Teenage Love is a compilation album by Australian pub rock band Cold Chisel, released in 1994. The album collected studio recordings, many just demos, that were not used on previous albums. Phil Small said, "There was always a surplus of 3 to 4 tracks with each album." The tracks were recorded between 1976 and 1983. "Hands Out of My Pocket", "Nothing But You" and "Yesterdays" were issued as singles. Don Walker said of the album, "Most of the time they were recorded as demos, so it's just the band in the studio slamming down a new song. For a certain number of them, it's the only time we ever played the song." Walker insisted that the tracks be released without any overdubs."

The Barking Spiders Live: 1983 is a live album by Australian rock band Cold Chisel. It was recorded during the final performances of their Last Stand tour in 1983, at the Sydney Entertainment Centre. The name of the album derives from a name the band used occasionally when playing warm-up shows before tours. Don Walker states a "barking spider" is "Scottish slang for a fart." The album spent 20 weeks in the Australian charts, peaking at number 14. Reviewed in the Canberra Times at the time of release, the album was described as, "a great reminder of the band's power and talent, particularly in concert, and a crucial purchase for all Chisel fans."

The Morlocks - Easy Listening For The Underachiever (2006) {Go Down Records ‎GOD027, Expanded Reissue rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 294 Mb | MP3 @320 -> 105 Mb
Full Artwork @ 300 dpi (png) -> 16 Mb | 5% repair rar
© 2008 Go Down Records ‎| GOD027
Rock / Garage Rock Revival

There are records that represent a remarkable event, and so is “Easy Listening for the Underachiever”, the return of one of the most relevant bands from the 80s garage renaissance: the Morlocks. The promise to reunite the Morlocks became true: now they are back with a new line-up and the result is “Easy Listening for the Underachiever”, the ultimate declaration of love to garage-punk, an album out of time and out of compromise. This is “blood, sweat and tears”, just take it or leave it! Now it is released for the first time in Europe, which includes an interview with the band and 2 live songs recorded in the Netherlands.

According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, of Elephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock.

Band of the moment, the saviours of rock'n'roll… something to write about in an age of musical mediocrity?
The White Stripes can be seen as all of the above. The hype around the release of this fourth album has gone on and on, the critics' saliva abundant. Finally it's here. Can it really change the course of mankind as we know it? Let's see.

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 Count Bishops - Speedball +11 (1975) {Chiswick–Ace Records ‎CDWIKM161 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 290 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 300 dpi (png) -> 52 Mb | 5% repair rar
© 1975, 1995 Chiswick Records / Ace Records | CDWIKM 161
Rock / Rock & Roll / Garage Rock / Indie Rock / Pub Rock

In the year or so before punk finally emerged on the London scene, the Count Bishops were the kind of band you wished everyone would sound like, without ever guessing that very soon, they would. A mere handful of other groups shared the Bishops' eye for tanked-up, dressed-down, dirty-ass R&B – Eddie & the Hot Rods, Little Bob Story, Dr. Feelgood, and the Hammersmith Gorillas were the closest, and it was a sign of those prime movers' versatility that each of them brought something fresh to the party. In the Bishops' case, it was a laconic sneer, a greaseball grind, and one of the hottest guitarists of the age, Zenon DeFleur. As both writer and performer, he nails even the trickiest riff down flat for the rest of the band to steamroller.