Generation X: Kiss Me Deadly:  1978. Hugely influential to a certain generation.  

The Stranglers: Five Minutes.  Non-album single, 1978. 

Little Barrie: More Bad Miles of Road:  2026. 

Wolf Alice: White Horses: 2026. Band leaders and record producers: file this one under "Let the drummer sing, see what happens" doctrine.

Kasabian: Hippie Sunshine. 2025. 

Richard Ashcroft: Oh L'Amour: 2025.  

The Chocolate Watch Band: Don't Need Your Lovin'.  1967. And, of course, their Dylan cover, Baby Blue.

Donovan: Three King Fishers: 1966. As a bonus Donovan track, here's a cover of a never-released Donovan demo, written during that same period. And if that's not enough, here's a different version.

Noel Gallagher's High Flying Birds: Riverman: 2015. Noel's greatest solo track. The guitar solo is astounding; who played it? I thought it was Noel, playing in an entirely new register.  But, no, it was Paul Weller.

Nico: I'm Not Sayin'. 1965. This video was reconstructed out of recently found footage. The result is spectacular, unprecedented, and almost unworldly. Imagine if every Velvet Underground-related track had filmed footage of this quality. Incidentally, that's Jimmy Page on rhythm guitar, Brian Jones on lead guitar; filmed at Paul McCartney's house.

Pete Yorn: Life On A Chain: 2001. Good times. Great album. 

The Black Angels: Currency: 2017.  

Wolf Alice: The Last Man On Earth.  2021.   From Blue Weekend, album of the year, in my opinion. Also from that album, this.

Suicide: Frankie Teardrop: A Film by Douglas Hart.  2022. Directed by original Jesus and Mary Chain bassist Douglas Hart.  I consider this to be a masterpiece, surely, one of the top five rock videos ever made, more likely than not, number one.

Kasabian: Reason Is Treason: 2004.  Directed by Scott Lyon. Strangely, they made the video for the alternative mix (the "Jacknife Lee mix," as it's called). The album version of the track is actually better;  to hear that, click here.

The Verve: Live in London 1993:  Four songs: Star Sail, Slide Away, Virtual World, Blue.  This performance, for me, is iconic, possibly for the simple reason that I saw them exactly one month after this October 1993 London show; their performance, absolutely on fire, looked exactly like this, but it was at the Variety Arts Center, downtown LA. The nineties was a horrific time for music; and in my view, the emergence of British indie like The Verve and Suede marked the beginning of an era.