If a unicorn break-dances through your room while you're listening to the second Slow Club record, don't freak out: These folk-punk mystics bring fairy-dusted heat in dangerous quantities. The duo – singer-guitarist Charles Watson and singer-drummer-guitarist Rebecca Taylor bridge the twee whimsy of Belle and Sebastian and the garage-y primacy of early Yeah Yeah Yeahs. At times, Watson and Taylor come off like billowy-sleeved naifs who might spend Saturday afternoons riding hither and fro through the marshes, but their Saturday nights clearly involve more carnal interests: "I can see you lookin' at me/You've got the brains, I've got the body," Taylor sings on "Where I'm Waking," as Watson's guitar tears a broadsword path through the club and toward the bedroom.

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“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."