[engl] The Genesis of The Ark was this 1996 debut EP now released on vinyl for the very first time. The Ark EP, also known as Racing with the Rabbits, was recorded in 1994 and 1995 and released in 1996 and provides a unique insight into the early years of the band. The record is heavier and rawer than their future string of hits and there are prog references that wouldn't be so easily detectable later on. But the fundamental elements of their polished, bombastic and theatrical style is already in place and the title track would occasionally be part of the band's live sets more than ten years down the road.

[engl] There’s “obscure” and then there’s this record. This is simply ROCKIN’ HORSE, featuring gods JIMMY CAMPBELL and BILLY KINSLEY, recording under a different name. Their incredible Yes It Is LP completely flopped in 1971 and their label, Phillips Records, just didn’t want to know. They were still under contract as Rockin’ Horse so they got around that by releasing this single as "Atlantis" on their producer Hal Carter's Fury label in 1972. They should have sold these songs to JOHN LENNON because this smokes anything he was doing at the time yet sounds eerily just like him. Available for the first time since 1972.

[engl] Sydney-to-Berlin transplant Dave Thomas and his German comrades combine Radio Birdman riffs and New York Dolls swagger with power-pop hooks and a jolt of Detroit high-energy, yielding hot, sweaty and fun rock & roll the way the gods meant it to be. Listening to this album is like unearthing a stack of killer lost Australian garage-punk 45’s from the 80’s. If you're into Oz bands like the Lime Spiders, Eastern Dark, and The Hitmen, you are going to LOVE this album. "The album builds on the classic garage rock ‘n’ roll sounds, mixing a bit of Radio Birdman with a bit of Nomads and finding time for New York Dolls along the way – listen to ‘Untold Fury’ and ‘Trash’ and you could be right back there with Thunders et al. They give it their own shine though and it’s fair to say that this album is fantastically enigmatic." RPM ONLINE “'Bella Wreck' is a very Australian album - at least if you’re an Australian who soaked up the high-energy rock and roll that hit the country like a bomb in the 1980s. You can hear the sly Radio Birdman lyrical references and there’s no mistaking the guitars that tear at your throat or the band's uncompromising attack, but 'Bella Wreck' ilves on the melodic side of the strasse. If you want a reference point, Happy Hate Me Nots are their cousins."

[engl] COLOURED BALLS' legendary and nearly impossible to find "Flash" b/w "Dave The Rave" single from November '73 is finally back in print for the first time ever. It was originally released on EMI Australia a month ahead of their essential “Ball Power” LP. “Flash” is, of course, the cracking lead-off track on “Ball Power” and features a rare lead vocal from bassist Janis “John” Miglans. You can almost feel the air being pushed by Bobsie Millar's Strauss stacks as he rips into those opening chords right before Lobby Loyde tears into one of his trademark leads. Exclusive B-side “Dave The Rave” has never been reissued on vinyl ever!

[engl] Heavy Metal Kid was the last album Coloured Balls recorded during their all too brief three-year existence. It's often overlooked due to the enormous impact and success their preceding album Ball Power had on Australian music. Coming into 1974, they were at the peak of their powers as a group. Ball Power was racing up the charts, they were one of Australia's biggest live draws and they made a triumphant return to the Sunbury festival stage. Heavy Metal Kid was a natural progression for the band that could not be pigeonholed. They were still bringing their unique mix of proto punk, hard rock, blues, space rock, progressive and 50s rock n roll, but they expanded their sonic palette to include even a piano ballad and spaced-out ARP synthesizers. Fun fact- Lobby Loyde, in addition to being an absolutely stunning guitarist, was a classically trained pianist. Each copy comes with both a poster and lyric insert, test pressings excluded. This is the first time this album was been released in America. This pressing has been painstakingly sourced directly from the original 1974 quarter inch mix-down master tapes and sounds incredible. This has been an entirely analog production chain and hasn't been touched by a computer at any stage of the process. Hear Coloured Balls as were meant to be heard.

[engl] COLOURED BALLS by the barrel-full, a double album with 16 tracks clocking in at 77 minutes. This collects all six of their singles released on the Havoc and EMI labels between '72 and '74, two live tracks recorded at their legendary Sunbury '73 festival appearance, and a canceled single from their final recording session in early '75, shortly before the group split. Most of the songs on this compilation have been out of print on vinyl for 45+ years. "Flying" is making its vinyl debut on this collection. Liner notes by Aussie Rock expert IAN McFARLANE. Mastered by Aztecs drummer and engineer/producer extraordinaire GIL MATTHEWS straight from the master tapes. 100% analog - start to finish. Fold-out poster with an unpublished image inside every copy.

[engl] Stunning quality live recording documenting COLOURED BALLS tearing the roof off Melbourne's venerable Festival Hall - available on vinyl for the first time! This gig was recorded by Armstrong's Studio and engineered by John Sayers, who also did their "Ball Power" LP. This album has the entire 3-song, 30 minute set they played that night, including the only known recording of "GOD." with vocals!!! LOBBY LOYDE wryly introduces "GOD" with, "This is the first movement from an electronic symphony called "The First Movement of GOD". It may not be your thing, but can't win 'em all." Their set was shortened due to them playing last on the bill and Festival Hall not exactly being a late-night sort of place. The Festival Hall gig was a farewell show for headliners BILLY THORPE and THE AZTECS who were to jetting off to London the following day in search of even bigger recognition having already completely conquered their native Australia. Mastered from the original tape by Aztecs drummer and producer/engineer extraordinaire, GIL MATTHEWS. Analog start to finish. Liner notes by leading Australian Rock authority, IAN McFARLANE.

[engl] First-time-ever unique pairing of two of COLOURED BALLS' most savage bangers. Talk about being ahead of your time. This would have been right at home on Chiswick Records circa '76. If only EMI Australia would have had the *balls* to release "Won't You Make Up Your Mind" as a single back in ‘73. Punk would have started three years earlier in Australia if that had been the case. It ended up as an album track on their godhead “Ball Power” long player. Genuine good guy, rhythm guitarist Ian "Bobsie" Millar, is on lead vocals by the way. “Devil’s Disciple”, one of their greatest tunes, was originally relegated to the b-side of their September ‘73 single “Mess Of The Blues”. "Won't You Make Up Your Mind" has never appeared on a 7" before and this the first time "Devil's Disciple" has been available on vinyl since it was originally released.

[engl] UNRELEASED Glam/Proto Punk on the A-side, fuzzed out Syd Barrett-era Floyd style groover on the b-side. Sourced directly from the only known acetates and with Damon Lyon-Shaw’s very kind permission. These tunes from circa '73 and '70 respectively are seeing the light of day for the very first time. Restored and mastered by Danilo Silvestri (Giuda). Damon Lyon-Shaw has produced some of our all-time favorite records including The Factory “Path Through The Forest” single and Status Quo “On The Level” and “Blue For You” LPs. He is primarily known for his engineering work including The Who “Tommy”, Third World War “II” and some of the prime 70s Status Quo albums. During downtime at the I.B.C Studios in London, Damon and his fellow engineers, whom were all musicians, would cut their own songs in between sessions. These tracks were only pressed to acetates and given to those who played on the sessions and their friends. Finding not one, but two of these acetates from the same time period is a miracle.

[engl] This rough and tough absolute Junkshop Glam grail has never been officially reissued on vinyl since it was originally released in 1974. We're here to remedy that. This was GUMBO's one and only release.

[engl] GO, GO, GORILLAS! Literally everything HAMMERSMITH GORILLAS ever recorded that is not on their classic "Message To The World" LP. 26 tracks total - clocking in at a whopping 84 minutes! Includes all 6 of their singles, 7 outtakes never before available on vinyl, 1 aborted single, plus 6 unreleased live songs recorded in early ‘77, 3 of which were never recorded in a studio. All but two of the tracks are from the master tapes. Those two masters are missing. If that wasn’t enough, there are also new liner notes/new interviews with Jesse Hector and Gary Anderson by Phil King, plus unpublished photos! THE HAMMERSMITH GORILLAS are one of the great UK "should-have-been" groups of the 1970s. Chalk it up to being ahead of their time, bad luck, and/or bad management. Both singer/guitarist JESSE HECTOR and bassist ALAN BUTLER had already been in what was arguably Britain's first punk group CRUSHED BUTLER, formed in 1969. Drummer, GARY ANDERSON, was the last piece of the puzzle, but the world wasn't ready for the lads then, and still wasn't ready for them nearly ten years later as Punk exploded across the country and up the charts. Bizarre management tactics such as not having the group do any live gigs the first two years of their existence didn't help matters. The music speaks for itself on this massive two album set and HAMMERSMITH GORILLAS are more than worthy of such treatment. So great was this group, that even when forced to record a cover of a mediocre-at-best Stones' tune, "Luxury", they managed to make it their own and turn it into a minor moody masterpiece. The real heart of the matter is JESSE HECTOR's originals. HECTOR is too unique to be tied down to any one genre and his incredible controlled vibrato is the best since BOLAN. Since the punters like to be told what other artists a certain group sounds like, the closest we can come up with is a strange amalgam of SMALL FACES/SLADE/T. REX, but they are also their own completely unique thing. Jesse may have never been able to write a tune like "Telegram Sam", but BOLAN didn't have a song like "Gatecrasher" in him either.

[engl] In the slipstream of the brandnew HARD WAX – DON’T STOP THE BEAT album, Rebellion Records and LSM Vinyl decided to repress the band’s successful debut album DIAMOND IN THE ROUGH. This album was originally released in 2017 and has been out of print for many years. Check out the album that took the scene by storm and get hooked on these classic HARD WAX tunes. The re-issue comes with renewd artwork and a wild splatter vinyl variant.

[engl] You thought HARD WAX was dead? Guess again! Because after their magnificent split EP with Savage Beat from earlier this year, the band is now back bigger and stronger than ever before with an all new line-up and an all new album for Rebellion Records and LSM Vinyl titled “DON’T STOP THE BEAT”! Undoubtedly HARD WAX’ best work to date, “DON’T STOP THE BEAT” contains eight hard hitting scorchers written and performed by two of the scene’s best musical masterminds of today! Founding member Tom Boutwood (Arch Rivals, Hostile Minds, Riot City Radio, Dead Legions) and the newly acquired Ronny Hamersma (The Reapers, Day Drinker, Crown Court) already teamed up in The Trade and Roughed Up, but their collaboration on “DON’T STOP THE BEAT” tops it all with its vintage, yet fresh and aggro sound! But let’s not leave out HARD WAX’ third and latest member Matt Colton (Riot City Radio) who has written some insane bass-lines for this amazing record!

[engl] The second and final installment in our HECTOR reissue campaign. After their stunning debut failed to chart, surely the public would picked up on the even catchier 1974 follow-up, "Bye Bye Bad Days", a song for the COVID era we now inhabit if ever there was one. Nope. Never fear, we're doing what we always do, shining a light on an overlooked gem that deserves heard again. HECTOR came and went and left us two utterly perfect singles, and for that, we forever grateful. Remastered with a huge sonic improvement over the original 1974 pressing which was very noisy.

[engl] First up is their debut from '73, "Wired Up". In a perfect world, this would have topped the charts and The Osmonds would have struggling to make ends meet. Alas, it is a well known fact that quality cannot be shoved down the public's throat. In spite of loads of coverage in the teen mags and even TV appearances - fame and fortune were not in the cards for HECTOR. "Wired Up" goes for the jugular from the get-go with that throbbing single note riff pulverizing your senses. How can a song this incredibly catchy not be a smash? Politics, and the fickle whims of the BBC, who never gave the record a chance. See TREVOR WHITE's masterpiece "Crazy Kids" for another sterling example that the world isn't fair. Here it is available again for the first time since 1973 in it's original format, our fave, the almighty 7" 45 rpm single. Enjoy, true believers.

[engl] HELTER SKELTER was the one and only JESSE HECTOR's post-CRUSHED BUTLER outfit after he joined forces with drummer GARY ANDERSON and bassist VIC ALLEN. Eventually, they morphed into the more well-known HAMMERSMITH GORILLAS with the addition of ALAN BUTLER, who happened to be CRUSHED BUTLER's original bassist. Despite being recorded in 1971, the original "I Need You" b/w "Goodbye Baby" single was not released until 1977 during the height of U.K. Punk by Sticky Records, a subsidiary of President Records. Apparently, the world wasn't quite ready for this raw slice of PROTO PUNK/GLAM in 1971, or even 1977 for that matter. Our reissue includes a recently unearthed UNRELEASED BONUS TRACK of the original version of "I Live In Style In Maida Vale". Jesse's love of STEVE MARRIOTT/SMALL FACES really shows on this wonderful track. It was recorded at the same session as the original "I Need You" single in 1971 and has remained unreleased for 47 years. THE HAMMERSMITH GORILLAS later cut a new version of "I Live In Style In Maida Vale" in 1974. All tracks newly mastered in glorious MONO from the original tapes.

[engl] Warsaw’s Jack Saint are a howling four-headed swamp-beast with Jim Beam and Jeffrey Lee Pierce’s blood running through its veins. This is noisy, reverb-drenched, mutant blues which will appeal to fans of Beasts of Bourbon, Gallon Drunk, Birthday Party and The Fuzztones. The album contains 8 band originals, plus covers of The Gun Club and Laughing Hyenas.

[engl] This is the second LP of John Du Cann’s recordings from the '76-‘77 era. This time around John handles all guitar and bass duties while his ATOMIC ROOSTER/DAEMON/BULLET/HARD STUFF cohort, PAUL HAMMOND, is on drums. This album should definitely be seen as a companion to his "The World's Not Big Enough" LP, recorded in 1977, that finally saw the light of day on vinyl on our label in 2021. These tracks are literally the bonus tunes that originally appeared on the long out of of print and rare 1999 CD version of "The World's Not Big Enough". These songs were sourced directly from John Du Cann's personal tapes and acetates. Two of the tunes, "Moody Child" and "I Want To Be Alone" were re-recorded by DU CANN in 1980 when ATOMIC ROOSTER reunited for their fantastic self-titled album. The songs were re-titled, "Don't Lose Your Mind" and I Can't Stand It", respectively. ALL TRACKS PREVIOUSLY UNRELEASED ON VINYL.

[engl] This album (plus one bonus track!) was recorded in 1977 and produced by Status Quo’s FRANCIS ROSSI. Shockingly, this album has never been released on vinyl until now. It originally came out on CD in 1992 and is now long out of print and even that goes for good coin. Du Cann’s stellar career included freakbeat heroes THE ATTACK (“Magic In The Air”), psych/prog legends ANDROMEDA, and the group he’s best known for, ATOMIC ROOSTER. Du Cann wrote their #4 hit single “Devil’s Answer”. A couple of years later he was in DAEMON, later renamed BULLET, then HARD STUFF. In 1974 he was even a temporary guitarist for a THIN LIZZY German tour. In 1977, he was signed to the same management company as STATUS QUO, who paired him with Quo leader, Francis Rossi. The resulting album, “The World’s Not Big Enough” included Rossi on guitar, Andy Bown (The Herd, Judas Jump, Status Quo) on keyboards, Pete Kircher (Honeybus, Status Quo, Liverpool Express) on drums, and John McCoy (Ian Gillian, Tyla Gang, U.K. Subs) on bass. Basically, this is Du Cann backed by Status Quo at their Belt Buckle Boogie peak. A few songs from this album appeared on killer late 70s Punxploitation singles “Throw Him Jail”, “Don’t Be A Dummy”, and “Where’s The Show”. This album has been described as “Quo mixed with the Sex Pistols”, and we can’t disagree with that assessment.

[engl] We're such fans of Jonesy's debut album that we just knew we had to work with these filthy Canadians. Not to be confused with the 70's UK proggers with the same name, this Jonesy hails from Montreal and plays dirty, hormone-driven, catchy-as-hell bubblegum punk. While the first album fell on the Ramones/Dictators/Real Kids side of the punk spectrum, these four new songs throw some Slade and 70's riff rawk into the mix while retaining all the pervy fun and un-PC humor that's an integral part of the band's modus operandi. It's ten inches of sleazy pleasure centered around girls, cats, rock & roll and girls. You might need penicillin after listening to it!

[engl] In this time of social-distancing and rethinking old norms, Josephine and Hershguy put their heads together (remotely) to create Stocky Tunes, a celebratory rock’n’roll smorgasbord of far-reaching sounds and sonic bedlam. The glam-punk crunch and hard-rock wizardry of the pairs’ respective erstwhile projects (Dirty Fences, Brower, and previously Velveteen Rabbit) are all in play, with added forays into art rock and post punk (á la Roxy Music, Sparks, The Quick, the Slits, Gang of Four et al.). Doubling down on the adventurous and genre-shirking spirit of their solo efforts, Stocky Tunes is as iconic as it is peerless. Dig lyrics comprised of ribald Yiddish slang of yore (“Cockamun”, “Punim Pisher”, etc.) beside modernized protest songs of the day (“Walk Out Loud” and “This is Track 11”—FUCK 12!!!). Whether you’re already a fan, or a seeker stopping by, Stocky Tunes offers nourishment you’ll crave.

[engl] When Pat Todd told us he was going to tackle the Stones' "All Down the Line", we just knew the Rankoutsiders were going to nail it, and we were right! For the B side, Portland's Guerrilla Teens (featuring ex- Humpers and/or Lovesores Scott "Deluxe" Drake, Jeff Fieldhouse and Saul Koll) belt out a rollicking, take-no-prisoners "Rip This Joint" that rolls like a bus with no brakes hurtling downhill. Get on it!

[engl] The rough denim hickey from Melbourne, Orstralia. After the "Pucker up" 7" they convince on long distance: 8 x Hot stompin' Glam/Hard Rock between RUNAWAYS, THUNDERMOTHER, GLITTER BAND and the best moments of KISS. 32 sweaty full power minutes with thick riffs, hard 70's thug beat and wild rocking guitar solos. Conclusion and promise: "A Force To Be Rockin' With!" There's no better way to sum it up.