Like An Animal/The Glove. For those who may not have discovered this forgotten Goth classic, it's a Banshees spin-off that sounds like Liz Fraser sings In Between Days. None more Eighties than that. I don't actually remember hearing this at the time - it's one of those hits that for some reason just passes you by. See also She's Got Claws/Gary Numan, Umbrella/Rhianna.
Long Cool Woman In A Black Dress/The Hollies. A colleague, who co-incidentally is off to see what remains of The Hollies in Southend tonight, tells me this song was meant to kick-start Alan Clarke's solo career - cos let's face it, sans Graham Nash, the Hollies were kind of over - but due to contractual reasons it had to be a Hollies number. Still, it was a huge hit, and a reverb-heavy plucky bass delight.
Don't Stop Believin'/Journey. No, not because it featured in The Sopranos finale (you know, the one where Meadow gets gunned down in front of the whole family*), but because I've been a fan of this achingly lonely slice of power balladry since it was a Radio Luxembourg Powerplay in 1982. The fading in and out of the signal was perfect for its faraway, longing tone. Still does it for me now.
I See The Rain/Marmalade. Apparently Jimi Hendrix's favourite outing on vinyl of 1967. Known more for their straight pop rather than their psychedelic leanings, this was a B-side (I think), and all about lying on green lawns and cows with coats on. Summery, powerful, trippy. You'll love it. (Thanks Clair).
Shad Thames/St Etienne. When I heard this at first I never would have guessed in a million years it was St Etienne. First, because it's an instrumental, and secondly because it's so electronic. Perfect when the rain hits the windscreen while driving over Tower Bridge on a weekday afternoon.
