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Search Result for Label SING SING RECORDS
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LP
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SING 050LP
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"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's greatest album but also the finest music of Lobby Loyde's long, fabled career." Gatefold sleeve.
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SING 049LP
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"1975 pre-Adverts LP from punk legend TV Smith. Originally released in an edition of only 50 copies. Printed innersleeve. " "The 14th of 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. 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.... 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. " --TV Smith
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SING 048LP
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"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 '60s 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 elude many others for too long now. Repressed in an edition of 500 copies only, LP includes an 18" x 24" poster."
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SING 047EP
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"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."
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SING 046EP
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"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. 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."
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SING 045EP
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"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."
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7"
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SING 044EP
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"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."
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SING 042EP
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"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 have 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! Too punk for the majors!"
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SING 043EP
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"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."
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7"
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SING 041EP
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"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-'70s. 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."
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