The fact that John Lydon has complained so long and so loudly about director Danny Boyle’s TV drama about the Sex Pistols has only served to pump up interest in the project.

By 1970, John Barry had composed music for Born Free, The Lion in Winter, Midnight Cowboy, You Only Live Twice and about 38 other films. His work with cinema began in 1960 and averaged around five films a year. In 1965, eight films were released with his music. He was busy.

“Touched by Rodin in a Paris Museum” is a 14-minute consideration of exactly what its title says: the impact of encountering Auguste Rodin’s work in person. The composition features piano only. There are nods to Debussy and Ravel. The playing is measured and minimal yet still full-bodied. At odd points, there are seconds of complete silence.

Barry Gibb was at the considerable peak of his era-defining songwriting powers when he provided the song that played over the opening titles of the iconic 1978 film, so it's a wise decision by director, Nikolai Foster, to go straight into "Grease is the Word" after a brief prologue.

“Ramonic buzzsaw impressionism guitars lovingly poured like a truckload of Quaker Oats over the indecipherable lyrical content that sounds like a rancid moggie that has snorted too much Pro-Plus.”

So that was a possible thumbs-up from NME’s Tony Parsons in his review of 999’s August 1977 debut single “I’m Alive.”

Over January, February and early March 1975, British music fans could buy tickets for what was titled The Naughty Rhythms Tour. Three bands were billed, with the running order changing each evening. The tour was the idea of Andrew Jakeman, who worked for one of the bands, and Chris Fenwick, the manager of another: on their own, each band couldn’t fill larger venues. Together, more tickets would be sold and fans would be picked up.

“The Method” by The Method Actors was issued as the top side of a single in July 1981. Although recorded in London during September 1980 and only released by a British label, the band – a duo of guitar/vocals and drums/vocals – were from Athens, Georgia.

What’s in the groove isn’t necessarily the end of the story. Sound is fixed into a record when it’s pressed. Get it revolving on a turntable, dump the needle onto it and what’s heard is what’s intended to be heard. It’s fixed. Nonetheless, DJs realised a record can be part of the route to something else, something which becomes their creation.

Fat Man’s Music Festival. The Haystack. Red Line Explosion. Stormy Petrel. Butterwick. Sweet Chariot. Names which don't immediately spring to mind.

The factor linking them is also common to 1967’s “Let’s go to San Francisco” hit-makers The Flower Pot Men, The First Class, who charted in 1974 with “Beach Baby,” and The Ivy League, who went Top Ten in early 1965 with “Funny How Love Can be.”

It was going to be great. Birmingham’s Digbeth Rag Market was hosting 1977’s highest-profile punk festival on 17 July. The Clash were headlining. Also billed were The Heartbreakers, Rich Kids, The Saints, Shagnasty, Stinky Toys, Subway Sect and Tanya Hyde & the Tormentors.