The Eighties revival, as is now well documented, has lasted far longer than the actual Eighties. And Elly “La Roux” Jackson is a vital figure in maintaining its durability, coming as she did to massive fame just as the effects of the turn-of-the-millenium club scene electroclash were wearing off, and making sure that plinky-plonky electropop keyboards, icy attitude and sculpted hair were kept on the cultural agenda.

Lewis: L'Amour

When Daytona was premiered at the Park Theatre last year some of the critics went into contortions to avoid giving away the two "reveals" in Oliver Cotton's plot. The challenge remains, but can there be many potential theatregoers who haven't heard about the shock revelation in the first half and the life-long secret disclosed in the second? If there are, the following may contain spoilers.

Various Artists: NME C86, The Motown 7s Box – Rare and Unreleased Vinyl Volume 2

Chris Carter and Cosey Fanni Tutti are a living lesson in the rejuvenating power of remaining experimental in art. Their music holds its own alongside the young guns of electronica, who indeed frequently idolise them, and in person they frequently seem as excited about possibilities and open to new ideas as artists just starting out.

Dead Moon: In the Graveyard, Unknown Passage, Defiance

Various Artists: Philadelphia International Records – The Collection

Josef K: The Only Fun in Town

You'll recall the scene where the title comes true in Gregory’s Girl. Gregory, a gawky, puzzled teenager played by John Gordon Sinclair, has finally hooked up with a girl. They spend a long evening dreamily kissing and listing their favourite numbers. “A million and nine," suggests Susan, played by Clare Grogan, after a long last smooch on his doorstep. "How come you know all the good numbers?" says Gregory, and you can hear the witty and the quizzical mingling in his voice, as inextricable as jam stirred into rice pudding.

Grace Jones: Nightclubbing