For Dave Brubeck, his Quartet’s first concert in the Netherlands was memorable. Getting to Amsterdam’s Concertgebouw for the 26 February 1958 booking was difficult, possibly unfeasible. The band were travelling from Berlin, and arrived at the show a half-hour after they were meant to be on stage.

The most commercially and consistently successful band on DinDisc was Orchestral Manoeuvres in the Dark. Martha and the Muffins also made a mark. Label mates The Monochrome Set were cool, distinctive but not so chart friendly. The Revillos were less reserved, as was New Wave of British Heavy Metal outfit Dedringer. The patronage of Heaven 17 brought dance troupe Hot Gossip to the label.

The New York Dolls, The Ramones, Suicide, Television, Blondie, The Dictators, The Heartbreakers, The Shirts, Richard Hell and the Voidoids. From 1974 onwards, New York buzzed with bands. There were also Tuff Darts, The Fast, Pure Hell, Von Lmo and others who didn’t quite grab the brass ring. Out of towners like The Dead Boys, Pere Ubu, Devo and The Real Kids jostled for attention too.

“Ka Huma” by Ivo Nilakreshna sounds as if a jazz band was taking on rock ’n’ roll. There’s a swing and sway, busy rhythm guitar and a lead female voice singing a yearning melody. An instrument which seems to vibes is in there. But there’s more than the familiar elements. Most of the influences are unrecognisable.

The 1997 release of Time Out of Mind was the resurrection of an artist who appeared to have wandered off the reservation some years before, lost in transit on his Never Ending Tour, trailed by an army of "Bobcats" who followed him for show after grinding show. “How can you stand it?” he once asked of a woman who told him she’d seen dozens of NET gigs.

At some point in 1979 a duo called The Door and the Window are playing a London Musician’s Collective show in a large brick building along the road from Cecil Sharp House in Camden. One of them has a synthesiser, probably a WASP. The other has tape recorders and a guitar. The inscrutable noise made features clanks, grinding and drones.

A first encounter with Rustic Hinge and the Provincial Swimmers is unforgettable. Their summer 1970 recordings are so far out they at first seem unlistenable. Persistence pays though and the ear tunes in. It becomes clear this band swallowed the Captain Beefheart playbook and regurgitated it after applying a severe dose of the cut-up technique.

A strange new single went on sale in Britain’s record shops in April 1962. Credited to Ray Cathode, “Time Beat” combined a metronomic rhythm with peculiar, otherworldly sounds. It was not a standard pop record. The flipside, “Waltz In Orbit”, was also about its tempo and was just as weird. Not many copies were sold.

In December 1977, the music weekly Sounds included an article about the County Durham punk band Penetration. By Jon Savage, it was headlined The Future Is Female. The same four words would be used by the band for their promotional badges.

The Beatles loomed over everything else. It wasn’t inevitable, but the arrival of the revealing Revolver box set and Peter Jackson’s compelling Get Back film confirmed that there is more to say about what’s known, and also that there are new things to say about popular music’s most inspirational phenomenon of the 20th century.