[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] In glorious MONO as nature intended. First time ever reissue of this absolutely savage 1965 UK MAXIMUM R&B/FREAKBEAT stomper. We love THE SORROWS, but we’ve always preferred The Boys Blue original versions. Although The Boys Blue were the first group to record Miki Dallon’s “You Got What I Want” and “Take a Heart”, with both tracks soon after covered by The Sorrows. The Boys Blue had no connection to The Sorrows, other than sharing the same producer, as has sometimes been suggested. Coventry lads, The Boys Blue, were formed in 1964 by vocalist Jeff Elroy. Bass player Tony Hart knew a guitarist, Michael Holloway who knew a drummer, Paul Colletto with this quartet becoming The Boys Blue. Singer Jeff Elroy was friends with budding songwriter Miki Dallon, resulting in the group recording two of his compositions for their lone single with Miki also producing the two tracks. The Boys Blue backed Miki Dallon during his own vocal sessions on at least six occasions. The Boys Blue also appeared on Thank Your Lucky Stars in June 1965 with The Rolling Stones, The Kinks and Lulu. A scheduled tour in 1965 with Chuck Berry with The Boys Blue as a support act was cancelled at the last minute, resulting in their having to give back all the new equipment they had just received. The group disbanded soon after in 1966. Producer Miki Dallon has also worked with some of our faves like The New York Dolls, Don Fardon, Elias Hulk, Shakane and Bilbo Baggins among others.

[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] 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] 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] There’s an extremely good reason for this being a split 7”. These are are the only known songs by each of these groups. Sourced straight from the original rare circa '74 acetates. Restored and mastered by Danilo Silvestri (Giuda). SNOOTY sounds a bit like a mashup of HARPO’s “Teenage Queen” and “MUFF’s “Sexy Lady”, while the flip side reminds us a bit of PANTHERMAN vocal-wise. Mega thanks to mega Glam collectors Tim Orchard and Noah Wallace for their assistance on this project.

[engl] Cooler than a body on ice!". Oakland's So What is back with a bang with a hit single to follow-up their late 2016 long-player "Hard Gum"! We detect a heavy whiff of hard-nut Antipodean style grit on the stellar A-side "Deep Freeze". A steady diet of 70s Australia's finest - and we mean all things Vanda and Young related - will do that. Pure, no nonsense knuckle-dragger Rock n Roll that definitely carries on the spirit of early AC/DC, Marcus Hook Roll Band, Coloured Balls, etc. Exclusive b-side scorcher, "Razor Blade", a long-time live fave that is equals parts terrace stomper and Slade-esque boogie, has finally been committed to vinyl.

[engl] SO WHAT's debut LP is filled with stompers, hand clappers, and all the riffs that matter. Co-released by Just Add Water Records (USA) and Surfin' Ki (Italy). From the GLAMTASTIC pounding drums, Moogs, and big fuzzy riffs of "Where We Going" and "Why Can't I See You Tonight", to the EQUALS-esque "Don't Come Back" and "What You Said", this album is chock-full of HITS!

[engl] Bonkers double album by former THIRD WORLD WAR singer/chopper guitarist, TERRY STAMP clocking in at 80 minutes with 20 tracks that have never been released on vinyl before. Recorded between 1980-1989 in Terry's converted cellar/bomb shelter. Raw, rough, and honest. Real working class music for working class people. The only way to hear any of these tracks previously was to buy a self-released cassette or CD directly from Terry at one of his solo shows over the past 40 years. There is “underrated” and then there is Terry Stamp. He’s one of the finest songwriters of the past fifty years, who is virtually unknown except to dedicated THIRD WORLD WAR fans. Being able to bring this double LP set to you and turn you on to these incredible tunes is what it’s all about for us. This is literally just a small fraction of Terry's immense output, but this is perfect place to start.

[engl] This slice of proto-punk perfection is back in print for the first time since 1972! Remastered from the original tapes and sounding better than ever. We are thrilled to reissue one of our all-time favorite singles. Terry Stamp and Jim Avery (ex-The Attack, Thunderclap Newman) hold the distinction of forming what was probably the UK’s first real “aggro” band. THIRD WORLD WAR formed at the dawn of the 70s, released two proto punk LPs (on Fly and Track Records respectively) in 1971 and 1972. THIRD WORLD WAR featured an aggression unheard of at that time. With Terry’s explosive vocals, lyrics, chopper guitar and Jim Avery’s West London two-fisted, hard-nut, riff and chord approach proved unbeatable (even 40 plus years on). Their socio-political agenda and proto-punk guitar style pre-figured the “working class” punk bands by some 5 years. B-side, “Working Class Man”, features The Rolling Stones horn section consisting of Bobby Keys and Jim Price. Terry Stamp also recorded an incredible and woefully overlooked LP for A&M in 1975 entitled “Fatsticks”.

[engl] TREVOR WHITE's should-have-been-a-number-one-hit single from July 1976. Trev was fresh off his stint with Sparks when he recruited MARTIN GORDON (Sparks, Radio Stars) and CHRIS TOWNSON (John's Children, Jook, Jet, Radio Stars) to record this slice of perfection known as "Crazy Kids". Trev originally recorded this tune with Jook back in 1974 as the B-side to their incredible "Bish Bash Bosh" single. The B-side of this single, "Movin' In The Right Direction", is actually an unreleased-at-the-time Jook song, with Ian "Ralf" Kimmet on rhythm guitar and backing vocals, Ian Hampton (Sparks) on bass, and Chris Townson on drums again. This single is available for the first time in decades, and is newly remastered from the original recordings. The clarity is stunning. You can hear guitars and vocals that were buried on the original pressing.

[engl] This tough to find single has been out of print for nearly 50 years, and was originally released on Havoc Records in November 1971, a mere four months before LOBBY formed COLOURED BALLS. There were several different lineups of THE WILD CHERRIES from 1967 to 1971, but the final short-lived configuration with LOBBY along with drummer JOHNNY DICK (Aztecs, Max Merritt and The Meteors) and bassist TEDDY TOI (Aztecs, Max Meritt and The Meteors) was the only one fronted by LOBBY. He was only on lead guitar in the earlier iterations of the group. BILLY THORPE and GIL MATTHEWS from THE AZTECS help out on the A-side. Gil also produced and engineered this single. 100% analog start to finish and sourced from the original master tapes.