Sharpies were the terror teen cast of a Richard Allen novel that never was. Although largely synonymous with the early-to-mid 1970s, reports of their violent clashes with rival gangs of Mods are documented as early as 1966. Bored, working-class, suburban kids, their teenage rampage began in Melbourne, Australia, but soon there were Sharpie gangs forming in Sydney, Perth and beyond. For a while they were the untouchables, ruling dances, discos and public transport with their fists. Sharpies were fiercely territorial and divided into different chapters according to location. They would often wage aggressive wars within their tightly delineated sub-gangs, although Mods always remained their arch-enemy. Sharpies were the scourge of the railways. Although they would seldom attack members of the general public, if you gave them a second look you’d be lucky to escape with your wallet intact. Violence was their world, but always with a strict moral code. Sharpie boys and girls wore similar uniforms: a slim-fitting, ribbed and collared cardigan called a Conny, T-shirts, tight jeans (Lee or Levis) and big platform shoes. Girls’ shoes had 100% cork heels. Boys’ shoes were often two-coloured. Hair was worn short or shaved with long wisps at the back, influenced by the British ska, mod and skinhead subcultures. Sharpie girls had their hair slightly longer and often with coloured streaks - Bowie-red was their colour of choice. Boys often bleached their hair. Tattoos were popular, although many were homemade and poorly executed. Their diet was anthemic glam-rock (Slade, Sweet, T.Rex, Bowie, Gary Glitter) kung-fu movies and A Clockwork Orange. The music of local heroes like Lobby Loyde and The Coloured Balls, AC/DC, Skyhooks and Hush provided their daily soundtrack. They even had their own tribal dance, a rhythmic sway with knees bent and fists clenched and pumping upwards across their chests. As the 1970s drew to a close, and new styles like punk and disco began to emerge, Sharpies started to fade. By 1979 they were all-but gone. Today they are recognised as an important part of Australian youth culture and social history. Enjoy their music...

an All-Girl Foot-Stompin' Bovver Rock Compilation!

Teenage Terrified is the debut E.P. by Hamburger, a Bristol band formed over a chance meeting at a vegan fast food joint. Consisting of six friends, Hamburger have mixed the raw, immediate feeling of home/bedroom recording with the poppier sound of studio recordings with Dom Mitchison of Humm Studios. Teenage Terrified takes in a range of flavours, from the sing-songy, slacker pop of Zebulon, to the more ethereal, dreamy and melodic Seafood, to the intensely personal, stripped back and introspective Agatha. Every time you try to define Hamburger’s sound, they will surprise you and take you somewhere a little different. Having said that…one can definitely hear the sonic influence of Elliott Smith, Alex G, Sparklehorse and Built to Spill. Pink vinyl 12" limited to 300 copies

NO DREAM is the 4th studio record from the Death Rosenstock band full of chords, words, beats and more! Tracked live in a big room for that classic "is that a mistake?" sound by Grammy-nominated recorded "Grammy Jack" Shirley, you are GUARANTEED to have not heard this record before you've listened to it! We hope it makes you feel good, but if it doesn't, that's on you sorry.

LIMITED TO 500 HAND–NUMBERED COPIES! NOT TO BE REPRESSED! Martin Weaver, Wicked Lady’s main man and proto–doom / psychedelic hard rock pioneer, has chosen his favorite tracks from the two Wicked Lady albums, Axeman Cometh (1969–1972) and Psychotic Overkill (1972), presented here in a cool picture disc. Including the classics "Run The Night" (pure fuzz–wah hell, sounding like a mix between Black Sabbath and The Stooges!) and "I’m A Freak" (a proto–Motörhead hard–rock bomb!) plus the cool "Out Of The Dark" and the 21 minute epic suite "Ship Of Fools", where Martin pushes his guitar to the limit!

Arriving to the world for the first time, really–beyond the ears of the deep–digging few–Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release. Undesirable Elements–here expanded as Undesirable Element with appended bonus tracks–is a desolate and deconstructed album which touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto–punk via abrasive, fuzzed guitars, and refracted mutant strains of British post–punk through a distinctly American underbelly sensibility. Drum–led and in–the–red, Undesirable Elements is a loose concept album of sorts, from the sympathetic pen of an innately skilled commentator. The album displays polemical disdain for the behavior of humans, insular views, and blindly moving forward on simple suggestion, while carrying a keen eye into the many textures of the mindscape of man. While you may hear occasional tears at aiming at the trends of the times, Jenkins’ direct, intensely personal and lyrically sophisticated material, combined with his charged attack, is in a realm all its own. Jenkins’ lyrics are nearly cinematic, like bite–sized scripts, or character vignettes, filled with wizened, introspective and radicalized perspective. The self–contained home–recording maverick was searching, sensitive, subversive, topical, yet several steps from the soapbox. Got Kinda Lost Records is over the moon to allow this unique, outsider singer–songwriter/psych–punk album another turn at its time in the shine...

Olivier "Escobar" Gasoil from Marseille is "sauerkrank", obsessed with NDW, early Teutonic punk gems and the German language in general. 16 years after the last regular studio album (not counting the "Stork Club" live intermezzo), now twelve new HATEPINKS cynicisms on an electro/wave/punk basis. The resurrection with part 4 of the "Oupupo" series. Ritalin'n'Razors! Manic-obsessive, highly detailed, heavily irritating and highly entertaining at every second. Would you like "Dernier Kebab"? Or would you prefer "(Scheiß) Milch und (Scheiß) Zucker"? The songs are sung in French, English and again and again in pidgin German. FOYER DES ARTS meets SCREAMERS, STARSHOOTER and METAL URBAIN in an alcohol-filled Moulinette. Shredded, not shaken.

When Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew that the two bands were collaborating with the intention of doing a one-time performance especially for us which is a beautiful thing on it's own and a true testament to that group of people being 10 steps ahead of most bands anyway. We knew it would be intense but holy shit... to say that GAS CHAMBER and BLACK IRON PRISON are merely "intense" is a gross understatement. They are relentlessly and deeply immersed in their own musical world of mental, spiritual and physical annihilation. This would prove to be GAS CHAMBER's final performance. 500 copies on black 150gr vinyl housed in a 24pt jacket with download card included. Recorded live at The Vera Project in Seattle WA. The record is an exact representation of the set without edits (except for a fade out/in for the side break) for time or tuning or any of that other shit that lesser bands do.

SLANT are back with 17 minutes of pure bristling rage. Corrosive hardcore music for the pit AND the pendulum recalling the stomping catchy vibes of recent luminaries like BOSTON STRANGLER or VIOLENT REACTION but channeling back to previous 80s hitters in the YOUTH OF TODAY/MINOR THREAT vein too. All with an absolutely visceral feminine, ahem... slant to it. Ha, I couldn't resist that one. This band is a shining light in the South Korean scene and is anxious to get out in the world once the world happens again. We can't wait for you to see that.

The Excitements are a hardworking band, almost hyperactive, so when you are in a state of perpetual motion, things happen fast and time flies. Within six months of their first show in March 2010, the group was touring all over Europe, and recorded their first long play. The album was a totally unexpected success which led the band across the continent for a year and a half. It’s sad to say, but "Sometimes Too Much Ain’t Enough", the second LP, surpasses its predecessor in all respects, and gives the impression that until now the band was just...warming up. The essence of their sound has not changed substantially over the debut: early Soul, R & B, and a hint of 50's gospel, but now fully developed, sharpened and fine tuned, thanks to two years of intense rehearsing and countless shows. It would be difficult to pick out a standout song from this album, because it contains twelve potential singles, so we won't. Just listen to it, and see that everything is here- great originals and covers arranged and performed with a nod to all that you love, and a repertoire that offers everything from sophisticated R & B, soul, gospel and latin, to Stax-style instrumentals and tear jerking, hypnotic ballads. Masterfully produced by Mike Mariconda, the band moves freely from a small combo to an orchestra with a sense of dynamics that few bands have today. The explosive voice of Koko Jean Davis demands that you jump, dance, and weep all at the same time, confirming that, indeed, there are times when too much simply ain't enough.

Snotty and melodic-as-fuck pop-punk from the blazing streets of Austin, TX! Members of Huff Stuff Magazine, Dude Jams!, Capitalist Kids, Wild America & more rage on with their upbeat & unique blend of lo-fi garage slop-pop-punk. Get on it cus this is totally ruling it.

The contribution of Mickey Baker to 1950s music puts him next to titans like Bo Diddley and Chuck Berry. He is undoubtedly the king of 50s R&B guitar as well as an inventor of the sound called Rock and Roll. The difference between these two and Baker is that his career has been unfairly undervalued, if not almost unknown. And his recorded output is FIVE times more than Chuck and Bo combined. The most in-demand studio musician/session guitarist par excellence during the golden years of the R & B laid the foundation for Rock and Roll. This tireless hard working musician spent half his life in the studio and the other half on tour and left his mark on hundreds, thousands of recordings, among which are hits from artists like Big Joe Turner, Ruth Brown or the Coasters. His incendiary riffs and solos were always aggressive, twisted but elegant sounding. He possessed creativity ahead of his time with excellent taste, and completely transformed the concept and role of the electric guitar into rock and roll forever. But don't panic. This is far from being an album for guitarists or academics. It is a selection of rare recordings that showcase him backing various singers and a few instrumentals easily moving through styles of R&B, Blues, Rock, Gospel and Folk done for different labels between 1953 and 1961. We are happy to present this diverse compilation with stunning sound quality and much of the material never before reissued. And we hope you enjoy the experience of discovering or remembering the immeasurable Mickey Baker, the king of and most recorded guitarist in 1950s rhythm and blues.

Hot off the heels of their debut LP entitled "Sliding Through the Halls of Fate" on Don Giovanni Records, Crow Bait returns. The band is from New York featuring three guys that you probably know from past and current projects such as Sister Kisser, and Iron Chic. But if you're checking this out on the basis of those bands, expecting to hear another "Not Like This" or "Vipers" - two very good records – prepare to be left scratching your head. Crow Bait, while clearly looking forward, is also clearly trying to create something that resembles the music they grew up on - Goo Goo Dolls, Buffalo Tom, The Replacements, etc. And they do a damn good job. If you're like me, and you never change the dial when a good 90's alt-rock song comes on the radio, this record is right up your alley.

Bo`s unique artistic personality goes beyond his work as a singer, guitar player and performer: this collection showcases his skills as a first-rate composer, talent-scout, session musician and producer of R&B stars such as Little Walter, Billy Boy Arnold, Billy Stewart, The Schoolboys and The Marquees (featuring a youthful Marvin Gaye in their line-up). Nice edition w/ gatefold sleeve, remastered sound, artists pics and extensive liner notes by George R. White, author of Living Legend, Bo Diddley?s biography.

Martha are probably the best English pop band of the last 10 years, everything they touch turns to gold. After last years perfect debut LP 'Courting Strong', here are two brand new songs, 'The Historian' and an amazing Masshysteri cover of 'Dom Kan Inte Höra Musiken'. Currently writing their 2nd LP, world domination awaits. Benny The Jet Rodriguez from San Pedro follow up their debut LP Home. Run on Recess Records with these new killer songs. I read somewhere that Benny the Jet Rodriguez find a balance between the simple and the complex, between yesterday and today. Lo-fi pop genius, can't get enough of this band.

Finally on vinyl! This great set illustrates the (re)construction process of the wildest, freest identity in rock`n`roll history. Here are all Richard?s first recordings from the early fifties with the Johnny Otis and Billy Wright bands, the Deuces of Rhythm and the Tempo Toppers. All his pre-Specialty, pre-Tutti Frutti waxings: his four RCA singles and all the 45s he recorded for Peacock Records. Gatefold sleeve with extensive liners, label shots, dozens of pictures, vintage press clipping and reviews.

Chicago Power Poppers 'The Fur Coats are back with this 4 track EP to coincide with their UK tour. Short-Brain is the latest 7? by The Fur Coats, the musical vehicle of Chicagoan (recently Brooklynite) Marc Ruvolo. Marc has enjoyed a long and storied career as a musician and promoter, from booking his first DIY punk show in 1984, to fronting a number of long-running bands (No Empathy, Traitors, The Atari Star, Das Kapital), to running the Johann’s Face Records label (since 1989 – recently passed the one-hundred-release mark!). Wanting to tour more frequently, but finding the original members of the Coats unavailable, Ruvolo has now opted for a revolving cast of characters in terms of live and studio rhythm sections. Joining him for the four songs on Short-Brain are John Polydoros (Off With Their Heads, Vacation Bible School) along with Chris Mattern on bass, with Kyle Manning (Tens/Costanza), handling drum duties. The 7? also features cover art by the UK’s scribblin’ wunderkind, Wolfmask. The four songs on Short-Brain fall into the realm of pop-punk/power-pop, and showcase Ruvolo’s love for melody, while still throwing in an odd lyrical turn or two. Recorded in Chicago, if you listen closely you can hear the influences of some of his favorite favorite bands: Naked Raygun, The Smoking Popes, and the Buzzcocks.

Besides being an excellent boogie pianist and guitarist supremo, Ike Turner shone as a top-notch composer, producer and talent scout. It's a fact that Ike was at the same professional level as some of the biggest names of the day, whom he worked with on a number of occasions. This new 45?s compilation shines light on this little-known aspect of his artistic career as the genius-behind-the-curtains in several recordings by other artists. Included are R&B essentials such as ?My Real Gone Rocket? or ?I Ain?t Drunk? by the legendary Jackie Brenston and Lonnie the Cat, as well as obscure numbers ?never re-issued till now

Marvelous Mark is the moniker of Mark Fosco, formerly of the band Marvelous Darlings, which also included Matt Delong from No Warning and Ben Cook who plays guitar in Fucked Up. Essentially they were a Toronto punk supergroup "before they were famous", but their limited catalogue - a string of seven-inches - stuck like staples within a cult fanbase long after they called it quits. Now Mark has a solo project. With the title track previously released on Ben Cook's own label Bad Actors, Bite Me is made up of three succinct tracks so infectious they should come with their own NHS advice leaflet. We’re talking power-pop with punk roots. It's every bit as brilliant as you'd expect from a guy who uses "Marvelous" as a prelude to his actual name. Sound of your summer.

All girl Volume, with Linernotes and 45 sleeves (black and white) on the back.

Wonk Unit were formed several years ago by Alex Johnson, formerly of The Flying Medallions, I’m told they began as a performance art project, essentially a vehicle for vocalist Alex. Alex Johnson is a one off. He provokes reaction. Poet, songwriter, performer, "tourtured soul", there isn't much that life hasn't already thrown at him. Wonk Unit have released several albums on CD and become one of the hardest working bands in the UK, playing countless gigs (I mean, they even have their own festival, Wonk Fest!). An obvious reference point would be Snuff (hell, Duncan Redmonds even plays on some songs and occasionally drums for them live), with the perfect UK pop- punk sound, organ and horns. Wonk Unit are much more than that though, with songs that are fun, energetic, heartfelt, thought provoking, angry, hilarious, exciting and catchy as fuck. Never afraid to push boundaries, whilst having a sound born out of Snuff/ Wat Tyler/ China Drum, they still have an originality that makes them unique. With songs chosen by the band, Johanns Face and Drunken Sailor and taken from the albums 'Trolleys, Muffy, Nervous Racehorse and a couple of exclusive songs, we think it is the perfect introduction to one of the best UK bands.

More obscure Glam Rock that never made it.