[engl] The band started in 1997 (I think) from the ashes of the legendary garagepunkpopband The Basement Brats.Guitarist Nils tempo and drummer Mads Husvik (Bratman) decided to play music that were closer to there hearts- 60`s garage psychedelia and powerpop, so they mixed the two genres and The Nuggets were born. Listen the 8 new nuggets of gold!

[engl] The Paint Fumes are back for good! Take a sip and get high on their hooks and sing-a-longs.#Paint Fumes have survived a decade of being in Paint Fumes. No small feat for a group that's released 3 albums for 2 distinct luminary labels (Slovenly and Get Hip Records), and swayed their way between opposite ends of a sonic spectrum (garage and punk; old and new) on a nofucks-given wrecking-ball pendulum. Evolution occurred steadily from their earliest primitivism to more tuneful rockers. Road dogs when allowed to be, they toured exhaustively (including stints with legends King Khan & BBQ Show and Shannon & the Clams). Throughout, they racked more hospital stays—not to mention near-death experiences— than advisable by even the most nihilistic breed of rock'n'roll life-or-deathers. And yet now, after all the years and rigmarole, they've never sounded this good! Real Romancer, Paint Fumes' 4th LP—and first for Dig! Records (US) and Bachelor Records (EU)—is a whole new world of glam stompin', duel-guitar with added bass hammerin' sounds taken to anthemic heights previously unexplored by this born too loose group. If leader of the pack Elijah Von Cramon's description of the band as “panic attack punk and power pop nightmares” rings true, this is Paint Fumes' KBD-benzo treat-all for a 12 song long wet dream.

[engl] Reissue of the 2010 release on Sing Sing Records, NYC, USA. This is the first album of PROTEX, recorded in 1979-1980 for a release on Polydor records, but the record never came out because the label was interested in the next big thing, after punk rock.... The guys from Sing Sing Records unearthed this masterpiece and put it out in 2010, it was sold out and OOP soon afterwards. So nearly 10 years after you have the possibility to buy this classic for a normal price. The Bachelor Records release of "Strange Obsessions" is not only a simple repress, we managed to improve the sound and speed, thanks to Eric Brady, PLUS the artwork was changed a bit too!

[engl] Red Star press release, late-January 1978, by Miriam Linna: “A three day engagement at Boston’s Rat club (Jan. 20, 21, 22) kicked off the release of The Real Kids’ premier LP for Red Star Records. The club was packed to capacity despite the two-odd feet of snow and ice which had closed several of the city’s main thoroughfares during the week. Sunday, Red Star and The Real Kids celebrated the official release of RS-2 with friends, fans and members of the press with a party at a local bowling lane, with beer and pizza to boot. Everyone was a real kid (for the afternoon at least) as boots got traded in for bowling shoes and rock & rollers hit the pins to the tune of piped-in recordings of the Kids’ favorite records, past and present, including their own slice of vinyl history, of course. The highlight of the weekend came that evening with a live broadcast on WCOZ-FM, one of New England’s top FM stations. Featured on the live show were several tracks from the new LP, entitled simply, THE REAL KIDS.” And THIS here is that night. Imagine that the Real Kids have somehow drunkenly stumbled from the bowling alley over to the Rat. Then imagine that a hammered band could pull off a set like this. Yes. The Real Kids were just THAT DAMN HOT. Gatefold LP plus 2-sided inner sleeve.

[engl] Oh yasss! More unissued stuff, way more pix and stories of Boston finest Rock & Roll band. Essential? We’d leave this decision up to you, but definitely a must for ye Real Kids fans out there! Twenty-four previously unissued REAL KIDS cuts - kicks off with 10 crude rehearsals from April/May 1976, of which 6 were never re-recorded in a studio setting - plus 14 live cuts from 1976-1977 chosen as best from a stack of 31 cuts. 21 originals and 3 cover songs all housed in a double gatefold LP plus inner sleeve crammed with photos, zine clippings and liner notes. the MUSIC? ripping, absolutely ripping ROCK and ROLL music.

[engl] Eight previously unissued proto-punk godheaded rippers from the pre-Real Kids combo THE KIDS recorded on Nov 10 1974 - plus four previously unissued REAL KIDS demos from Spring 1977, recorded by DJ Oedipus at WTBS radio station with 1 mic suspended above the band! Gatefold LP plus 32-page 12” x 12” (30.5cm x 30.5cm) booklet inside crammed with tonsa liner notes (28,000+ words not counting the text of the press clippings) built mostly upon Dave Laing of Dog Meat Records’ mucho-extensive March 1995 inteview whilst key band members Billy Borgioli and Alpo were alive, NEVER SEEN photos, flyers, press-clippings, info, etc on John Felice’s days with The Modern Lovers, his combos The Children’s Rock & Roll Band, The Kids, and the Real Kids!! There was a young Boston lad named John Felice who took it upon himself to say “F.U.” to the current dull-ass folkie/prog/Top 40 crap and blast forth with HIS?OWN fucking vision and, most important, POP?SONGWRITING?MASTERY of Groovies/ Stones/ Kinks/ Stooges/ VU/ Dolls-influenced rip-roar. In 1970 at age 15 John Felice formed the Modern Lovers with next door neighbor Jonathan Richman. At age 16 John Felice formed his own side band, which Jonathan Richman named The Children’s R&R?Band because Felice was in 10th grade and drummer Paul Murphy was in 9th grade and lead singer Ricky Carmel was in 6th grade. A band consisting of teenagers covering the unissued Velvets’ “Foggy Notion” was certainly an oddity in the age of Zep/singer-songwriter folkie pap. Felice departed the Modern Lovers in January 1973 to concentrate on The Children’s R&R Band, who soon became The Kids. Johnny Thunders and Jerry Nolan quit the NY?Dolls in the midst of a disastrous tour, returned to NY, formed the Heartbreakers with Richard Hell, and phoned Felice to come audition, with Felice spending a harrowing/heroin Memorial Day weekend 1975 rehearsing for 3 days, with Felice wisely heading back to Boston. In early 1976 THE REAL?KIDS formed and started wailing the hell outta Boston, and would become labelmates at Red Star Records with Suicide. Just upon the verge of exploding into the Big Time, the Real Kids imploded along with Red Star. The booklet goes full-depth into all these years and circumstances. The MUSIC? Ripping, absolutely ripping ROCK and ROLL music.

[engl] Oh yasss! More unissued stuff, way more pix and stories of Boston finest Rock & Roll band. Essential? We’d leave this decision up to you, but definitely a must for ye Real Kids fans out there! Twenty-four previously unissued REAL KIDS cuts - 23 live cuts from 1977-1978 chosen as best from a stack of 44 cuts, plus 1 crude rehearsal from April/May 1976. 19 originals and 5 cover songs housed in a double gatefold LP plus inner sleeve crammed with photos, zine clippings and liner notes. Extra liner notes by longtime Boston music scribe BILL TUPPER and Worcester radio’s LB WORM. the MUSIC ripping, absolutely ripping ROCK and ROLL music.

[engl] Powerpop Pearls!

[engl] The debut full length from Melbourne, Australia’s ROMERO is a burst of hard hitting, punk-laced powerpop. Well informed by the classics and every bit as relevant-as-it-is timeless, Turn It On! is a memorable party. An album that captures the vitality of a young band hitting their stride and doing it on their own terms without a single note of indecision. Much in the way that The Undertones, Blondie, and even Big Star debuted with a sense of purpose, ROMERO invite us to eleven tracks of soulful powerpop gold. Sharp production across Turn It On! catapults the impressive guitar work of both Adam Johnstone and Fergus Sinclair to the front of the mix alongside Alanna Oliver’s heart-pounding energy and show-stealing vocal prowess. Anchored by the smooth rhythm pocket of Justin “Murry” Tawil and Dave Johnstone, ROMERO waste no time in showing their hand on the quick-paced album opener ‘Talk About It’ - recalling 80’s powerpop rhapsodies. The title track beckons bodies to the dancefloor with a rich Runaways-like temper that naturally explodes into a fiery guitar solo. Meanwhile ‘Halfway Out The Door’ and ’White Dress’ show off the band’s adept ballad-writing, boasting truly emotional highs, lows and soaring choruses. Those hip to the incredible debut ROMERO single - ‘Honey’ b/w ‘Neapolitan’ (Cool Death, 2020) will be overjoyed to see these relatable anthems recast in the album’s tracklisting. Turn It On! reveals stories of personal striving, restarting, mulling-over the unsaid, resisting control, deteriorating relationships, the emotional throes of uncertainty and celebrating growth through all such experiences. The rollercoaster of life is mirrored by the sonic and lyrical turns ROMERO have crafted into their debut album - a hopeful tonic for whatever you’re going through, and a dose of excitement for what’s to come.

[engl] Classic Powerpop from 1980! KILLER!!

[engl] Classic Powerpop from 1980! KILLER!!

[engl] Untouchable early ’80s Power Pop from Milwaukee, WI. They only released one 45 during their existence (and reissued by Bachelor Archives), but it stands up as one of the top tier Power Pop singles of all time. This collection plays like a long lost album or maybe even a collection of classic, lost 45s. Timeless, perfect pop songs that echo the Raspberries as much as they do Brill Building hits. Almost every number sounds like it could have, should have been a hit single.This release is a new and improved issue of the collection that Sing Sing Records released in 2014. The LP comes with a 12"x36" double-sided insert with photos, liner notes, etc. and a replica of the original Shivvers bumper sticker.

[engl] Classic Powerpop from 1980! KILLER!!

[engl] "My first image of Single Bullet Theory was a little oasis of attitude on a flatbed truck in an empty lot in conservative downtown Richmond, Virginia, during a music festival in 1977. I’d had enough of drunken preppies and good ole boys. I wanted a sound to match my mood. Single Bullet Theory was the right band for the moment. They didn’t sound like any band in town. They didn’t look like one either. The lead singer, alternating between guitar and sax, wore his dark hair Prince Valiant style, with a tailored white jacket and a large shiny saxophone pin on his lapel. They absolutely tore it up, and afterwards my ears rang for three days. The band had formed in 1976 from the ashes of Big Naptar, Crossbreed, and X-Breed, bands which had mixed cover songs and originals with a garage, punk feel. Their edgy style matched their origins in the bohemian art school culture of Richmond’s Fan District neighborhood in the 1970s, as a fresh wave of music flowed from New York and England brandishing an aggressive sound with a clever attitude to match. SBT took that sound further – loose, high energy and, with three guitars, loud. They made their name playing free warehouse parties and half-dollar cover shows at local bars. In early 1978 the band played at an art opening party for Andy Warhol at the Virginia Museum of Fine Arts in the staid heart of Richmond. More than 6,500 people mobbed the place. This was a band that opened for The Patti Smith Group, Talking Heads, and The Stranglers. And toured with The Ramones and The Pretenders. They knew VU’s John Cale and courted him to produce their first record. He couldn’t, one of the near misses that marked the history of a band that could never quite get the right producer or record deal to capture their live sound and place them in the middle of a rock ‘n roll revolution. They recorded the songs on this EP during the late 1970s, about midway through their glorious run, and it captures the band’s energy. These are the first tracks SBT has released since their eponymous LP, issued on Nemperor Records, more than 40 years ago. Single Bullet Theory broke up in 1984. In 1991 they staged one last concert, a reunion show at The Flood Zone in Richmond’s Shockoe Bottom. They ended a giddy, rocking night with “Les Bonnes Chanson,” the good song. These songs, this band, those heady days." - Michael Martz

[engl] Oh boy, now we're cooking. Now we're in the court of Sugar Tradition. Only a city like their hometown of Detroit could foster such a refined appreciation of rock'n'roll, r&b, and garage punk - and Sugar Tradition clearly have IT. The trio, consisting of Antonio Keka (guitar/vocals), Kevin Irwin (drums), and Arlo Betley (bass) are a complete force of nature live - contemporaries of the Stools, Toeheads, and 208. They're also fresh off a tour supporting none other than the Detroit Cobras. Sugar Tradition have managed to capture that raw, driving Motor City sound in damn near perfect form on 'More Sugar', their vinyl debut on Feel It Records. "Rockin' Baby" kicks things into gear, anchored by a driving piano line that plays off a pounding rhythm section, allowing Keka's guitar and vocals to rule the high end of the mix. There's some tasteful harmonica and tambourine peppered throughout, but it's the raw, fuzzed-out sonics heard best on "Don't Leave Me" that may just steal the show. Oh yeah, did we mention the roaring rendition of Chuck Berry's "Come On"? It's all recorded live, too. A stupendous fourteen minutes at 45 RPM. Sugar Tradition are one of the brightest sets of young heads on the face of planet rock'n'roll right now, and 'More Sugar' proves that to a tee.

[engl] Previously unreleased Power Pop/Mod and New Wave gems from THE TYPES. Formed in Hamburg in 1979 with the spirit of The Clash, Buzzcocks and The Jam, the four teenagers played tons of gigs, especially at legendary local venues as Markthalle or Knust. Each time the packed crowds went wild and soon a producer invited them to record their 4 best songs at the Brunwey Studio. Everything went like clockwork, but then a pre-contract with Polydor broke and in the end the recordings survived on only a handful cassette tapes. Now, more than 40 years later, Thomas Koch (ex-A.d.s.W fanzine) remembered the band and started searching for traces and tracked down one of the members, the multi-talented artist Jon Flemming Olsen. And here it is … four lost nuggets from the golden age … THE TYPES … a blast from the past!!! (Including a re-print of their first gig poster & sticker)

[engl] New album by Tommy Ray, once the front man in the band The Cry! Now solo artist who has spent his lock down time recording. The album was recorded and mixed by Ray mostly on his mac. "Street mix" because it is so stripped down. Just enough production to get the point across. No shiny whistles or bells.

[engl] THE TOMS was originally released in 1979. The project of Tom Marolda, a New Jersey musician, he recorded the album in his home studio, playing all the instruments himself. In the years since its release, it's become a highly prized treasure amongst power pop fans around the world, at least those lucky enough to discover it. Beatlesque melodies abound on a record that sounds anything but lo-fi. Feel It Records is proud to re-release this long sought after gem with 11 bonus tracks plus Peter Noone (Herman's Hermits) performing "The Flame" for the first time ever released! -John M. Borack, Author, Shake Some Action 2.0: An Updated Guide to the 200 Greatest Power Pop Albums