It’s not hard to guess why this song has come back into my mind for the first time in decades, with history repeating itself in Lebanon.

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Who remembers Los Angeles rockabilly band The Red Devils? Certainly not me. I didn’t even know there was a thriving cowpunk scene, fusing rockabilly and country, in early-Eighties LA.

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I was sad when The Specials fell apart: they had been such a part of my life for what they represented as much as their music. But it didn’t take long to fall in love again with the Fun Boy Three.

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Sixties soul veteran Gary U.S. Bonds had a second career in the early ’80s after Bruce Springsteen wrote and produced two albums for him.

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Whatever we expected from Pete Shelley’s solo debut in 1981, after a string of superlative singles by Buzzcocks, a queer synthpop anthem came as a surprise.

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I loved this song when it came out in 1980. I suppose synth-pop was a novelty at the time; it was certainly not something I associated with Robert Palmer, famed for his blue-eyed soul singing, sharp suits and model girlfriends.

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Dwight Yoakam came along at just the right time for me, in the mid Eighties, launching a lifelong love of country music.

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Here’s a second-wave punk band I don’t remember hearing before, probably because my tastes had evolved by the time they formed in 1981.

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Who would have thought a pasty-faced weirdo and his Manchester mates could create something as funky as Sly Stone’s original? Yet that’s exactly what Magazine manage to do.

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