The figures are approximate, but the Yardbirds’ first studio album has been issued on CD at least 12 separate times. With The Move, their debut album and its follow-up Shazam have each had a comparatively paltry eight outings on CD. As for vinyl editions, setting aside the UK originals in mono and stereo and contemporaneous worldwide pressings, similar quantities of reissues of the three albums have hit shops from the mid-Seventies onwards.

The immediate reaction to Close to the Noise Floor is “Why hasn’t anyone done this before?” This new four-disc set’s subtitle captures its objective in a nutshell: to collect Formative UK Electronica 1975–1984 – excursions in proto-synth pop, DIY techno and ambient exploration. While the stars include Blancmange, John Foxx, Throbbing Gristle and the big cult names Bourbonese Qualk, Legendary Pink Dots and Instant Automatons feature, the less well-knowns Sea of Wires, We be Echo and Muslimgauze are also collected.

Is there anything left to say about Sandy Denny? Sadly, she cannot say anything herself, as she died in 1978. So it’s left to what she released during her lifetime, posthumous appraisals and reappraisals, and packages and repackages to do the talking.

Turn the clock back to early 2007. It’s not so long ago, but at this point Nils Frahm had issued just one album, Ólafur Arnalds was about to release his first, Jóhann Jóhannsson was one year into what would be two-album relationship with 4AD, and Max Richter had made two albums for 130701, the British offshoot of FatCat Records. Christian Wallumrød was performing solo, but still recording collaboratively. What would become a recognisable genre-breaching, minimalist, post-classical groundswell hadn’t yet been quite codified but it was clear something was in the air.

Is greatness there from day one, does it evolve or suddenly strike? Do artists – in any discipline – develop in steps or arrive fully-formed? How does the quotidian become exceptional? With the new triple-CD set Highlife-Jazz and Afro-Soul (1963-1969), the man who would be dubbed the Black President has what amounts to 39 musical baby pictures made easily available for the first time. As to how this release answers any of these questions, it is a question of degree.

According to the May 1979 issue of the New York art-paper East Village Eye, James White “is treated [everywhere] with awe and the special consideration lacking in most people's lives.” The adoration was boundless. White is “the star, the proof of the divinity that can be had by those who strive for a life beyond the schemes of men, James White is not an animal creature, James White is one of the breed called God in older times.”

Although The Kinks’ world was turned upside down from the moment “You Really Got Me” hit the charts in August 1964, the band’s main songwriter Ray Davies still had songs to spare. Some of his compositions ended up with singers like Dave Berry, Leapy Lee and Mo & Steve. Ray’s brother Dave even found that one of his songs was recorded by Shel Naylor. This extra-mural world fascinates Kinks fans.

The variables which help records attain cult status are usually permutations of obscurity, patronage, rarity and perceived or received notions of greatness. This fluid formula can make an album the acme of grooviness, even if barely anyone cared or had even heard of it when it was originally issued. Witness the Lewis album, L’Amour.

The Damned: Go! 45

Various Artists: Building Bridges - Eurovision Song Contest Vienna 2015