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▶SING SING 'Ear' T-Shirt
For the Sing Sing fans that wanna show it in style we've got a limited run of these great T's made up. These are super high quality American Apparel ringer and baseball-tees. Only 25 of each!!
More info including colors, sizing and order info available HERE
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▶ COLOURED BALLS - Ball Power LP
Coloured Balls were one of the best pure rock n roll groups to emerge from the early 70s Australian scene. Sure, The Saints and Radio Birdman stayed together longer and released a slew of fine albums during the punk era but it was the Coloured Balls who pioneered the proto punk sound earlier in the decade. Their wildcard was Lobby Loyde, Australia’s premier guitar hero whose pivotal roles in beat/psych/blues rock groups The Purple Hearts, The Wild Cherries and Billy Thorpe’s Aztecs made him a major home-grown star down under. Ball Power is full of raw, hard guitar rock and proto-punk. It's not only the Coloured Balls’ greatest album but also the finest music of Lobby Loyde’s long, fabled career. (Rising Storm)
More info including track listing, bio and press photos is available HERE
Release Country: Australia
Release Year: 1972 / Reissue Date: 12.12
Original Label: EMI
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▶ SLEAZE - S/T LP
1975 pre-Adverts LP from punk legend TV Smith. Originally released in an edition of only 50 copies.
TV Smith says...
14th June, 1975. It was a studio, a proper studio - just like the ones the proper bands recorded in. At least, it was the nearest I’d ever been to one and now my band Sleaze, that had so far had to make do with playing support slots at local clubs and discos - as well as the occasional “headline” gig in local school halls - was about to record some of our songs, just like a proper band.
Torquay in the mid seventies was not the easiest place and time to have a band, particularly a band that performed all its own material. The only group that anyone knew who’d ever made it out of this tourist backwater in the South West of England to any kind of international success was a rock band called Wishbone Ash, and the local audiences wanted to boogie away their evenings to music like that - or live bands playing covers of Status Quo or Free - not us, with our peculiar lengthy songs that sounded like a crossover between glam à la Bowie or Cockney Rebel and prog bands like Genesis or Van Der Graaf Generator. Around these parts, such pretensions were frowned upon.
But here we were, determined to get our music down on record whether anyone was interested or not. The family of our rhythm guitarist owned a large house in nearby Newton Abbot and for the preceding months had tolerated us taking over their music room for regular rehearsals. We were tight, we’d played a few gigs and now it was time to make a record. I’d spotted an advert in the local paper for a recording studio in Torquay being run by an ex-BBC engineer that looked like it could be what we needed. Even better, the studio could be hired for just a short period rather than a whole day, which made it just about affordable. We set up our equipment, the engineer placed the microphones and recorded a few minutes to check the sound, then we put the whole album straight onto tape, song by song, playing live with no overdubs. Two hours recording time, twenty pounds for the lot, plus another half hour for the engineer’s time splicing the tracks together, and the price of the two reels of tape. All in all, the Sleaze album cost the princely sum of £38.88. We went on to press up fifty copies onto vinyl, most of which we gave away to family and friends.
If we’d been a bit more savvy, we might have pressed more copies and tried to sell them at gigs, although as it turned out the band wasn’t to play many more of those. To be honest, we knew that this record was to be more of a swan song than the launch of a career. I’d gone to Torquay Polytechnic at the end of summer 1974, straight out of school, to take a year-long Art Foundation course and had been spending most of my time forming and playing with Sleaze rather than doing the course work, but the fact was that the college year was nearing the end, and soon the individual band members would be going their separate ways. In addition, I’d met a new girlfriend in the art department and not only did she have the same Iggy and New York Dolls records in her collection as I did, she’d shown an interest in learning bass guitar and wanted me to teach her. Within a year we’d moved to London together and started rehearsing a new band, she’d changed her name to Gaye Advert...and the rest is history. I was no longer a solitary musical rebel pushing against a door that refused to budge. I was one of a multitude of rebels who felt the same way I did. This record is the sound of that rebellion trying to find its way, the door creaking against its hinges - a year before punk exploded, the door finally blew open and the music scene changed forever.
More info including track listing, bio and press photos is available HERE
Release Country: UK
Release Year: 1975 / Reissue Date: 12.12
Original Label: No Label / Private Press
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▶ McELROY BROS. - Can't You See Me Smilin LP
The McElroy Bros.' Can't You See Me Smilin' LP is a private-press pop masterpiece recorded in 1977 in rural Vermont by identical twin brothers, Brian and Bruce McElroy. Using familiar 60's British-invasion song structures, the album is somehow instantly familiar while the recording and instrumentation are both totally unique -- perhaps, it's the unrivaled keyboard playing... or the harmonizing vocals that only twins could deliver. Whatever it is, this album is extremely sought after by pop and powerpop fans alike and has managed to eluded many others for too long now! (Repressed in an edition of 500 copies only, LP includes 18x24 poster!!)
More info including track listing, bio and press photos is available HERE
Want more? Check out the interview we did with Brian & Bruce on our blog, HERE.
Release Country: USA
Release Year: 1977 / Reissue Date: 12.12
Original Label: Paja's
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▶ RAZAR - 'Stamp Out Disco' b/w 'Task Force (Undercover Cops)'
Brisbane in the late '70s seemed to encourage more than its share of youthful rebellion. While the Bjelke-Peterson regime didn't encourage protest, it provided lots to protest against. Punk music's do-it-yourself ethos encouraged ordinary people to take control and have their say. Police harassment, the onslaught of disco, money or the lack of it, television news sensationalism and pre-packaged 'teenage' entertainment such as Countdown meant there was a lot to sing about. And the vibrant Brisbane music scene produced a remarkable number of you bands that, while not achieving the international fame of The Saints, made their mark on the hearts and minds of the local audience.
Razar was formed in Brisbane in 1977. The band featured vocals by seventeen year old Marty Burke, with fifteen year old Bob Wackley on bass, his eighteen year old brother Greg (Keg) Wackley on drums and sixteen year old Steve Mee on guitar. All four had known each other at school and had performed in earlier cover bands. The boys were keen musicians, and were already starting to write their own original material.
With Razar, the music and the thrust hit you somewhere between Gut Central and the Pleasure Centre - you just can't help but feel great. The playing's sharp as the name. Each number was like a jolt of power, the whole thing sussed for maximum effect. No sloppy intros, missed lines, fuzz out anti-climaxes. Just a two-three minute surge, then cut.
"Every song we has was very fast. Out policy, our slogan at the time was YOUNG, FAST & NON-BORING" (Marty Burke)
Release Country: Australia
Release Year: 1978 / Reissue Date: 08.12
Original Label: Self-Released.
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▶ THE BLITZ BOYS - 'Eddy's New Shoes' 7" EP
Punks were few and far between in the Forest of Dean - a remote, heavily wooded, former coal-mining area on the border between England and Wales. You had to be dedicated or stupid to survive the constant ambushes from local disco boys, bikers and rugby club drunks. Five teenage punks ('Topper' Toplis, Jer Phelps, Drew Smith, Jon Ralphs, Barry Phillips) united in a love of The Boys, The Ramones, T Rex and 60s girl-groups formed The Blitz Boys. A million miles from the narcissism of the deteriorating London scene the boys drew inspiration more from Northern Ireland - the tunes and escapism of Good Vibrations Records, of Protex, Rudi, The Outcasts and The Undertones.
It was DIY or do-nothing. Gigs were initially few and far between - and what gigs there were often ended abruptly due to fighting amongst, or with, the audiences...or equipment failure. Helped by incendiary Gloucester punks Demob, who gave them support slots, the boys began to pick up more gigs and press. In 1980 The Blitz Boys second studio venture yielded 3 tracks – live favourites Eddy's New Shoes, She Told My Friends She Loved Me (But She's Too Shy To Talk To Me) and Eddy's Friend. Self-funded with the support of their loyal circle of friends and fans, and with outstanding artwork from the Inadequate Youth, the Eddy's New Shoes EP was released on the bands own Told You So Records – a dig at a journalist who predicted they'd never achieve anything. Within a week the title track was getting repeated plays by John Peel who also aired both flip-side tracks. The great man 'got it', commenting that he loved bands who created their own world. They met with Peel at the BBC and things momentarily looked bright with a second single planned and talk of a Peel session. But it wasn't to be. The band was always destined to burn briefly (and vividly). Eddy's New Shoes was a poignant legacy created from the chaos and the total lack of focus which would lead to the bands inevitable evaporation. Barry carried his guitar through various other bands eventually realising his ambition when The Rainsaints signed to Good Vibrations Records.
Meanwhile, Eddy's New Shoes became a cult track - pirated on a number of punk compilations despite the band's ambivalence, but until now never legitimately re-released.
Release Country: UK
Release Year: 1980 / Reissue Date: 08.12
Original Label: Told You So.
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▶ ADRENALIN - 'Cumz 'N' Goes' b/w 'Rock 'N' Roll Screamer'
Detroit Rock circa 1976 meant one thing and one thing only: the ready-made light beer commercial sounds of ‘Night Moves’ by Silver Bullet Bob Seger. And if that one fact is not enough to convince you that the high time, high-tide of high-powered Motor City rock was definitively dead mid-Me-Decade then you can see also Glenn Frey. However, there remained many ideological hold-outs; bright spots amongst the burned-out crags of Detroit’s blighted skyline: Sonic’s Rendezvous, Death, The Dogs, Lightnin’. But the band that came the closest – in true garage group style – to recapturing the excitement and spirit of the Grande Ballroom with one fell double-sided swoop before hopping a bus-ride back to nowhere was Adrenalin. Looking, from surviving video footage, like the featured entertainment at a Hamtramck Junior Prom, but sounding like a junior varsity MC5, the Guitar Army rampage on ‘Rock N Roll Screamer’ reeks of amphetamines and A2 residue; the gymnastic histrionics of Sonic Smith most particularly. The flip-side’s no slouch either. Easily in the same league as ‘City Slang,’ ‘Raw Power’ or ‘Borderline,’ ‘Rock N Roll Screamer,’ originally issued without a picture sleeve on the obscure local Fiddlers imprint, is the happiest of accidents as Adrenalin’s intentions were never proto-punk glory. The best record I don’t own and, in my mind, the best justification for the continued search for obscure and unknown records. BUY IT NOW! (Collin Makamson)
Release Country: USA
Release Year: 1977 / Reissue Date: 08.12
Original Label: Fiddler's Music Company.
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▶THE BATS - 'Popgun' b/w 'Tell Me Why'
That the Bats came from that era and didn’t suck is an amazing fact du jour. And, for the record, these Bats came and went long before the like-named New Zealand group even formed (and then fluttered into their own cave of obscurity). The Bats from New Haven, CT comprised three songwriters and this near perfect single that melded New Wave, Ventures noodling, well-meaning but misplaced prog and, best of all, catchy, beautiful pop.
What's on the vinyl is well-crafted, if youthful power pop. This group is only a trio, and from their looks quite young but manages to project a full, powerful sound. Though on a small label the sound is crisp and professional. To those who wake up every morning to well worn copies of the Raspberries' "Go All the Way," this one's for you. – Billboard October 2, 1982.
Release Country: USA
Release Year: 1980 / Reissue Date: 08.12
Original Label: Gustav.
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▶ SHAMBLES - 'Hello Baby' b/w 'Held Me Spellbound'
Shambles were led by ex-Mandrake Paddle Steamer singer Brian Engel and their only single is made up of two absolute corkers. Hello Baby is a great hi-energy Power Pop/Glam number that is totally infectious and the B side, the wild and rockin' Held Me Spellbound is as good if not better than Jook covering Watch Your Step. More than inspired by That's Alright Mama, Spellbound features 2 blistering lead guitar breaks that will strip your walls bare. Both tracks are wonderfully loud and bright thanks to the great Roy Thomas Baker production.
I am amazed at the number of acts that Brian Engel was involved with: He was in Starbuck (the Do You Like Boys one), Prowler, Liverpool Echo, Limey and others… including a stint with The New Seekers! (Purepop)
Release Country: UK
Release Year: 1975 / Reissue Date: 06.12
Original Label: RCA Victor.
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▶ THE SPELLING MISTAKES - 'Feels So Good' EP
Formed in 1979 from the remnants of two bands, Get Smart and The Aliens, their line-up was Nick Hanson (vocals), Julian Hanson (drums), and Warwick Fowler (guitar). Initial bassist, Keith Bacon, was replaced early in 1980 by Nigel Russell.
Released in 1980, the 'Feels So Good' EP was well received, but problems began to mount: Fowler had acquired the habit of wearing a Nazi SS uniform on stage, which combined with the quartet's pre-existing "boot boy" following resulted in a total ban from the Auckland club scene.
Even so, the record reached number 29 in New Zealand and probably could of sold more but the label lacked funding.
They were even approached by Phonogram and asked to contribute to a 'solid gold' type album however when Phonogram heard the song they immediately asked for their compilation advance cheque back.
**The sleeve was scratched on the way to the printer and you can still see it on the cover.
Release Country: New Zealand
Release Year: 1980 / Reissue Date: 06.12
Original Label: Propeller Records.
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▶ THE NOTHING- 'Scream N Cry' b/w 'Uniformz'
Trixz Sly (Torquill Smith 4/23/48 - 11/01/2005), met Johnny Thunders
and Jerry Nolan from the New York Dolls while they were in London in
the mid-70's. He was then introduced to the Sex Pistols by the manager
of the Dolls/Pistols, Malcolm McLaren, in 1977 and moved to NY in
1978.
The Nothing formed in NYC in 1978 and the lineup for their lone 45 consisted of Trixz Sly (v), Bobby B. Wild (gtr)
Phil Schoenfelt (b) and
Mick Crash (d). By 1980, several
members had left to join other bands and The Nothing broke up. Probably due to Trixz's heavy drug
use which would be the major reason why he never "made it" as a
popular punk musician.
Trixz later formed another band, the Cyanide
Sweeties which would also dismantle due to drug use.
They played the rock/punk clubs in NYC including CBGBs, and built a
strong fan base playing at Max's Kansas City.
He wrote the lyrics for all of his songs and would continue to play
his songs with other musicians, including The Misfits, The New York
Dolls, The Sex Pistols, Billy Idol, Lou Reed and Keith Richards.
Trix Sly recorded a solo album "Bossa Nova Baby" in 1980 and would
continue working with experimental music and film until his death in
2005. He partnered up with Adam West (Batman) to film a documentary on
Woodstock '94, but the project was never finished. At the end of his
life he was an activist for the homeless in Miami and presented the
"Homeless Bill of Rights" to the city of Miami Beach. He was found
dead in his apartment and the cause of death was declared "natural
causes." (Trixz Smith)
Release Country: USA
Release Year: 1979 / Reissue Date: 03.12
Original Label: Wide Awake Musik.
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▶ ROTTWEILER - 'I'm Down' b/w 'Wanna Be Your Friend'
Consisting of Bengt Johansson (b), Lars-Göran Bäck (d), Håkan Schüler (v) and Per-Erik Johansson (gtr), Rottweiler originally started in the town of Nässjö 1979 but moved on to Lund and Malmö in the very south of Sweden in 1980. The band´s first and only recording was released just before the move and issued in an edition of 500 copies. The B-side appeared on Powerpearls Vol. 7 but until now 'I'm Down' existed solely on the original pressing. 1981 the band decided to change names, add another bandmember and started to sing with swedish lyrics; at the same time - Perfekt Alibi was born.
Release Country: Sweden
Release Year: 1980 / Reissue Date: 03.12
Original Label: Rottweiler.
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▶ ROCKIN' HORSE - Yes It Is LP
Rockin' Horses' "Yes It Is" has been critically hailed as one of the true lost British power pop relics. When the late Greg Shaw (Bomp Records & Magazine) created his Voxx subsidiary, the first single he decided to reissue was Rockin' Horses' 1971 magnum opus single, "The Biggest Gossip in Town." Shaw declared that the single was the greatest power pop song of all time – heady stuff.
The power pop sounds of "Yes It Is" have been favorably compared to the best of The Beatles' "Let it Be" era and Badfinger's early 1970 efforts. As an homage, the band's name was drawn from The Beatles' "Lucy in the Sky With Diamonds" and the album title itself from The Beatles B-side of "Ticket to Ride."
Rockin' Horse was formed in 1971 by lifelong best friends Jimmy Campbell (The Kirkbys/23rd Turnoff) and Billy Kinsley (The Merseybeats/The Merseys) after the end of their respective Liverpool bands had split. Joining the Liverpool core duo were hired studio guns: Bobby Falloon (guitar), Stan Gorman (drums) and Michael Snow (keyboards).
Having been schooled in the very same musical influences as the Fab Four, the end result is eerily similar to the sound the Beatles were creating at the end of their career during 1968-1970. The album was not an attempt to "ape" The Beatles' sound, but more the end product of having grown up as contemporaries of The Beatles in Liverpool and listening to the same records and playing the same circuits . How could they not end up sounding similar?
Locating a copy of the original album is close to impossible and very expensive. Now you can own one of the greatest power pop recordings of all time on vinyl with its original Hipgnosis sleeve design.
Release Country: UK
Release Year: 1971 / Reissue Date: 01.12
Original Label: Philips
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▶ SCREAMING URGE - 'Homework' b/w 'Runaway'
Columbus, Ohio forms the southern point of Ohio's golden triangle of D.I.Y. (with Cleveland at the north, and someplace between Akron and Youngstown to the east). From these few hundred square miles emerged dozens of bands whose musical roots flow directly from the splendidly guileless art-rock of Rocket From the Tombs and Pere Ubu -with barely a trace of Ramones, Sex Pistols or Elvis Costello... Screaming Urge's "Homework" is this series' theme-song. They were certainly the punkiest outfit in the gloriously experimental Columbus scene at the turn of the '80s, but the thoroughly un-punk artwork on their LPs and the EP still scares off the headbangers. They played the heck out of Columbus' clubs, church halls, sidewalks and a burlesque club they rented. Major label nibbles came to naught, but they left behind a cool 45 (New Age 002) and two LPs-worth of world-class DIY-punk. Drummer Dave Manic went on to Great Plains.
Release Country: USA
Release Year: 1980 / Reissue Date: 01.12
Original Label: New Age.
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▶ AMBULANCE - 'It's All Up To You' b/w 'I Remember'
Finally! This lone single from New Jersey's Ambulance sits in the top tier of power pop 45s and is usually only afforded by serious collectors but now its here for mass consumption! Consisting of Steve William (gtr), Johnny C. (b) and Bobby Padula (d), the trio would call the legendary Dirt club in Bloomfield, NJ their homebase (they even did a commerical for them) but were also known to frequently play the NYC punk clubs. The single, recorded in 1978, and originally issued in an edition of 1000 copies, was well recieved at the time and got decent airplay. Check out their video for 'I Remember' HERE. Also, keep an eye on Ambulance's website for a comprehensive-discography CD to be issued in the next couple months.
Release Country: USA
Release Year: 1980 / Reissue Date: 01.12
Original Label: Urgent Sound
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▶ PUMPHOUSE GANG - Pumphouse Gang LP
Formed from the ashes of a mid-70's rock band called Horse, the founding members of Pumphouse Gang - Ricky Wreckage (vocals), Ralph Von Wau Wau (bass), SG Coolbridge (guitar) and Dread 'Family Man' Jones (drums) were active on the fringes of the UK punk scene as early as late 1976. The band made regular trips from their base in Ryde on the Isle Of Wight to play London's live circuit at venues like The Marquee, The Speakeasy and The Nashville, and on the same bill as acts like Generation X, Fabulous Poodles, The Lurkers and The Only Ones.
This album features the best of Pumphouse Gang's material for Splash Records, including eight tracks never previously released on vinyl. Lost classics like 'When We Were Young', 'Black And White' and 'Teenage Lament' together with those now highly collectable Splash singles only emphasise how wrong the record buying public were to ignore the band back then. Perhaps this LP will go some way to righting that wrong. - James Denholm (Worthless Trash)
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▶ JET STAXX - 'I'm Gonna Be The Best Guy' b/w 'You'll Get The Chop'
In the early 70's Mike Butcher worked as a studio technician at Morgan Studios in London. On relocating to Belgium a few years later to work at Morgan's other studio in Brussels he hooked up with co-worker Alan Ward (Elton Motello) to record two singles under the band names Feather and Rollerball as well as co-writing and playing guitar on most of Elton Motello's two albums. Mike Butcher also recorded two solo singles as Jet Staxx, the first 'I'm Gonna Be The Best Guy' / 'You'll Get The Chop' was released in Belgium (Topkapi 2103 131), Germany (Bellaphon BF 18594) and Holland (Scramble SRS 510.061) in the spring of 1978. In the studio, Butcher (vocals/guitar) was assisted by drummer Pascal Van Het Groenewoud and someone known as Randy Sod on bass, though it's likely Butcher played bass himself. The 2nd single 'French Girls' followed in September 1978. - James Denholm (Worthless Trash)
Release Country: Belgium, Holland, Germany
Release Year: 1978 / Reissue Date: 10.11
Original Label: Topkapi, Scramble, Bellaphon.
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▶ DWARF - 'Gotta Get Louder' b/w 'I Won't Be Back'
Once in a while a single gets plucked out of obscurity which is a total revelation and becomes an obsession to track down, but rarely does this same single get played over and over and you know it has the staying power to remain a firm favourite forever. I am very glad to say that this single is one of these rare beasts. It is everything you could ever wish for and absolutely ticks ALL the right boxes.
How to put a tag on 'Gotta Get Loude'r? It sits somewhere between Proto-Punk, Bubblegum/Hard Rock and Powerpop. It's insanely catchy and an instant exuberant classic. What makes this even more amazing is that most of the band were 15 at the time!
'I Won't Be Back' is stupendous in its snotty Teenage Punk attitude. I was thinking of The Runaways as I believed a girl singer was involved, but this is not the case as explained by Nick Piunti "that would be me, make that pre-pubescent me..." The guitars clang and crash, the drums are full power with added momentum of a glorious cowbell nailing everything down to the beat. So put both tracks together and you end up with the best coupling since Elizabeth Taylor and Richard Burton! - Robin Wills (PurePop)
**The original release was issued without artwork. The reissue comes housed in a Sing Sing Records company sleeve.
Release Country: USA
Release Year: 1975 / Reissue Date: 10.11
Original Label: Merlyn Records.
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▶ BRAD LONG - 'Love Me Again' b/w 'Come To Me'
In and out of unrecorded regional combos since the late 1960's, Logansport, IN music store owner Brad Long issued this, his lone single, on his own Music Stand label in the summer of 1977. Featuring a warm, lo-fi basement pop sound with stylistic roots firmly grounded in the mid 60's, both 'Come to Me' and 'Love me Again' evoke a hazy mood reminiscent of early Twilley. Also included with the release were a series of press releases, a section of which listed Long's heroes as Roger McGuinn, Paul Revere and the Raiders and Joe Meek. Greeted with positive reviews in the pages of ( Ballroom) Blitz and NY Rocker, Long later contributed a cover of the Rolling Stone's 'Tell Me' to the first VOXX ' Battle of the Garages' compilation. (Collin Makamson)
Release Country: USA
Release Year: 1977 / Reissue Date: 08.11
Original Label: No Label, Self-Released.
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▶ THE ONION DOLLS - 'The Kids' b/w 'Hot Love'
The Onion Dolls, a four piece punk band from Belgium managed to release this lone 45 before changing their name to Crossfire and fully embracing the New Wave Of British Heavy Metal movement that was sweeping Europe in the early 1980's. Both tracks on this 45 are unsuppressed killers with shredding guitar lines giving up more than a hint of the NWOBHM influenced sound that was to come. Originally released in 1980 on the TWINKLE label in an edition of 1000 copies with a truly great picture sleeve this highly sought after single is one of Belgiums greatest Punk Rock gems.
Release Country: Belgium
Release Year: 1979 / Reissue Date: 08.11
Original Label: Twinkle
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▶ CLAP - Have You Reached Yet? LP
Like most followers of rare seventies rock esoterica I first heard about HAVE YOU REACHED YET? via the pages of the now-legendary BOMP fanzine. It was the surf issue if I recall correctly, and editor Greg Shaw, in the course of a pretty positive review, mentioned Clap's ability to mix up what seemed like a healthy late-sixties punk rock attitude with the prevailing hard rock winds of the early-seventies from whence this album came. The album was a charm with the hefty Rolling Stones influences so common of the day being reshaped by a strong Shadows of Knight snarl all filtered through an early seventies heavy metal consciousness giving us...a sound and style that although part and parcel to the stoner seventies mentality had a totally unique and refreshing approach that sounded as if it could stand on its own not only in 1972 but 1966 or even 1987 for that matter. It was teenage rock & roll that continued to sound so long after the entire teen mystique of the sixties and seventies shriveled away, yet it was hard enough for even the most experienced pothead at the supermarket to roll joints to during his coffee break.
So for you youngsters here's an example of what "do it yourself" rock used to mean when you pretty much had to create your own fun, energies, and lives even from scratch and for your oldsters, now's the time to drag out the boas, the mascara and the nylons and re-live the post-Vietnam era the right way. Of course if you get arrested don't come complain' to me, but then again wouldn't that only add to the overall glam/slam effect so common during those rather peculiar times?
(Chris Stigliano).
More info including track listing, bio and press photos is available HERE
Release Country: USA
Release Year: 1972 / Reissue Date: 04.11
Original Label: Nova-Sol
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▶ LIQUID STONE - 'Here Comes The Weekend' b/w 'Because Of You'
From the small town of Buckingham, 60 miles north of London, Liquid Stone was a four piece band that was formed by Ronni, Mick and Muz in the mid Seventies . Various line-ups centred around the key member, Ronni Sunderland (vocals and rhythm guitar) and Mick Prod (backing vocals and lead guitar) but it reached the pinnicle of its career in May 1980 with Ian (Muz) Murray on Bass (also vocals) and Ian (Tanner) Tansley on drums . After supporting the UK Subs at 'Friars' in Aylesbury, the Subs were so impressed they asked Liquid Stone to accompany them on their 'Brand New Age' tour of the UK and in May 1980 the two bands toured the country playing to audiences from St Austell to Hull and culminating in a gig at the famous Rainbow Theatre in London.
The band were well known for their energetic and professional performances. Always a crowd pleaser, Liquid Stone decided to cut their one and only single, 'Here Comes the Weekend' in 1979. All still teenagers at the time the band made their way North to Red Ball Studios in Market Drayton to lay down the tracks but it wasn't until 1981 that the single was formally released. This didn't stop the band topping the offical 'Oi!' charts in 1980 with a live recording of the tracks. Liquid Stone continued to rock clubs and venues around London for the next couple of years and all the members are still playing today.
**The original release was issued without artwork. The reissue comes housed in a Sing Sing Records company sleeve.
Release Country: UK
Release Year: 1981 / Reissue Date: 04.11
Original Label: Liquid Stone Music
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▶THE BUZZ - 'Insanity' b/w 'Him Not Me' 'Sick At Heart'
A very rare and increasingly collectable piece of plastic issued in March '79 on the Redball label in an edition of 1,000 copies, this EP features three under-produced two-chorders, recorded by a Shrewsbury-based outfit formed in early 1978 by Nic Evans (v/gtr), Cob Hillers aka Chris Hill (gtr/v), Gym Slips aka Jim Phillips (b/v) and TwoFourty Volts aka Kevin Higgs (d/v). The killer track is SICK AT HEART with its great Buzzcockian riff and TVPs-like 'ooooh'-chorus. Recommended. A different line-up of The Buzz – Kevin Higgs was replaced by Ian R. Davies, Chris Hill moved to bass and lead vocalist Chris Bellingham was recruited – would enter Foel Studios in July 1981 recording the album ASYLUM, self-released in a pressing of 1,000 copies a couple of months later. (45 Revolutions)
Release Country: UK
Release Year: 1979 / Reissue Date: 04.11
Original Label: Redball
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▶ THE MOONDOGS - 'Heads I Win' b/w 'Two's A Crowd'
A very scarce 7" from a Liverpool-based group formed in 1976 by Ian Irvine (gtr/v), Patrick Colohan (gtr/v), Dave Gough (b/v) and Steve Plumber (d). After making their live debut in summer 1977 at the Hope St. Fringe Festival, The Moondogs built up a growing cult following with the incendiary renditions of Chuck Berry and Gene Vincent oldies. In 1978 Plumber was replaced by Tony Dolman and the new line-up record this single, produced by former Deaf School drummer Time Whittaker and issued in October 1979 on Rexette Records, and independent label created by Roger Earle, founder of Eric's Club. Pressed in an edition of 1,000 copies, the platter includes the Powerpoppy TWO'S A CROWD on the flip and the Freakbeat A-side HEADS I WIN, whose riff is similar to the Psyschodelic cult song MY FATHER'S NAME IS DAD by Fire. In 1980 The Moondogs changed moniker to The English, to avoid confusion with the other Moondogs, releasing one single for Albion Records (the A-side of which, HOORAY FOR THE ENGLISH, is a great Powerpop tune) before splitting. Dolman soon joined Lawnmower, a short-lived combo who included future Simply Red frontman Mick Hucknall. (45 Revolutions)
Release Country: UK/Holland
Release Year: 1979 / Reissue Date: 04.11
Original Label: Rexette
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▶ STRAIGHTSHOOTER - 'Straightshooter' b/w 'She's So Fine'
A four-piece group formed in 1976 and active in the Southampton area with a line-up of Dom O'Riley (gtr), Pete Luck (v), Tony Ecclestone (b) and Mike O'Riley (d). In 1977 Straightshooter joined the local heat of the Melody Maker-sponsored 'Rock & Folk Contest', but their Punk/Powerpop set witht he occasional Hard Rock overtones failed to impress the jury. Recorded at Airport Studios on MAY 20, 1979, the combo's one and only vinyl output was co-produced by sound engineer G. Dewhurst and privately issued in an edition of 500 copies through the SRT pressing service in the second half of July. The two self-penned songs are remarkable efforts and justify the collector's status reached by the 7", with the B-side, a melodic but energetic Powerpopper entitled SHE'S SO FINE, as the stand out cut. (45 Revolutions)
**The original release was issued without artwork. The reissue comes housed in a Sing Sing Records company sleeve.
Release Country: UK
Release Year: 1979 / Reissue Date: 04.10
Original Label: Strolling Bones.
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▶ PROTEX - Strange Obsessions LP
Strange Obsesesions has long been the holy grail of fervent record collectors worldwide. Rumors have abound that this album had been released in Holland and or that there were a small number of white label test pressings in existence but none of these claims have ever been substantiated. As far as I can ascertain, this is the first time that ten of these tracks have become commercially available anywhere. The fruits of these Chas Chandler sessions had only been previously hinted at with the bands final singles and the track All I Wanna Do Is Rock ‘N’ Roll that appeared on the American only Polydor compilation album Made In Britain.
The title track of this release is worth the entrance fee alone. A genuine teen anthem if there ever was one. A live rendition of the song was featured in the Shellshock Rock movie but to get to hear the song recorded in a proper studio is truly a blissful experience. The production is clean and crisp and it baffles me how either the band or record company were dissatisfied with these sessions at the time. Perhaps when revisited and with the hindsight of time on their side their perspectives may have changed.
(Sean O'Neill; co-author of It Makes You Wanna Spit!)
More info including track listing, bio and press photos is available HERE
DOWNLOAD ON ITUNES
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** All customers residing outside of the US must the select the 'International Orders' option. The difference in cost is only to compensate for extra shipping charges and does not mean that we're charging you more than US residents.
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▶ JEFF HILL BAND - 'Something's Wrong With My Baby' b/w 'Whatever She Wanted'
Immediately after the release of the Chiswick single, Jeff Hill recruited drummer Dave Buckley (ex-Moonshine, who recorded a 1976 EP titled TOO YOUNG TO LOVE ME) and bass player Ray Humphries: the Jeff Hill Band played their first gig in Burtonwood on October 19. A few demos were taped in Warrington on November 26, two days before entering London’s Pathway Studios to record a second 7” for Chiswick which never saw the light of day. In the second half of 1978 a deal with Rabid Records was negotiated and two tracks were taped at Cheshire’s Revolution Studio on February 19, 1979, with Steve Hopkins (k) as guest musician and Andy Mac taking production duties. Rabid planned the release of a single then decided to include the two tracks on a compilation album: both projects were eventually aborted. Undeterred, the Jeff Hill Band decided to found their own label, Balloon Records, and self-financed the pressing of 500 copies of a 7” housed in a cartoon picture cover with a Ramonesy drawing of Jeff wearing a 'gabba gabba hey' badge. The record emerged on December 20, 1979, and is worth tracking down, though it is quite hard to locate: its two Punk/Powerpop songs are enjoyable efforts with the A-side SOMETHING’S WRONG WITH MY BABY arguably being the better track. Plagued by sparse distribution, sales were minimal causing the combo’s demise after a final gig in Warrington on MAY 19, 1980.
Release Country: UK
Release Year: 1979 / Reissue Date: 11.09
Original Label: Balloon Records
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▶ ORBITS - 'Make The Rules' b/w 'Phenomenal World'
Formed in Milwaukee, The Orbits were a mod/powerpop three-piece band whose outstanding "Make The Rules" can be heard on the 2nd volume of Powerpearls. Old bandmate (and also Shivvers' drummer) Jim Richardson once qualified the combo as "Brian Jones on speed fronting The Jam". In fact, the trio was typical of the US vintage late `70s powerpop sound, as they were true garage activists drawing from the `60s legacy much more subtly than their UK contemporaries. Juvenile, disarming, devoid of all pretence or anything. Original members, bassist Scott Krueger, guitarist Breck Burns and drummer Bob Wrenn weren't at the first attempt to start out a band. They played in early incarnations of The Orbits like In A Hot Coma, The Craze (which included guitarist Howie Epstein), and The Drones but their only 7" vinyl appearance was due to The Orbits. Indeed, released on the tiny label No.1, "Make The Rules" backed with smashing "Phenomenal World" were in the bins in 1980, in fact the same week than Milwaukee bandmates The Shivvers' "Teen Line" 7" single. They would be remembered for their blistering sets (they covered The Jam's "In The City", The Who's "So Sad About Us") but their studio counterparts were really worth a try. The Orbits sound was tight like a strong black coffee (or its chemical equivalent) but enriched with a lot of pop artifacts (clear vocals, handclaps, peals of guitar riffs, "lalala-la" background vocals). The Shivvers and The Orbits would later morph into one, keeping The Shivvers name and would include Jim Richardson, Scott Krueger, Breck Burns, guitarist Mike Pyle, and singer, songwriter, keyboardist Jill Kossoris.
Release Country: USA
Release Year: 1980 / Reissue Date: 11.09
Original Label: No. 1
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▶ TINOPENERS - 'Set Me Free' b/w I'm Not Your Type'
Tinopeners were an Irish punk band formed in May of ‘77 to perform at their high school’s battle of the bands. Soon after, they began playing out, recorded a few rough demos at a local music store and sent them to George Doherty of Rip Off Records. The demos were well received and Rip Off put them in George Temple Patrick Studios to record a single which would be produced by Clive Culbertson. Afterwards, Culbertson brought the tape to London and LOGO Records offered to distribute the single. The singles’ two tracks sit more on the pop side of punk and contain some super catchy lyrics. Thus, the single was fairly successful; selling upwards to 3000 copies, but by 1981, the skinhead scene was growing in Northern Ireland, creating a social tension that would ultimately lead to the band’s end. A second single was recorded but never released.
**The original release was issued without artwork. The reissue comes housed in a Sing Sing Records company sleeve.
Release Country: Northern Ireland
Release Year: 1979 / Reissue Date: 08.09
Original Label: Rip Off / Logo Records
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▶ DE CYLINDERS - 'We Must Pay' b/w 'Chartbuster'
“We must pay”, an intoxicating musical mix of fun, frenzy and finances, was De
Cylinders’ second single for CNR. Remarkably, the song was recorded in a single take during the same sessions that spawned the first single. As such, the sound of “We must pay” comes very close to what De Cylinders delivered as a live band. Propelled by a haunting Farfisa organ, “We must pay” is 24 karat power pop. The medium-tempo flipside “Chart buster” is no stinker either.
Fact: Today, nearly 30 years later, CNR is home to André Rieu, king of the Wiener Waltz, a definite non-power pop megastar from the Netherlands.
Release Country: Holland
Release Year: 1980 / Reissue Date: 08.09
Original Label: CNR
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▶ BLAZE X - 'Some Hope' b/w 'Rippy'
Blaze X formed in late 1975 in Tuam. They quickly learned to play and scored support slots for touring bands such as The Radiators, The Fuze, Tony Koklin and most famously U2 at Leisure Land in Galway on December 18, 1980. In November 1980 they entered RCF Studios in Galway and recorded their self-released single which sold well locally but didn't have much distribution apart from some mailorder sales. Only 500 copies pressed and it's a tough one to find these days. Most were sold locally and some were sent out as promos -- one of which went to RTE DJ Larry Gogan, who made it his Hit-Pick of the week (though the B-side "Rippy" was banned). Despite this success, the band failed to get on TV and no more copies were pressed. They split in 1981 when they failed to achieve their ambitions. (Eamonn Keane)
Release Country: Ireland
Release Year: 1980 / Reissue Date: 08.09
Original Label: Fixed Wheel
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▶ DE CYLINDERS - 'I Wanna Get Married' b/w 'Looking For Work'
De Cylinders, a six piece power pop band from the Netherlands, had a solid reputation as a live band in the Netherlands and Belgium playing along side bands such as the Pretenders and Ultravox. They recorded this 45, their first of three for the CNR label, in 1979 at Soundpush studios, Blaricum with Dennis Kloeth acting as producer. The playing on the 45's is tight, the production is spot on and the songs are extremely well crafted. The anthemic “I Wanna Get Married” did not permeate deeply into the personal life of the band members; as of today not more than two Cylinders are wearing a wedding ring. The back side, “Looking for work” was more prophetic: all six Cylinders are nowadays firmly employed, though five of them no longer in the music business.
Release Country: Holland
Release Year: 1980 / Reissue Date: 05.09
Original Label: CNR
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| Sing 051 :: SODA FRAISE |
French punk!!
One of the genre's best!
A. Ca baigne dans l'huile
B. Rock 'N' Rolls
COMING MAY 2013! |
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| Sing 052 :: THE BASTARDS |
The Kids (Belgium) released this single in Italy under the name 'The Bastards'. 2 classic tracks with different mixes from the LP.
A. Funky Bastard
(AKA Do You Love The Nazis)
B. Job In The City
COMING MAY 2013! |
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| Sing 053 :: THE JOOK |
Long, long overdue: its everything from The Jook on vinyl for the first time. UK glam / proto-punk pioneers!!
COMING MAY 2013! |
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