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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Let’s travel back to Jamaica in 1983 for Sister Nancy’s irrepressible dancehall reggae anthem Bam Bam, bringing a ray of sunshine to a cold winter’s day.

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I’ve just discovered that my 12-inch copy of Cristina’s scandalous take on an old classic is a collector’s item. Apparently her new lyrics for a tune about the mundanity of life, and the need to “break out the booze and have a ball – if that’s all there is”, so offended the songwriters, Leiber and Stoller, that they successfully sued to get it withdrawn – at least for a time.

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Kid Creole and the Coconuts were a breath of fresh air when they came along at the start of a new decade with their zoot suits and Panama hats and spats – and their tropical take on disco.

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Requiem has to be the song to remember Geordie Walker, the Killing Joke guitarist who has died. Not just for its title but for his vast metallic slabs of electric guitar that scythe through the synth bass.

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Virgin Prunes began life at the same time, at the same social club in Dublin, as U2 – but went in a very different direction, blending avant-garde cabaret with improvisation and experimentation.

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In 1980 the postpunk landscape was expanding in all sorts of new directions. Most of them had identifiable roots in punk but Orange Juice were odds with the New Wave mainstream.

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