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Thomas Dolby has never played it safe. And, true to form, in April 1988 he came out of left field to deliver his exuberant, in-your-face third album Aliens Ate My Buick, which mostly eschewed synth-pop in favour of funk, jazz, zoot-suit swing, salsa and reggae. For whatever reason, though, it’s generally seen as his Marmite record – the one that tests even die-hard fans. In his autobiography The Speed Of Sound, Dolby described it as “a crazy postcard home from a British expat on a debauched visit to Hollywood.”