Harry Chapin is someone I vaguely recall in the same MoR mould as John Denver and Jim Croce, making sentimental string-laden songs with sermonising social messages. Which is true. But I do him a disservice.

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I first heard his name when Gerry Rafferty released Baker Street. Everyone knew who played that sax solo. Almost as many knew that the same guy played the two sax solos on Bowie’s Young Americans.

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Linval Thompson is a seminal figure in the creation, spread and influence of dancehall reggae. He’s also a sweet singer and a prominent producer with a string of roots albums and dub versions.

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It’s fair to say that Poco are mostly a forgotten name today, but here they are out-Eagling The Eagles with their country-fried vocal harmonies.

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Florida band The Outlaws brought the three-guitar line-up into country rock, blending three-part harmonies with their multiple guitar solos.

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Here is Alice Cooper’s breakthrough hit I’m Eighteen from 1970. Three years later it was the song Johnny Rotten – 18 or 19 at the time – famously mimed to for Malcolm McLaren to get the job of singer with The Sex Pistols.

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Captain Beefheart enjoyed one of his more mainstream moments when he recorded Observatory Crest for his ninth album Bluejeans & Moonbeams.

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There was a time when the demise of a Moody Blue might have made headlines; at least in the music press. This week the death of keyboard player Mike Pinder – the last of the original members – passed almost unnoticed. But not by me.

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When I first heard Domino on The Cramps’ landmark debut Gravest Hits EP, prompting the birth of psychobilly in 1979, I had no idea it was a Roy Orbison song.

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Before Brian Eno and David Byrne came up with the idea of sampling snatches of ‘found sound’ from obscure transmissions, Holger Czukay was already at it.

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