If there's a band that deserves a good compilation, it's the Pretty Things. Thankfully, Snapper has the rights to the band's entire catalog, and has done an excellent job of remastering individual albums. This best-of is derived from that remastered material and does the Pretty Things proud with an extensive and exhaustive trawl through the group's archives…

Basic Blues Magoos (1968) – the final long-player with the lineup of Ralph Scala (keyboards), Ronnie Gilbert (bass), Emil "Peppy" Thielheim (guitar), Mike Esposito (lead guitar) and Geoffrey Daking (drums) – is arguably their best and easily most progressive outing. Perhaps this can partially be credited to the combo's retreat from creating in the comparatively uninspired environs of a studio. Instead, they essentially cocooned themselves into their legendary Bronx, New York digs, which at one time had been inhabited by none other than Gram Parsons. The autonomy paid off, as did their sizable influence from the U.K.-derived mod and freakbeat scenes, kick-started no doubt by a recent tour with the Who.

The Nashville Teens were a truly kick-ass rock & roll band from London. Their main claim to fame was providing the kamikaze backup behind Jerry Lee Lewis on his Live at the Star Club LP and recording the massive hit "Tobacco Road." This disc reissues that entire 1964 album and adds another 14 bonus tracks to it, getting us all the way to 1971 in the group's recorded output. Hot versions Of "Mona," "I Like It Like That," "La Bamba," and "Too Much" are the album's high points, and while the later tracks are a nice touch, they don't quite measure to the group's halcyon days.

To celebrate the 40th Anniversary of the greatest year in rock n roll history SquidHat Records is proud to release SQUIDHAT '77. This 22 track compilation features Las Vegas' best punk bands paying tribute to the iconic songs that cemented arena rock, invented punk and changed music forever. From The Ramones to Fleetwood Mac to ELO and beyond, hear what the next generation of young musicians has to say about the songs and the year that defined our generation.

The original version of the album In Heat as it was intended to sound. The Fuzztones have been around for over 30 years as a garage rock revival band. Though originally from New York City, they work mainly in Europe where their brand of retro 60 trash rock burns up radios from Hungary to Poland to Italy. The original In Heat was released in 1989 at the peak of the garage revival, when bands like the Chesterfield Kings, Lyres, and Cynics were all the rage. Unsurprising, the music industry turned a blind eye, yet miraculously The Fuzztones signed a major label deal with RCA. Label politics had the band in a "real" studio with a "name" producer who watered down their unharnessed energy and snotty attitude. In the end the original disc was a second rate affair with most of the grit rubbed out only to die a sad, quick death at the hands of critics who never appreciated the band’s live act anyway. Raw Heat therefore turns the clock back in time when garage rock rivaled punk as the most exciting musical scene to come along in decades.

Classic first mini album Completely re mastered for the first time. Comes with nine bonus tracks. Originally released on Midnight in 1984, this live album (recorded during their Midwest tour) is the legendary debut that spearheaded the rough 'n' ready garage rock revival scene joined by other great combos such as the Cynics, the Chesterfield Kings, et al. Formed in 1981 by NYC beat guru Rudi Protrudi, the Fuzztones got immediate attention for their authentic sonic replication of the 1960s garage punk style and grotesque b-movie artwork (read: The Cramps). Their sonic attack is well documented in the grooves of this faithful re-release of the 'Tones deadly debut.

The Bugs were a U.K. garage rock revival band who seemingly existed just long enough to make one album, 1987's Darkside, and then vanish. While this is something less than a tragedy, a listen to Darkside (which rather unexpectedly was reissued on CD in 2006) proves this band was significantly better than the average European garage-pysch merchants of the era. The disc's sleeve features no credits, and Ace/Big Beat play coy about the group's membership in their bio, which means this may or may not be some semi-supergroup of '60s-obsessed U.K. rockers, but whoever these folks were, they bring the fuzztone energy with plenty of style and an impressive reserve of energy. Darkside is full of guitars stalking a netherworld between fuzz and jangle while diving in and out of a deep sea of echo and reverb, with the singer matching the six-string chaos with glorious howling and full-bodied vocal mania…

Kicking off with perhaps their best single yet, Wasted in America's title track propels Love/Hate into what initially promises to be another amphetamine-fueled romp through hard-rock excess. This promise soon turns to disappointment, however, as the subsequent songs lack the focus of the band's once fabulously straightforward sound. If anything, Love/Hate is guilty of trying to cover too much ground, and pieces like "Spit," "Happy Hour," and "Yucca Man" alternate reliably catchy choruses with strangely jagged, off-kilter verses. The result is more disjointed than exciting, and further attempts at creepy atmospherics ("Cream," "Don't be Afraid") and acoustic forays "Don't Fuck With Me," "Social Sidewinder" are more amusing than interesting.

On the surface, the music of Love/Hate's debut may seem no different than most any late-'80s L.A. pop-metal, but the band's performance exudes a fury and belligerence that posers such as Poison or Warrant could never even grasp; actually, they would turn on their heels and run away screaming from it. The band literally "plays on 11," from the very first crunching power chord of the title track to the last cymbal crash of the frenzied "Hell Ca., Pop. 4." In between, they alternate the sheer power of "Rock Queen," "One More Round," and "Straightjacket" with the haunting yet beautiful melodies of "Mary Jane" and "She's an Angel."

Two years after the debut that enthusiased both audience and critics, Modrec has signed with Inner Ear Records and they are back with their brand new album, “Mascaraddiction”. The integral compositions and the mature English lyrics of “Mascaraddiction” reveal that, ten years after its formation, the band keeps working hard and developing. “Mascaraddiction” is an Athens kid. It breathes into the days and nights of the big city, following the crazy rhythms of its everyday life, gets inspired and records its urban landscapes, watches and comments with an almost visible, fierce and penetrating aura and vocals masterly acrobating on a spine of powerful punk-rock guitars that very often flirt with metal.

The Youngbloods could not be considered a major '60s band, but they were capable of offering some mighty pleasurable folk-rock in the late '60s, and produced a few great tunes along the way. One of the better groups to emerge from the East Coast in the mid-'60s, they would temper their blues and jug band influences with gentle California psychedelia, particularly after they moved to the San Francisco Bay Area…