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Before we get started, be warned: 'It's too easy for this album to turn you into a pretentious t**t.' These aren't my words by the way. They're from a book all about Loveless by an American chap called Mike McGonigal, who immediately goes on to prove his point by stating that the first time he heard the album in question, he felt, 'as if I'd been suspended upside down in a tank filled with beautiful fish'.

'You're a sewer rat decaying in a cesspool of pride… A dog with disease, you're the king of the sleaze…' Life On Two Legs, Setting The Record Straight may not have featured in many best-selling book lists but it's one heck of a read. Authored by Norman J Sheffield in 2013, its title is a play upon 'Death On Two Legs (Dedicated To…)', an uncharacteristically vicious song written by Freddie Mercury which opened Queen's fourth LP, 1975's A Night At The Opera.

The artist formerly known as Robert Zimmerman broke new ground in all kinds of ways. But one field where his pioneering role isn't often acknowledged is sleeve art. By the early 1970s, it was standard practice for fans to pore over LP covers pondering the significance of the imagery presented to them. But in 1965 the profundity of most popular music album artwork didn't extend much further than a shot of the band looking mean and moody, or happy and playful depending on the image they'd chosen to portray.

The Concierto de Aranjuez was composed in exile from one war and first performed in the shadow of another. Joaquín Rodrigo began writing it in 1939, having fled to Paris with his wife Victoria from the Spanish Civil War. The couple had met in the French capital a decade earlier, she a recent piano graduate from the Conservatoire and he a student of Paul Dukas at the École Normale. They married in Valencia in January 1933, against her father's wishes, and took a honeymoon in Aranjuez, a town south of Madrid dominated by its royal palace and gardens.