This is ABBA's best song. The syncopated drum-track in the verse is smart and the general feel of the song is cool. But the best part is the harmonised singing in the chorus. The background harmony which drops down a tone or two (imagine Jonny Marr shifting his guitar down two bars in a chord progression and you're there) is total class.

I saw Global Communication play live in a church and they were, err, heavenly. This song probably showcases their celestial sound best. Weighing in at a mighty 14-plus minutes, it certainly takes time to get going. But that's the beauty. Like current darlings of the ambient music scene Boards of Canada and geniuses of the past such as Bowie and Eno, the wonder of the sound is in its slow-building intensity. Orchestral-like chords and heavy bass make this song an ambient must-have. But the whole album is a winner. Sell the fridge and let your food rot to own this one.

Different interpretation of the Lee Hazlewood and Nancy Sinatra classic, notable particularly for the Slowdive 'sound'. The song starts with a faded chorus of fazed guitars - and it's a fairly glorious mix of chiming guitars from them on.

Songsmith Neil Halstead had some difficulty adapting the tune to Slowdive's intricate multi-layered sound. As such, the final part of the tune, where the song switches between ‘daffodils’ and ‘some some velvet morning’ has been cut.

A tinny drum machine, a big slab of discordant fuzz guitar and a droney voice. Fabulous. Making music in your bedroom has never sounded so fabulous.

New Order fans always love Technique. So do I. Some prefer Brotherhand, Lowlife - or the substandard Republic. But for me, there's only one Movement.

Slated by critics for sounding like a doomy post Joy Division clone - the album actually benefits from sharp rhythm guitar and sustained synth chords.

Key moment is the awesome Dreams Never End. The song thrashes around like a caged beast. And it's only brought down by bass player Peter Hook's dreary singing - but hey, I can live with that.