When ABBA split in 1982, Agnetha Fältskog went on to a solo career that was mostly overshadowed by the titanic popularity of her former band. By the 21^st century ABBA’s status in pop, especially with the Mamma Mia phenomenon, had become iconic.

The first declaration of love for the Last Dinner Party arrived approximately one song into their set. “I love you too,” declared a delighted looking Abigail Morris, the band’s pirouetting frontwoman, in response, and the ensuing hour suggested outpourings of affection are just one of many reasons for Morris to be cheerful these days.

Seeking to be both a documentary and a musical tribute to Marc Bolan, AngelHeaded Hipster doesn’t quite pull it off on either count. It’s based around the making of an album (whence the film gets its title) of versions of Bolan’s songs by an interminable list of artists including U2, Joan Jett, Devendra Banhart, Macy Gray, Beth Orton and many more, produced by Hal Willner and released in 2020.

Here’s one woman "of a certain age" who definitely isn’t invisible. But she’s in the middle of a media furore on which we’d rather not dwell. Sadly it might be the very thing that gets her the publicity she surely deserves. Remember when there was no such things as bad publicity? Vastly under-appreciated, she is a creative powerhouse. Innovative, daring and most of all unpredictable.

“March of the Flower Children” was a June 1967 B-side by Los Angeles psych-punks The Seeds. The track was extracted from their third album Future, a peculiar dive into psychedelia which was as tense as it was turned on. While the song’s lyrics referenced a “field of flowers,” a “painted castle” and a sky “painted golden yellow” the mood was jittery, unstable.

On the face of it, this is an extremely simple record. It is big, stomping, party-monster neanderthal synth-rock.

Restraint wasn’t the watchword. Around March 1965, Heinz was in Joe Meek’s North London recording studio taping “Big Fat Spider,” which became the B-side of his April single version of “Don’t Think Twice it’s Alright.” A run-through which didn’t end up on the record found guitarist Richie Blackmore tossing off blistering lead runs so frenzied, so spikey, so wayward they might – had the track been issued – have caused radio producers to check whether the single had a pressing fault.

Two producers named Martin worked with Buzzcocks and Joy Division. Martin Hannett was in the studio for Buzzcocks’ debut release, the Spiral Scratch EP, issued in January 1977, and also for the bulk of the tracks spread across their last three United Artists singles in 1980. He also shaped every studio recording Joy Division made for Factory Records.

For someone predominantly poised at her kit, the mononymous music producer’s return is surprisingly devoid of live drums. Daughter of Leftfield cofounder Neil Barnes, Georgia has made a name for herself as the drummer for artists such as Kwes and Kae Tempest. Her 2019 release Seeking Thrills was “a hymn to British hedonism” with a hefty slice of Robyn-esque pop panache. Last year saw Georgia embrace these stadium-sized singalongs as tour support for LA sister trio Haim.

Full disclosure. I actively dislike Blur and always have. Don’t get me started on why. That would last seven times as long as this review.