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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This all too brief but beautiful fingerpicked blues was written by Elizabeth Cotten when she was 12 years old. Here she is singing and playing it 80 years later, shortly before her death.

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New year, New Order. This was a landmark release in so many ways when it came out in March 1983. Firstly because it marked the moment postpunk merged with electronic dance music, and made the link between 70s disco and 80s house music. Secondly because Blue Monday went on to become the biggest-selling 12-inch single of all time.

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Three hundred million YouTube viewers can’t be wrong – when it’s time to celebrate, this is the song. And what better time to celebrate than the turning of a new year.

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Ever since I first heard their name, which was long after they broke up for the first time in 1991, I’ve had the idea that The Replacements were the ultimate “critics’ band.”

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When I first heard Xmal Deutschland in the early 1980s I thought I was listening to something new by Siouxsie And The Banshees. I’m sure I was not alone.

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