Low Cut Connie imagine what indie rock might sound like were it invented in Alabama in the late Fifties. The product of two songwriters – New Jersey's Adam Weiner and Birmingham England's Dan Finnermore -- Get Out the Lotion comes equipped with whiskey breath and a satchel full of filthy jokes, all of them funneled through sonics that are decidedly budget-conscious. Opener "Cat N The Cream," with its clanging piano and slow-moseying bass line, sounds like a bunch of Brooklyn barflys taking a pass at "Burning Love," while the chugging scuzzbucket boogie of "Rio" could be the Black Keys at the wrong end of a six-day bender. And then there's "Johnny Cool Man," a bit of greasy-pompadour doo-wop in which Weiner, his voice crackling with no-fi distortion, howls, "I wanna see you naked baby – from the front and from the back." In Low Cut Connie's grits-n-grime world, that's what you call a compliment.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."