First Lines, Second Chances
Eleven first lines down, fourteen to go.
What's left? Well, there's one I expected Persephone to snap up. Why might that be?
There's a classic British folk-rock track that I imagined Phil might leap onto.
Two tracks by female singers famous for (different) aspects of their anatomy.
One by a male singer who had a big hit duetting with one of those females.
One hit by a foreign duo who might have fitted effortlessly into the Daz Sampson video.
Two tracks by very different British bands who could both be classed as metal, one heavy and one more glam-ish.
A British singer-songwriter who seems to have been around for ever. This was one of his comparatively few songs to make it into the charts, sufficiently at least to get some airplay.
An American singer-songwriter, also with a long career, whose songs inspired a book of science fiction stories (which I own but haven't yet read). Her best-known song is very well-known indeed, and came right at the start of her career (which must be frustrating).
A band who were in on the ground floor of punk, so to speak, but became less punk and more pop as the hits piled up.
One from a classic album by a great British band. It was the next but one album that would move them from stardom to superstardom, though.
A collaboration by two giants of progressive rock, one of whom was once memorably described by a Capital Radio DJ as having the biggest electricity bill in the EU. This track probably racked up a few kWh for him.
And finally, the only one that could probably be described as obscure. The title track from a 1970s album by a British folk-rock group one of whose members was a member of a family famous for confectionery (and he really was, it wasn't just a coincidence of names). I'll tell you that that one is #14.
The rest, you really should get, especially with the hints.