The first time I heard this I was knocked sideways. I expected experimentation from Brian Eno and David Byrne, but My Life In The Bush Of Ghosts took it to a whole new level.

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When Tony Wilson signed A Certain Ratio to Factory Records in 1979 he told the world they were “the new Sex Pistols.” They weren’t, but they did leave their mark on Manchester music as one of the first bands to incorporate funk into an industrial take on postpunk.

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For years I’ve heard people – usually musicians – say that Richard Thompson is one of the greatest guitarists of all time. And for years I’ve struggled to find any records that convince me of that. Until now.

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Is there a better opening line to a song than Julian Cope’s delighted response to pop stardom: “Bless my cotton socks, I’m in the news!”?

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I’d forgotten quite how long The B-52s kept up their run of quirky hit singles backed by camp and kitsch videos.

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This refreshingly primitive punk nugget by The Innocent Vicars is one of those lost gems that you unearth by chance. Or in this case because I’m reading the singer’s newly published memoir, Strange Things Are Happening (Adventures In Music).

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The final Talking Heads album, Naked, is so underrated it’s almost been forgotten compared to the majesty of Remain In Light and (my favourite) Fear Of Music.

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One of the best riffs of all time when Muddy Waters recorded it back in 1955, it somehow sounds even better in the dextrous hands of George Thorogood a quarter of a century later.

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I can’t pretend I was an early adopter of hip-hop and I can’t remember whether I heard this landmark song when it came out in 1983.

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Not many bands slipped through the cracks of my post-punk world in the early 80s but Modern English seem to have passed me by completely.

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