccc5c5ab68aedfb5/1507763795374/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;26. &lt;/em&gt; The Libertines - What A Waster</image:title>
      <image:caption>MOJO SAYS: The Libertines’ best record was also their first. Stewing The Jam’s knuckle-drag Modernism with a lustful eye for deviance.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea5b4268b96c326c1575d/1507763789110/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;25. &lt;/em&gt; The Loft - Up The Hill And Down The Slope</image:title>
      <image:caption>MOJO SAYS: East London collective offer giddy, rattling collision of Television’s basement art rock and janglepop’s wide-eyed intensity.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea5d237c5811562f82bf0/1507763764239/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;24. &lt;/em&gt; The Vaselines - Son Of A Gun</image:title>
      <image:caption>MOJO SAYS: Debut single by Bellshill four-piece marries call-and-response vocals to a pounding, utterly infectious Byrdsian melody. Later covered by Nirvana on Incesticide.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea5f0f14aa1aa2b4030f6/1507763756453/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;23. &lt;/em&gt; Aztec Camera - High Land Hard Rain</image:title>
      <image:caption>MOJO SAYS: A debut album filled with a mature poetry that has grown with age and leaves you wondering why Roddy Frame isn’t a household name.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea611b1ffb68165c856d3/1507763747160/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;22. &lt;/em&gt; Happy Mondays - Lazyitis</image:title>
      <image:caption>MOJO SAYS: This re-recording of the Bummed LP track with ’60s yodeller Karl Denver absorbs elements of David Essex’s Gonna Make You A Star and Daytripper into it’s polydrugged soundworld.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea683f5e2318f8906879d/1507763867409/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;21. &lt;/em&gt; The Pastels Up For A Bit With The Pastels</image:title>
      <image:caption>MOJO SAYS: Simple, almost-childlike melodies and endearing, sometimes off-key vocals, combine naïvety with a bruised romanticism.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea721f43b55bfe355c3d5/1507764050373/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;20. &lt;/em&gt; Spaceman 3 - Revolution</image:title>
      <image:caption>MOJO SAYS: Lyrically drawing on the MC5, musically it nods towards the psychedelic experimentation of The Stooges, 13th Floor Elevators and Silver Apples in its noisy, compelling drone.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea760a8b2b02752f6f9bb/1507764102579/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;19. &lt;/em&gt; This Mortal Coil - Song To The Siren</image:title>
      <image:caption>MOJO SAYS: Cocteau Twin Liz Fraser renders Tim Buckley’s ballad a thing of desolate, muezzin beauty against Robin Guthrie’s über-flanged guitar.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea79da9db0942135e8e3e/1507764146032/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;18. &lt;/em&gt; Lloyd Cole And The Commotions - Rattlesnakes</image:title>
      <image:caption>MOJO SAYS: The debut album from these five Glasgow University graduates remains the epitome of ’80s indie romanticism.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea7c5f43b55bfe355cb9b/1507764179703/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;17. &lt;/em&gt; Teenage Fanclub - Everything Flows</image:title>
      <image:caption>MOJO SAYS: Bolt-from-the-blue noise pop anthem that introduced the open-ended racket of Dinosaur Jr to the widescreen romanticism of classic indie.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea7eb12abd9a89780402e/1507764216527/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;16. &lt;/em&gt; Wire - Outdoor Miner</image:title>
      <image:caption>MOJO SAYS: A magical pop melody steered by post-punk values (and lyrics about the human condition) that proved a blueprint for indie’s DIY pop sound.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea806bce1769ff731c0be/1507764246613/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;15. &lt;/em&gt; Echo &amp; The Bunnymen - Crocodiles</image:title>
      <image:caption>MOJO SAYS: Pioneers in a generation’s obeisance to The Doors and Velvets, the Liverpool quartet managed to channel these ’60s US touchstones and still resemble no one but themselves.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea82718b27ddf3bacf7df/1507764280947/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;14. &lt;/em&gt; Belle &amp; Sebastian - Tigermilk</image:title>
      <image:caption>MOJO SAYS: This landmark debut combined the unashamedly sensitive values of old school indie with a poetic voice that proudly sided with the unloved and the unappreciated.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea8be8419c2d28951dba4/1507764430507/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;13. &lt;/em&gt; The House Of Love - Destroy The Heart</image:title>
      <image:caption>MOJO SAYS: The moment when the-band-most-likely-to came closest to achieving their promise.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea8dff14aa1aa2b4054ca/1507764466501/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;12. &lt;/em&gt; Subway Sect - Ambition</image:title>
      <image:caption>MOJO SAYS: Singer Vic Godard’s lyrics, seared with anomie, were delivered with mordant derision over a backdrop of organ, guitars and the ping-ponging of table tennis balls taped from an arcade game.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea8ffa803bb017c5193ff/1507764492370/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;11. &lt;/em&gt; Felt - Forever Breathes The Lonely Word</image:title>
      <image:caption>MOJO SAYS: Led by the ultimate anti-hero of ’80s janglepop, the reclusive, eccentric Lawrence, Felt’s Forever Breathes... is driven by lush Hammond organ and a literate, romantic vision.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea919cf81e02d88b22564/1507764520359/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;10. &lt;/em&gt; Primal Scream - Crystal Crescent/Velocity Girl</image:title>
      <image:caption>MOJO SAYS: Wobbly West Coast efflorescence undercut by a Velvets-inspired druggy cynicism.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea935f9a61ecf242dd6d9/1507764545625/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;9. &lt;/em&gt; The Stone Roses - The Stone Roses</image:title>
      <image:caption>MOJO SAYS: Kaleidoscopic pop debut from The Clash-worshipping, scooter-punk-scene regulars who mainlined The Beatles, Beach Boys and Byrds.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea94e59cc6888e9883245/1507764583529/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;8. &lt;/em&gt; The La’s - There She Goes</image:title>
      <image:caption>MOJO SAYS: Lee Mavers’ Liverpool gang of retro melodists were too early for Britpop, but this remains a love song of heart-busting beauty.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea9796f4ca3f9e7056ce2/1507764618648/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;7. &lt;/em&gt; Arctic Monkeys - I Bet You Look Good On The Dancefloor</image:title>
      <image:caption>MOJO SAYS: Sardonic northern voice plights unrequited love to a disinterested chainstore goddess, soundtracked by a frantically played scrawny guitar racket.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59dea9f0cd39c391c43d49d6/1507764735072/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;6. &lt;/em&gt; Joy Division - Transmission</image:title>
      <image:caption>MOJO SAYS: Driven by Peter Hook’s pulsating bassline and Ian Curtis’ phantasmal vocal, Transmission conjures feelings of fear, detachment and isolation.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59deaa0fd7bdceb69ad08fa4/1507764820317/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;5. &lt;/em&gt; My Bloody Valentine - You Made Me Realise</image:title>
      <image:caption>MOJO SAYS: A rapturously be-misted sound that suddenly made British indie as compelling as anything from the US.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59deaa6549fc2b686310ac28/1507764856680/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;4. &lt;/em&gt; The Fall - How I Wrote 'Elastic Man'</image:title>
      <image:caption>MOJO SAYS: 1980, the year of the mighty Grotesque album, was a time of surging, magical power for The Fall.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59deaa866f4ca3f9e70579b6/1507764879499/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;3. &lt;/em&gt; Orange Juice You Can’t Hide Your Love Forever</image:title>
      <image:caption>MOJO SAYS: Edwyn Collins and James Kirk’s shorts-wearing quartet epitomised what Scottish indies stood for in the early 1980s: literacy, Roger McGuinn’s fringe and funk.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59deaaa0f09ca4135b1b14e9/1507764908770/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;2. &lt;/em&gt; The Jesus And Mary Chain - Psychocandy</image:title>
      <image:caption>MOJO SAYS: Brutal guitar delirium smothers echo-laden Spector pop.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59deaabaf6576e979933e068/1507764951551/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;1. &lt;/em&gt; The Smiths - This Charming Man</image:title>
      <image:caption>MOJO SAYS: Johnny Marr’s jealousy of Aztec Camera and Morrissey’s tale of a flirtatious encounter with an upper-class gent put the ultimate indie act on Top Of The Pops for the first time.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59de9e97d7bdceb69acffe74/59de9fb8047d598d4b2a0151/1507762023161/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59deaad7cd39c391c43d54e5/1507762125655/</image:loc>
      <image:title>50 Greatest UK Indie Records Of All Time - &lt;em&gt;50. &lt;/em&gt; Huggy Bear - Herjazz</image:title>
      <image:caption>MOJO SAYS: The DIY ethic of C86 meets the radical activist spirit of riot grrrl.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/bob-dylan-in-the-60</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-01-17</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059552aeba59449b2901f/1516189941598/nashville-skyline.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - &lt;em&gt;10.&lt;/em&gt; Nashville Skyline</image:title>
      <image:caption>COLUMBIA | 1969 This charming stetson-doffer closes what was a very lively decade – for Dylan more than most. To mark the auspicious occasion he went full-on country, duetting with Johnny Cash (Girl From The North Country) and creating a new voice, barely recognisable from the old: palatal and fruity. It was all change again, then. Even the writing came from a Dylan previously unknown. Straight, no metaphors, no surreal excursions, only love, sweet or on the fritz – sexy and meaning it in Lay Lady Lay and To Be Alone With You, sexy and punfully double-entendred in Country Pie and Peggy Day (“Love to spend the night with Peggy Day”). The smile suited him.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059904c0dbf084e7a3d05/1508923833830/john-wesley-harding.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 9. John Wesley Harding</image:title>
      <image:caption>COLUMBIA | 1967 Mystery. Enigma. Lots of evil and few decibels. Dylan’s return from post-motorbike-crash basement woodshedding headed for the country, certainly, with simple Nashville bass and drums back-up. But, apart from Harding’s Robin Hoodery, it is drenched in sin and fear, epitomised by what caught the attention of Jimi Hendrix in All Along The Watchtower. Too much confusion, the hour is getting late, two riders approaching… John Wesley Harding reeks of unease. Until Dylan relented and added the last two tracks, smoochy 12-bar Down Along The Cove and basking romance I’ll Be Your Baby Tonight. And there’s not a chorus in the house, by the way.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f059cb32601e51d731015f/1508923947817/dylan-times.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 8. The Times They Are A-Changin’</image:title>
      <image:caption>COLUMBIA | 1964 Dylan’s lone joke-free ’60s release. It’s grim Oop North (Minnesota). Literally, in North Country Blues’ tale from his native Iron Range about workers, mines and towns dying. But then With God On Our Side nags away at war while the more durably narrative Only A Pawn In Their Game and The Lonesome Death Of Hattie Carroll expose the entrails of civil rights campaign-era racism. Boots Of Spanish Leather and Restless Farewell admit a little welcome warmth, if ambivalently. Meanwhile, on a wintry note, the fierce title track appears to be ripe for a post-Global Warming revival with its opening admonishment, “Admit that the waters / Around you have grown.”</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05a39017db2250ecd68c0/1508923993882/bob-dylan-bob-dylan.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 7. Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1962 The very start of the biggest change he ever wrought, lighting up acoustic folk and blues for the mass audience. There are no topical politics just yet – and here Dylan wrote only the self-introductory Talkin’ New York and the tribute Song To Woody – so in covering the mainstream ‘traditional’ catalogue, the success of everything here depends on his performances. Well, &lt;em&gt;ecce homo&lt;/em&gt;. Harmonica driving along, the guitar is solidly rhythm or as fancy as Robert Johnson, whatever suits the song, while his voice is unbridled in terror or rage (Fixin’ To Die) or laughing at some daftness he can’t resist (Pretty Peggy-O). Despite all the frowning, no “serious artist” ever left more near-corpsing laughter on his records than Bob Dylan in the 1960s.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05a85b1ffb65236c0c542/1508924417652/another-side-dylan+%281%29.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 6. Another Side Of Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1964 Another side already? Protested too much? After the dour The Times They Are A-Changin’, Dylan took to love and fun. Motorpsycho Nitemare, a still guffawsome highlight of his comic songsmithery, saw him holler, “I like Fidel Castro and his beard!” in order to escape a lustful wench by outraging her McCarthyite farmer father (of course). Then the romance really opened up. All I Really Want To Do and It Ain’t Me, Babe can hardly stop laughing, while Spanish Harlem Incident and My Back Pages bathe in tender-true warmth, excelled only by To Ramona’s sorrowed sensuality… “Your cracked country lips / I still wish to kiss”. A sigh, a tear, a giggle, all good.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05c2de5dd5bc5861ed732/1508924495849/dylan-1966.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 5. The Bootleg Series Vol. 4 Live 1966: The “Royal Albert Hall” Concert</image:title>
      <image:caption>COLUMBIA | 1998 Hear the man yell “Judas!”, and Dylan’s backlash with “You’re a liar!” and, to the band, “Play it fuckin’ loud!” Hear the Dylan decade splitting in two, first CD acoustic, second electric, both brilliant. Gloriously solo, She Belongs To Me and Just Like A Woman yoke together beauty and sarcasm through the quality of his singing (yup!), while Tell Me Momma and Leopard-Skin Pill-Box Hat rock with brutal fire and harsh laughs too. Like A Rolling Stone closes the set with what Tony Glover’s sleevenote calls the “velvet sneer” of “How does it feeeel?”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05c5f6f4ca3b7ef0bd507/1508924799548/blonde-on-blonde.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 4. Blonde on Bloinde</image:title>
      <image:caption>COLUMBIA | 1966 Nothing but the girl. Song after song about how it all went wrong. Immerse yourself in delicate moments like Dylan’s embarrassed reluctance every time he comes back to those “visions of Johanna”. And/or trivially enquire: “Is this the one about Joan Baez?” The lyrics avalanche jaw-dropping imagery, but repetitive theme and musical tone grind at times – despite I Want You and Just Like A Woman’s rolling thunderous wondrousness. But… for some this is of course the Best Album Of All Time. So, conceivably, wrong to enjoy rowdy, dirty Rainy Day Women #12 &amp; 35 or Obviously Five Believers better than more normally revered material.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05d8c4c0dbf084e7a5cbb/1508924861435/bringing-it-all-back-home.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 3. Bringing It All Back Home</image:title>
      <image:caption>COLUMBIA | 1965 The half-and-half album with the electric side coming first, both parts mainly recorded within the space of a few New York days. But the two sides don’t feel so different now – whether they are plugged in or not, She Belongs To Me, Love Minus Zero/No Limit, Mr. Tambourine Man and It’s All Over Now, Baby Blue are all glorious songs. And when it comes to music power, he’ll knock you off your feet either way, from rawkus Maggie’s Farm to the acoustic riff of It’s Alright, Ma (I’m Only Bleeding). First the lapel-grabbing tunes yank you in and then you’re lost in the imaginative rush of the lyrics, albeit often wild-to-surreal; you get what he’s talking about even if you don’t know what he’s saying.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05dcd6f4ca3b7ef0be10a/1508924997351/freewheelin-dylan.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 2. The Freewheelin' Bob Dylan</image:title>
      <image:caption>COLUMBIA | 1963 Dylan’s first self-penned long-player produced three majestic political songs: A Hard Rain’s A-Gonna Fall, Blowin’ In The Wind and Masters Of War. This was living dread for the ages. But a soul can bear only so much civil strife and nuclear war, so you’re invited to caper away with Bob Dylan’s Blues or Talking World War III Blues (“I’ll let you be in my dreams if I can be in yours”). And the love songs match that range, from the gambolling Honey, Just Allow Me One More Chance to the bone-deep Girl From The North Country. The songs received all the attention, but Dylan sings like a whiney Frank Sinatra, a marvel of intimate rightnowness.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f05939f09ca4425c2f2fe2/59f05e52bce1768a5bad08c6/1508925067366/highway-61.jpg</image:loc>
      <image:title>Bob Dylan In The 60 - 1. Highway 61 Revisited</image:title>
      <image:caption>COLUMBIA | 1965 All-electric debut, discomfiture abounds, times out of joint, protest can’t get any purchase. Desolation Row marks the spot – “The riot squad is restless” – Dylan looking down on a tilt-a-whirl world of jive surrealism that feels so thought-out you want to think and think and think it through. Same for Just Like Tom Thumb’s Blues, Tombstone Blues and Highway 61 itselfL: lyrics working on brain and intuition, while flesh and bone lurch to the Bloomfield/Kooper band’s stumblebum fairground R&amp;B. Though you may well have to be sober to play drunk like that. And Dylan makes every honed word heard way above the uproar.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/5a5f38f571c10bedb0177430/1516189941598/</image:loc>
      <image:title>Bob Dylan In The 60 - &lt;em&gt;10.&lt;/em&gt; Nashville Skyline</image:title>
      <image:caption>COLUMBIA | 1969 This charming stetson-doffer closes what was a very lively decade – for Dylan more than most. To mark the auspicious occasion he went full-on country, duetting with Johnny Cash (Girl From The North Country) and creating a new voice, barely recognisable from the old: palatal and fruity. It was all change again, then. Even the writing came from a Dylan previously unknown. Straight, no metaphors, no surreal excursions, only love, sweet or on the fritz – sexy and meaning it in Lay Lady Lay and To Be Alone With You, sexy and punfully double-entendred in Country Pie and Peggy Day (“Love to spend the night with Peggy Day”). The smile suited him.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.mojo4music.com/roy-harper</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-25</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04b3d18b27d403f5bb372/1508920204917/royharder-love-and-loss-1.jpg</image:loc>
      <image:title>Roy Harper - 10. Songs Of Love And Loss Vols 1 &amp; 2</image:title>
      <image:caption>SALVO | 2011 There have been a number of Harper compilations down the years but this two CD set is the most recent, released to kick-start the man’s 70th birthday celebrations. As with everything that Harper does, there is a conceptual thread to this collection, focusing on his love songs (Francesca, Another Day and Frozen Moment) and reflective moments (Waiting For Godot, I’ll See You Again, South Africa). Both discs were sequenced by Roy to work as self-contained albums and provide a satisfying update on 2005’s Counter Culture anthology which is equally recommended for those looking for an entrée into the man’s work.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04b9c914e6be5ad862a39/1508920266323/harper-jugula.jpg</image:loc>
      <image:title>Roy Harper - 9. Whatever Happened To Jugula? (with Jimmy Page</image:title>
      <image:caption>BEGGARS BANQUET | 1985 Having escaped from EMI and experienced business difficulties that saw his Hereford farm repossessed, Harper teamed up with Jimmy Page on this full studio album. A dense, progressive affair, the album begins with the brooding, grandiose Nineteen Forty Eightish (1948 being the publication date and original title of George Orwell’s 1984) before moving on to Bad Speech, an inflammatory piece of Harper poetry. Hangman, Frozen and Hope (co-written by David Gilmour) are fine moments on an album where the production is of its time and where the closing stoned tomfoolery/gross-out of Advertisement proves that a good time was had by all.</image:caption>
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      <image:title>Roy Harper - 8. Death Or Glory?</image:title>
      <image:caption>On his 17th album Harper returned to his acoustic musical base and travelled to the depths of despair, his failed 10 year marriage informing brutally honest tracks like One More Tomorrow (sample lyric: “Without you, my heart will break”), while the closing If I Can features the man sobbing for 24 seconds. Conversely, moments of defiance include The War Came Home Tonight (a critique of the Gulf War) and The Tallest Tree (dedicated to environmentalist Chico Mendes), while Evening Star was written for Robert Plant’s daughter Carmen and performed at her wedding to Charlie Jones on May 18, 1991.</image:caption>
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      <image:title>Roy Harper - 7. HQ</image:title>
      <image:caption>HARVEST | 1975 Recorded in tandem with Pink Floyd’s &lt;em&gt;Wish You Were Here&lt;/em&gt; at Abbey Road, HQ features David Gilmour guesting alongside Led Zeppelin’s John Paul Jones on The Game. The rest of the album features Trigger, Harper’s backing band that consisted of ex-Yes/King Crimson drummer Bill Bruford, future Pistols producer/Sharks guitarist Chris Spedding and bassist Dave Cochran. However, the star turn on what is his most accessible album are the Grimethorpe Colliery Band, who add an emotional undertow to one of Roy’s most poignant songs, When An Old Cricketer Leaves The Crease, a tune that manages to intertwine the concepts of Englishness and mortality to remarkable effect.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04c4f49fc2bb5ab5d273a/1508920443691/RoyHarperFolkjokeopus.jpg</image:loc>
      <image:title>Roy Harper - 6. Folkjokeopus</image:title>
      <image:caption>LIBERTY | 1969 Teaming up with Shel Talmy on his second album, &lt;em&gt;Come Out Fighting Ghengis Smith&lt;/em&gt;, Harper continued his relationship with The Who’s producer on this follow-up. The opening brace of Sgt Sunshine and She’s The One rock far more openly than previous material, while One For All (written about his friend and saxophone iconoclast Albert Ayler) is a beauteous eight minute-plus guitar-driven piece. The album’s crowning glory is the gargantuan, evocative McGoohan’s Blues – all 17 minutes and 55 seconds of it – that tackles the evils of the world via lyrics that reference Harper’s young son Nick and Patrick McGoohan’s predicament in The Prisoner.</image:caption>
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      <image:title>Roy Harper - 5. Valentine</image:title>
      <image:caption>HARVEST | 1974 If Stormcock is a deep and saturnine affair, Valentine is its more gregarious counterpoint featuring tracks that are more accessible, evidenced by a reworking of the traditional North Country (aka North Country Girl). Harper’s scabrous edge is evident on Male Chauvinist Pig Blues, while his epic musical sensibilities shine on Twelve Hours Of Sunset, enhanced by Dave Bedford’s classical arrangements. To promote Valentine, Harper played the Rainbow Theatre on February 14 with an all-star band featuring Jimmy Page, Ronnie Lane, Keith Moon, and Max Middleton from the Jeff Beck Group, some of their performance being included on the equally fine Flashes From The Archives Of Oblivion.</image:caption>
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      <image:title>Roy Harper - 4.  Man And Myth</image:title>
      <image:caption>BELLA UNION | 2013 After years of uncertainty and declaring himself “retired”, Harper returned with his first album for 13 years and delivered a career highlight. Once again, he tackled the personal (Time Is Temporary is a rumination on ageing) and the political (Cloud Cuckooland, with Pete Townshend on guitar). Despite being hailed as a remarkable comeback, the album’s momentum stalled when Harper was charged with historic sexual abuse in November 2013. Maintaining his innocence throughout, he was unanimously cleared of all charges in 2015 and vowed to “restart my working life.”</image:caption>
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      <image:title>Roy Harper - 3.  Lifemask</image:title>
      <image:caption>HARVEST | 1973 Such was Harper’s stock that by 1972 he was asked to appear in Made, a film being directed by John MacKenzie (later credits: The Long Good Friday, The Fourth Protocol). Roy contributed some of the music to the film – including “failed single” Bank Of The Dead (featuring Jimmy Page). But he had also been diagnosed with a potentially life-threatening lung condition, and mortality informs the title of this album, and The Lord’s Prayer, the single track that occupies Side Two, where Harper – thinking time is short - attempts to tackle the ills of 150,000 years of civilization in 22 minutes and 55 seconds.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f04b22bff200f4d3804df9/59f04ddde9bfdfb6e4095960/1508920854668/harper-flat.jpg</image:loc>
      <image:title>Roy Harper - 2.  Flat, Baroque And Berserk</image:title>
      <image:caption>HARVEST | 1970 By 1969 Harper’s reputation was considerable. According to the man himself pop stardom was “a distinct possibility.” Signing to EMI’s progressive subsidiary, Harvest, he recorded at Abbey Road for the first time, resulting in his first Top 20 album. Appearing on the sleeve in repose (presumed stoned), Roy delivered 12 tracks that confirmed his unique position between the folk and underground scenes. Key cuts included Don’t You Grieve, Tom Tiddler’s Ground, Another Day (later covered by Peter Gabriel and Kate Bush, and This Mortal Coil), and the searing attack on imperialism, I Hate The White Man. The latter put paid to that potential pop career.</image:caption>
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      <image:title>Roy Harper - 1. Stormcock</image:title>
      <image:caption>HARVEST | 1971 The roots of Harper’s finest album lie in his pilgrimage to Big Sur, California, where he wrote One Man Rock’n’Roll Band, his critique of the pointlessness of violence. Hors D’Oeuvres, the album’s opener – an eight minute slow-burner with multi-layered vocals – was inspired by the brutal fate of Caryl Chessman, on death row for 10 years before being sent to the gas chamber in May 1960. Same Old Rock, the album’s centrepiece, boasts several movements, its lyrics attacking organised religion against near-hymnal backing and with a towering guitar solo by Jimmy Page. The album closes with a love song, Me And My Woman, augmented by David Bedford’s magisterial arrangements. No record has sounded like &lt;em&gt;Stormcock&lt;/em&gt; before or since. A masterpiece.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59f04ee1ace864986c4a99a6/1508920204917/</image:loc>
      <image:title>Roy Harper - 10. Songs Of Love And Loss Vols 1 &amp; 2</image:title>
      <image:caption>SALVO | 2011 There have been a number of Harper compilations down the years but this two CD set is the most recent, released to kick-start the man’s 70th birthday celebrations. As with everything that Harper does, there is a conceptual thread to this collection, focusing on his love songs (Francesca, Another Day and Frozen Moment) and reflective moments (Waiting For Godot, I’ll See You Again, South Africa). Both discs were sequenced by Roy to work as self-contained albums and provide a satisfying update on 2005’s Counter Culture anthology which is equally recommended for those looking for an entrée into the man’s work.</image:caption>
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  </url>
  <url>
    <loc>https://www.mojo4music.com/the-rolling-stones</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-10-25</lastmod>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f0909dbe42d6237e39eb95/1508937943577/abiggerbang.jpg</image:loc>
      <image:title>The Rolling Stones - 10. A Bigger Bang</image:title>
      <image:caption>Virgin | 2005 After 15 years of diminishing returns, A Bigger Bang proved the Stones could still excel in the studio. Much of its magic derived from Mick and Keith’s closest writing relationship in yonks, Mick even briefly moonlighting on drums while Charlie underwent chemo for throat cancer. Laugh, I Nearly Died packs a Jagger vocal of mesmerising intensity, Keith’s country gem This Place Is Empty further distils what he learned from Gram Parsons, and Rain Come Down is their funkiest cut since Some Girls’ Miss You. “We’ve got a fresh arsenal; loads of new ammo,” boasted The Human Riff on the album’s release.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f090e9ccc5c5185d43ef08/1508938003240/goatshead.jpg</image:loc>
      <image:title>The Rolling Stones - 9. Goats Head Soup</image:title>
      <image:caption>Rolling Stones Records | 1973 If the tales of excess during Exile On Main St.’s recording are to be believed, then the comedown was always going to be a bitch. Not only was Keith Richards banished from nine countries because of his, erm, lifestyle (this follow-up album was recorded in Jamaica as one of the few “interesting” places that would still have him), but &lt;em&gt;Goats Head Soup&lt;/em&gt; is scored through with a knowing melancholy. Jagger is on his best heart-shredded form, while Richards and Taylor’s guitars actually seem to weep as Winter and, of course, Angie attest. Then again this is The Rolling Stones… &lt;em&gt;in Jamaica&lt;/em&gt; and the likes of Doo Doo Doo Doo Doo (Heartbreaker) and Star Star ensure the broth simmers with a hazy swagger. Well, what doesn’t kill ya…</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f0911b8dd04101b53230dc/1508938048655/yayas.jpg</image:loc>
      <image:title>The Rolling Stones - 8. Get Yer Ya-Ya’s Out!</image:title>
      <image:caption>ABKCO | 1970 hey can still lay claim to being the world’s greatest live band, so imagine the Stones in November 1969, Honky Tonk Women still glowing from the forge. Wonderfully, Ya-Ya’s, makes imagining unnecessary, capturing a lean, hungry, self-assured outfit over two stunning nights at Madison Square Garden. The Altamont tragedy was just days away, but these gigs were triumphant, Mick Taylor ably replacing the late Brian Jones, and helping his new bandmates ignite versions of Midnight Rambler and Street Fighting Man. One of the best live records of all time.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f0918829f187a715eb2d53/1508938172675/somegirls.jpg</image:loc>
      <image:title>The Rolling Stones - 7. Some Girls</image:title>
      <image:caption>Virgin | 1978 With the Mick-penned Miss You melding blues and disco, Ronnie settling-in for the long haul, and Keith facing (but ultimately escaping) jail time for heroin possession, it was all happening on Some Girls, a compellingly brash record that regained much of the ground lost by its part session guitarist-staffed predecessor, &lt;em&gt;Black And Blue&lt;/em&gt;. Fraught inter-band relationships and the bête noire of punk only seemed to propel &lt;em&gt;Girls&lt;/em&gt;’ hugely productive sessions, the Stones squirreling away Start Me Up (reworked for 1981’s Tattoo You) before filing a fine, New York City-inspired set that topped the US charts and reached Number 2 in the UK.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f091c7692ebe86b4591a8b/1508938219383/rollingstones-lp.jpg</image:loc>
      <image:title>The Rolling Stones - 6. The Rolling Stones</image:title>
      <image:caption>ABKCO | 1964 They didn’t want to hold your hand – they meant to have you roughly, while rubbing your nose in the primal blues. Enter The Rolling Stones, a bratty, breathless nod to Willie Dixon and the rest that initially clocked in at well under 30 minutes, so eager were its creators to perform. On the last day of recording, a visiting Gene Pitney and Phil Spector produced cognac, then coaxed Michael ‘Blind Boy’ Jagger to help them reinvent Jimmy Reed’s Shame, Shame, Shame as Little By Little. Wham, bam, job done, with spontaneity and youthful gall coming up trumps.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f091f9be42d6237e39fab3/1508938284617/aftermath.jpg</image:loc>
      <image:title>The Rolling Stones - 5. Aftermath</image:title>
      <image:caption>ABKCO | 1966 The Stones? Bad-to-the-bone. It’s an overly simplistic characterisation, but listening to &lt;em&gt;Aftermath&lt;/em&gt;, you can see why it gained further currency. For all its crafted pop suss, the Stones’ fourth album was a spiteful, venomous outing. Under My Thumb raised misogyny charges that pre-empted Jagger’s split from girlfriend Jean Shrimpton, while the bottleneck and harmonica-infused Doncha Bother Me told hangers-on to ‘do one’. But with its exotic splashes of marimba, sitar and dulcimer (all played by an increasingly estranged Brian Jones), the first album wholly comprised of Jagger &amp; Richards originals was a classic.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f0923bc027d88d957ab602/1508938443727/beggars-stones.jpg</image:loc>
      <image:title>The Rolling Stones - 4. Beggars Banquet</image:title>
      <image:caption>ABKCO | 1968 Without Banquet – a studio fire almost saw it go the way of King Alfred’s cakes – there would arguably be no Exile, no Let It Bleed, and no Sticky Fingers. It was the first of these albums to pair the Stones with former Traffic producer Jimmy Miller, and the US transplant’s downhome sound quickly became a trusted reference point. With Brian Jones much addled by drugs and booze, Keith handled most of Banquet’s guitars, the lion’s share of which are acoustic. The preternatural-sounding Sympathy For The Devil, part inspired by Mikhail’s Bulgakov’s satirical masterpiece The Master And Margarita, is the album’s stand-out.</image:caption>
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      <image:title>The Rolling Stones - 3. Exile On Main St.</image:title>
      <image:caption>Rolling Stones Records The setting, the fuck-you attitude – there was such an aura about Exile,” mused Joe Perry of Aerosmith. With dirt under its fingernails and a V-sign at the singles chart, this album upped the Stones’ credibility and mystique. Nailed, for tax reasons, during a six-month shindig at Richards’ rickety south of France villa, &lt;em&gt;Exile&lt;/em&gt; is a loose-but-brilliant study in American roots music. Feel-laden grooves are the key to its class, Keith and Charlie near telepathic on Tumbling Dice and Rocks Off. Amazingly, Richards briefly considered trashing the album until extensive mixing sessions turned up gold.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f0937dd7bdce7ee2b053d1/1508938666237/letitbleed.jpg</image:loc>
      <image:title>The Rolling Stones - 2. Let It Bleed</image:title>
      <image:caption>ABKCO | 1969 With its spidery guitar riff, Gimme Shelter seduces like no other album opener, its ominous arrangement riding a zeitgeist scarred by the assassinations of King and Kennedy. Like the choir-bolstered You Can’t Always Get What You Want, it’s something of a cuckoo in the nest – much of Bleed is big on earthy country blues. But inadvertently or not, this stunning, visionary record carved a tombstone for ’60s idealism. With the mysterious death of Brian Jones still in the air, Let It Bleed hit stores on December 6, 1969, the same day that Meredith Hunter was murdered by Hell’s Angels at a Stones concert at Altamont Speedway.</image:caption>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/59f0908064b05f218aa6ed4b/59f093b6b07869d8275a8b09/1508938728122/stickyfingers.jpg</image:loc>
      <image:title>The Rolling Stones - 1. Sticky Fingers</image:title>
      <image:caption>Virgin | 1971 When they started grooving around one in the morning it was unbelievable – I haven’t experienced anything like it since.” So said engineer Jimmy Johnson of sessions for Sticky Fingers, the most elegantly wasted Stones album of them all. Part recorded, with delicious grit and warmth, at Muscle Shoals in northern Alabama, its weed, bourbon and sex-infused tracks team strutting filth (Brown Sugar) with expansive, epic-sounding Americana (Moonlight Mile), while Keith’s forays with open guitar tunings learnt from Ry Cooder and Fred McDowell continue to pay dividends throughout. All this and the achingly tender Wild Horses, perhaps the most beautiful song the Stones ever recorded.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57a9dcfd46c3c496d8299f87/t/59f093e88dd04101b532506b/1508937943577/</image:loc>
      <image:title>The Rolling Stones - 10. A Bigger Bang</image:title>
      <image:caption>Virgin | 2005 After 15 years of diminishing returns, A Bigger Bang proved the Stones could still excel in the studio. Much of its magic derived from Mick and Keith’s closest writing relationship in yonks, Mick even briefly moonlighting on drums while Charlie underwent chemo for throat cancer. Laugh, I Nearly Died packs a Jagger vocal of mesmerising intensity, Keith’s country gem This Place Is Empty further distils what he learned from Gram Parsons, and Rain Come Down is their funkiest cut since Some Girls’ Miss You. “We’ve got a fresh arsenal; loads of new ammo,” boasted The Human Riff on the album’s release.</image:caption>
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