I’d never say we were really friends, and we came from very different backgrounds. But as fellow punks of the same age (he was born on Christmas Day just 16 days before me) Shane and I had an acquaintance.

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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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Merry Clayton is best known for her gospelly backing vocals on the Stones’ anti-war anthem Gimme Shelter, wailing in harmony with Jagger. But there was much more to her than that.

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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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Bo Diddley’s heyday was long gone by 1970 and he was mostly seen as a heritage act on the oldies circuit (if at all) by the time he tackled the topical issue of Pollution. But it’s a great track.

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Michael Chapman was a guitar virtuoso, acclaimed for his acoustic fingerpicking. But it’s Mick Ronson’s electric guitar that steals the show here.

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Bob Dylan painted a picture of economic despair in his heartbreaking tale of a farmer driven to familicide, The Ballad Of Hollis Brown.

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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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When what the music press lazily dubbed “The Scottish Sound” emerged at the end of the Seventies, Josef K were the yin to Orange Juice’s yang – the dark underbelly to their bright and sparkly pop.

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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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