input: By 1975, Jakszyk was leading an eccentric jazz-rock band called Soon After. His self-confessed "dictatorial tendencies" reduced a bigger line-up to a trio of "two screaming lead guitars and a trumpet" (the latter played by ex-National Youth Jazz Orchestra member Ted Emmett). The band reached the finals of the 1975 Melody Maker National Rock/Folk competition, finishing third to a heavy metal band featuring future Clash co-leader Mick Jones and to a big band featuring future saxophone session musician Gary Barnacle. When Soon After split up, Jakszyk toured with "a strange little band" which supported Camel, Stackridge, and Judas Priest, then briefly joined a Tring-based band called Synthesis which played progressive rock in the Canterbury-scene vein.  Jakszyk's first significant band was 64 Spoons, which he joined as guitarist and lead singer in 1976, co-writing much of the band's material. Between 1976 and 1980, 64 Spoons wrote and performed a blend of pop, progressive rock, jazz, and comedy (typified by their single "Ladies Don't Have Willies"). Boosted by an exuberant and funny live show, 64 Spoons proved popular with audiences but failed to gain an effective record deal or media breakthrough and split up in 1980. Their only album, Landing on a Rat Column, was eventually released in 1992, many years after it was recorded. Jakszyk would described them as "the wrong band at the wrong time".  64 Spoons's work did, however, lead to friendships with several of the musicians who had inspired the band, notably keyboard player Dave Stewart. Following the split of 64 Spoons, Jakszyk joined Stewart, Rick Biddulph, and Pip Pyle in the band Rapid Eye Movement. Jakszyk contributed several songs to the band's repertoire ("One More Time", "I'll Stand On My Own", "Ingmar Bergman on the Window Sill", "Straining Our Eyes", and "Dear Clare", the last of these a 64 Spoons song) and co-wrote material with Stewart ("This Is Not What I Want" and "'Allo Darlin' I Work on the Fair"). Between August 1980 and June 1981, Rapid Eye Movement toured Spain, France, and the UK and recorded material but split up due to Stewart's desire to concentrate on studio work (Jakszyk sang on the original version of Stewart's cover of "What Becomes of the Brokenhearted?", later a hit with a new vocal track by the Zombies' lead singer Colin Blunstone).  During this period, Jakszyk also contributed to sessions for the former Van der Graaf Generator saxophonist David Jackson's album The Long Hello Vol. 3 (eventually released in 1982).

Answer this question "Are there any other interesting aspects about this article?"
output: During this period, Jakszyk also contributed to sessions for the former Van der Graaf Generator saxophonist David Jackson's album The Long Hello Vol. 3 (eventually released in 1982).

input: Neshek has a very unorthodox style of delivery that transitions from starting at a submarine angle to finishing sidearm with an explosive thrusting motion. Near the release of the pitch, his torso and arm angle in a moderate "V" shape. He developed the delivery after being struck in the forearm with a ball in high school by C. J. Woodrow (a former Philadelphia Phillies farmhand). He then began to throw side arm and play shortstop due to his injury. When it healed, he could not change back to over the shoulder and his unique delivery stayed the way it is. He still has a lump in his forearm where he was struck.  The delivery has earned mention on SportsCenter as well as Baseball Tonight. Professional baseball scouts have had a divided opinion on the issue. Some were worried that this violent-looking delivery would lead to arm problems. Others considered the delivery to be an asset, as right-handed batters have a very difficult time seeing the ball. For example, Jose Marzan, his former manager with the Single-A Fort Myers Miracle believes that one of Neshek's greatest strengths is his ability to have enough strength to throw hard from such an angle, as his fastball used to top out around 96 mph (154 km/h) prior to his Tommy John surgery. Neshek has had great success in both the minor and major leagues as a reliever, averaging more than a strikeout per inning pitched.  After joining the Cardinals in 2014, Neshek's sinking fastball showed effectiveness well-above expectations through May 21. With a mean movement of 10.9 inches, it averaged more horizontal movement than any other pitch from any other reliever on the Cardinals staff, which was 1.3 inches more than Carlos Martinez' two-seam fastball. Martinez' own fastball has been heralded for its movement. Neshek's sinking fastball also averaged over 91 miles per hour (146 km/h) during that time, its highest velocity since 2007.

Answer this question "what was his pitching style"
output:
Neshek has a very unorthodox style of delivery that transitions from starting at a submarine angle to finishing sidearm with an explosive thrusting motion.