Five songs to start the week! Follow the ‘It’s Monday Forever’ playlist here for all the tracks that have featured in the series so far, and updated with five new songs every week.
Summertime (The Gershwin Version) – Lana Del Rey (2020)
As covers go, not many can beat this. A rendition of George Gershwin’s 1935 original, there’s a turning up of class, smoothness and splendour, unsurprisingly led by the powerfully liberated vocals of Del Rey. She drifts between sweeping seduction and delicate dynamism seamlessly, letting herself loose of all inhibition gloriously while backed by a slowly flourishing backing that radiates with sumptuous romanticism.
Strange Dream – WITCH (1975)
One of the mot highly-regarded tracks of the Zamrock movement, ‘Strange Dream’ is a song that cruises elegantly through themes of romantic regret and desire. Though it isn’t exactly a number that rips apart the instrumental rule book, its pace, groove and utopian storytelling sets the scene on a world free from emotional anguish, replaced with mythical idealism.
Prayer Mat – Nadine Shah (2020)
Closing Shah’s excellent album Kitchen Sink, ‘Prayer Mat’ is a beautifully illustrious and trippy composition. The track excels in its restraint, allowing a gentle insistence to its near-hallucinatory being. Shah’s voice is confident in its calmness, allowing herself to encompass the instrumentation alluringly while telling tales of embattled camaraderie (“You the beginning of everything / You the calm in a storm“).
U.F.Orb – The Orb (1992)
What starts as a fuzzy recording of the Soviet Union’s inter-planetary explorations grows dreamily into a dance number of cosmic proportions. The beat is urgent and grabbing, complimented by a floating synth that further pushes the track into other-worldly realms. Reinforcements from over-dubbed percussive fills give the beat a grooving edge, culminating in a dance track of real independence.
Blood Money – Primal Scream (2000)
An instrumental of menacing divinity. Though Primal Scream’s acclaimed album XTRMNTR is noted more for its dark political prophecies, ‘Blood Money’ is an astounding reminder of the prowess of the musicians in absence of Bobby Gillespie’s social commentary. Mani’s bass rumbles ominously alongside the frantic genre-mashing grooves, while discordant tones, from compressed saxophone to eerie electronics are carelessly littered across the soundscape. An absolute behemoth.