When Laurence Binyon wrote: “Age shall not weary them, nor the years condemn…” he was, of course, talking about the fallen soldiers of World War One, not Amherst’s premier hardcore grunge punks. However, on hearing Sweep It Into Space, Dinosaur Jr.’s fifth album since their unexpected 2007 rebirth, it could easily apply to J Mascis, Lou Barlow and Murph.

Although it is not solipsistic, Flat White Moon is Field Music’s most personal, most revealing, warmest-sounding album so far. David and Peter Brewis have opened up. Their ninth studio album together opens with a seeming declaration. “Orion from the Street” has a drum pattern, bubbling, whooshing sounds and weaving, treated guitar unambiguously alluding to The Beatles’ “Tomorrow Never Knows”.

It'll All Work Out In Boomland was issued by Decca at the end of July 1970. A poor seller at the time, it began attracting attention in the mid-Eighties when prices for original copies began creeping up. Around 2000, it was picking up about £100. These days, a first press of British rock band T2’s sole album generally sells for between £300 and £400.

Toumani Diabate, master of the 21-string kora, along with some other Malian musicians, collaborated on a symphonic concert at London's Barbican Centre in 2008. The orchestra in question were the London Symphony, who have often been open to working with musicians from outside the classical field.

AJ Tracey is one of Brit rap’s aristocracy now. Along with the likes of Stormzy, Dave, J Hus and lately Headie One, he is massively bankable, with streams in the tens of millions for singles, sellout shows in Alexandra Palace, and radio ubiquity.

The Master Musicians of Joujouka, described by William Burroughs as a “4000 year-old rock’n’roll band”, and recorded by Brian Jones of the Rolling Stones in the late 1960s, have always been something of a cult – even in their own land. Based in the rural foothills of the Rif Mountains in Northern Morocco, they are a professional clan that delivers performances renowned for their extraordinary transformative power.

11 Past the Hour opens with its title song, a delicious, twangy, string-laden Nancy Sinatra Bond theme that never was. The album closes with a lyrically empowered torch song, “Never Look Back”, which rises and rises over a marching band drum tattoo and swelling orchestration. Its enormousness is hard to argue with. Unfortunately, in between these two, Imelda May’s sixth album is a bit of a stinker.

If American music has a royal family, it’s surely the Seeger clan. Charles, the patriarch, the composer, musicologist and teacher who could be said to have invented ethnomusicology, married first to Constance de Clyver Edson, a violinist and teacher. That union gave us Pete Seeger, known to generations the world over for the songs “If I Had a Hammer” and “Where Have All the Flowers Gone”.

There’s a line in “No Home”, the staggering centrepiece of Lady Dan’s debut album, that perhaps sums up the project. “Wolves will never be my masters again,” the artist, real name Tyler Dozier, sings as the strings swell, in a voice like the wilderness. “Men will never be my owners again.”

Speaking to America’s Hit Parader magazine in August 1967, Frank Zappa said “If you want to learn how to play guitar, listen to Wes Montgomery.” The article was titled My Favorite Records and the head Mother was being featured shortly after the release of Absolutely Free, the second Mothers Of Invention album. Montgomery was in good company.