[engl] 10 years after the release of KOW THE CODE, which was the 3rd and final studio album of THE CORPS, the band is back in the studio working on a brandnew album! To accompany the upcoming album and celebrate the rise of THE CORPS, Rebellion Records is doing an ultra limited and deluxe vinyl repress of KNOW THE CODE with courtesy of CONTRA RECORDS (who released the album originally in 2012).

[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] More obscure Glam Rock that never made it.

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

[engl] an All-Girl Foot-Stompin' Bovver Rock Compilation!

[engl] An extract from the novel “Bovver Birds Rool” (…continued) “That must hurt”, said Dave. He hovered over Sue as she shakily tried to return to her feet. “Well help me, then”, barked Sue with a pained expression, “don’t just flippin’ stand there”. “I think this fell off”, said Dave as he handed Sue back her bloodied Marc Bolan rosette. “Great”, snapped Sue, “Steve’s only just given me that… Which way did they go?” “Don’t be daft”, said Dave, “you’re in no fit state.” At Tuesday night’s Stall Street Disco, Dawn and Jane were busy victory dancing to their anthem, Hector’s “Wired Up”, darting hard-faced Knuckle Girl glares at any boy daring enough to comment on their togetherness with an ill-advised wink and a nudge to his immediate neighbour. Meanwhile, Sue had invested her last 2p in a phone call to her best mate “Sand”, short for Sandra. “Sand” was the self-elected leader of the Bovver Birds, the female contingent of The Larkhall Legion, who were beginning to assemble around the entrance to the disco. “Tired of living?” were the last words Dawn heard as her face hit the floor. “You cow!,” Dawn screamed, as she pulled out the remnants of her own front tooth and threw it in the face her towering tormentor. “The Knuckle Girls buckle and the Bovver Birds win. Again!,” announced Sand in a loud but deadpan voice over the continuing Hector music. “We’ll leave you alone now to bury your dead. … “Birds” is still the word, and you’ve should been shat on from a great height. Next time, bitches!” A bow-tied bouncer strong-armed “Sand” from the hall, dragging her by the arms as she still tried to pitch a globule of carefully-harvested spittle over her agitator. “And there’s a greeny for you,” she shrieked with delight as it landed successfully. (to be continued…)

[engl] 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...

[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.