K's JUNK SHOP GLAM SPECIAL VA - Hot Tramps: 220 Junk Shop Glam Ravers (Super Deluxe Edition) [2023] (9 x CDs)

K's JUNK SHOP GLAM SPECIAL 

VA - Hot Tramps: 220 Junk Shop Glam Ravers (Super Deluxe Edition) [2023] (9 x CDs) 

Junk Shop Glam is a nuanced music genre term coined in the early 2000s by former Buzzcocks bassist, Tony Barber, and Lush bassist, Phil King. Junk Shop Glam describes the nearly forgotten vinyl records of 1970s glam rock bands whose unsuccessful records had limited release, virtually no airplay, and have thus been relegated to the cheap record bins and often overlooked record stacks found in junk shops, charity shops, thrift stores, and the like. With the resurging interest in vinyl records, such obscure glam rock records can command high prices among avid record collectors and even band members themselves looking to fill missing releases in their own discographies.

For nigh on two decades, two reclusive pop archaeologists have been flicking through the 50p record bins in charity shops and record stores in search of lost gems from glam rock's 1970s heyday. Junk Shop Glam - as the Buzzcocks' Tony Barber and former Lush and Jesus and Mary Chain bassist Phil King have christened the genre - is the result: a motley crew of singles as near to worthless and as close to pop heaven as any old vinyl can get. And with many definitive CD compilations, glam's lost bands are having a rare second wind.

Glam tottered out of the ashes of the 1960s on platform heels to a bass-laden backbeat that hit you in the face like a leathered fist. Teenage audiences went crazy. Girls screamed themselves hoarse. Boys smashed their chairs into kindling. Mama Weer All Crazee Now was a simple observation of fact.

But with so many bands on the ballroom circuit, glam's failure rate was high - and those who never made it beyond record company demos drifted to the bottom of the vinyl heap. Theirs is the anarchic sound of a musical past before irony set in, before the audience began to know too much, before rock music became a corporate monolith. They may remain worthless on the collectors' market, but they are what Junk Shop Glam is about - a foot-stomping concoction of the trashy, the brilliant and bizarre.

What bands are we talking about? You would think, with these names, it would be hard to forget them, but forgotten they are: Bearded Lady, Iron Virgin, Plod, the Jook, Hector, Spiv. After collecting more than 50 lost singles from the era, Barber and King surfaced in Record Collector magazine, making their private obsessions public. It is clear that this is a labour of love: Junk Shop Glam is not about the market value of rarity, but about finding great pop records where no one thought to look.

Their big stars are dislocated teens such as Brett Smiley, whose winsome beauty caught the beady eye of former Stones manager Andrew Loog Oldham in 1973. Smiley's music was the offspring of Bowie's androgyny allied with a shoe-gazer's neurotic self-absorption. Though the album he promised us, Queen of Hearts, never materialised, he did cut Va Va Va Voom, a priceless slice of glam.

Fellow would-be teen sensation Simon Turner was a more conventional pretty boy. A protege of Jonathan King's UK label, Turner was a child star on TV, and went on to become - via Britt Eckland - the tabloids' first ever toy boy. Touted as England's answer to David Cassidy, his glam single Sex Appeal is an elusive piece of junk shop treasure. But this former glamster did at least go on to better things. In the 1980s, he wrote ambient film soundtracks for Derek Jarman and, more recently, for Mike Hodges's Croupier.

At the heavier end of the market, bands such as Bearded Lady found themselves touted by the NME over The Sex Pistols as a new era dawned. It was 1976, and one of our collectors remembers seeing Bearded Lady perform their glam-punk single Rock Star at the Marquee, with the support of a little-known group from Woking called the Jam. And then there were Bovver-inspired bands like Hector, who went so far as to dress like Dennis the Menace, paint freckles on their faces and stick catapults in their back pockets. When that failed to attract the right kind of attention, an image change involving velvet hastened their demise. But they did leave us with one gem: the proto-punk Bovver thrash of Wired Up, a brilliant three minutes of teenage rock that embodies the spirit of snotty youth.

The Edinburgh-based Iron Virgin sported an equally outrageous image. Guitarist Gordon Nicol now runs a recording studio in Texas but recalls taking to the stage 30 years before, "to strains of the music from A Clockwork Orange, our drummer wearing the definitive bowler hat, carrying a big stick on his shoulder". The band then hit on the idea of dressing as American footballers sporting iron chastity belts, and even made their own costumes: "We used regular crash helmets, painted them, and added aluminium tubing around the face to look like faceguards. And we bought oversized T-shirts, used foam for padding, then Stuart [the singer] sewed numbers on the shirts. With our bright yellow loon pants and platform boots we looked quite a sight."

Their first single was a raucous cover of the Wings album track Jet. It was well-received on Emperor Rosko's Round Table, Radio 1's influential 1970s show, and even started getting airplay. Then Paul McCartney decided to release the track as a single himself. The rest is history. Their self-penned follow-up, Rebels Rule, fared little better - but this hard rock rebel classic has garnered a growing international following over the years. According to Nicol, the band's former record company has been inundated with requests for its re-release: "It's unbelievable - there's more interest in Iron Virgin now than there was when we were together."

Fallen idols they may have been, but it's their pop purity that captivates, in all its trashy, bargain-basement glory. While Iron Virgin even have their own website, many other Junk Shop bands are so obscure that dedicated study of the era's teen and music press is required to shed light on their fly-by-night existence. How else to retrieve from oblivion the Rats, for example, an otherwise-unremarkable 1970s hard rock band who hit glam genius with Turtle Dove, three minutes of power pop that defies the gods with tremendous riffs, tremulous vocals and the opening line: "Love - I like it rough..." Then there was north London's Erasmus Chorum, hailed as "the black Slade", who recorded at least two singles, Mary Jane and Jungle. The more raucous bands such as Spiv, Bearded Lady and The Jook combined the DIY roughness of punk with the teen war cries of classic glam.

Indeed, the best of these lost singles reveal punk and glam to be two sides of the same coin, a prole liberation music blessed with the power to piss off parents and muso peers alike. The big difference was that the glam generation were into stardom first and last. Top of the Pops won over the Old Grey Whistle Test every time. Anti-showbiz punk nihilism was still a world away, but if their eyes were in the stars, the sound was already in the gutter. The music of bands such as the Jook and Belfast's Rudi, who took their name from the Jook's first single, was hard, homemade, and abrasive - the sound of the future hammering outside in the studio corridor.

The lost sounds of the pre-punk era made their way around to the rest of the world thirty some years later. The bruisers and losers, who couldn’t make it back then become heroes. The story began with two pop archaeologists, Phil King, former bassist of Lush, and Tony Barber, former bassist of Buzzcocks, who made their private collection of a bunch of brilliant but unknown 70s glam rock public. No one has heard of anything about these bands with names like Mint, Hello, Jook, Spiv, Hector. But when Barber first showed his collection to King, they “blew his mind open,” and in the early aughts, the two pop archaeologists blew the world’s mind wide open.

What is Junk Shop Glam?

Junk Shop Glam describes the unsalable leftovers of 70s glam rock. They are the “bruisers and losers” who never made it outside the local joints. Most of these bands only had a few singles out before they were abandoned by managers and labels. Some were misfortunate, while the others were overshadowed by the big acts. They occupied a little corner of record shops in the 80s called the “indie landfill” with price tag ranging around $1-2–they cost next to nothing with sounds shoot up to pop heaven (time being a factor). Junk Shop Glam is the hidden treasure of 70s Glam, a mountain of black gold that you have to dig deep enough to uncover.

The band, Mint, proves to be a secret love for many avid collectors in the genres alike. Singles from the band appeared on All the Young Droogs and Hey! 1970s Rock’N’Glam from the President Jukebox among several underground playlists. Formed in north London in 1971 by four teenagers, Hello was originally “cursed” from making a name of their own in the 70s’. However, despite not achieving commercial success, their songs eventually crawled their ways out of the crowded rock scene to many collectors’ vinyl shelves since King and Barber dug them out. Then there was Bearded Lady, overshadowed by Sex Pistols. The Jook, coming with Slade-like singles, is now being regarded as classics, but back then, they predicted the boom of the power pop so much earlier than it arrived and made them the hopeful idiots with a succession of songs, who failed hoping that one day one of them would stick.

Who came up with the name of Junk Shop Glam?

It was Barber’s joke of “Junk Shop Glam” that christened the genre. King revealed how it began. “Tony Barber invited me round to his place and blew my mind open with a succession of brilliant singles that he’d bought at car boot sales and record shops run by grumpy Teddy Boys who told him ‘I’ve got some of that 70s rubbish that you like out the back’ - Iron Virgin, Spiv, The Jook, Hector, The Rats,” said King. “The names were as brilliantly succinct and in your face as the music they made - and more often than not they made just the one, normally a promo pressed up in small quantities—for DJ’s and the music press—in the hope that someone would ‘bite’. In the UK at the time, it would be a period of industrial unrest - three day weeks, miner strikes, power cuts which, coupled with the oil crisis in the Middle East, meant that even promo copies of the singles would be in short supply. Hence their collectability now.”

The name started as a joke, “an antithesis to the world of stuffy record fair record collecting.” “These was not the records that would proudly be on the walls to be sold. They would barely be in the beer crates beneath the trestle tables. Most of them wouldn’t even make it out of their lockups. It just wasn’t worth the hassle,” said King. “This was the glam version. Record Collector in the mid to late 90s would have a monthly look back at releases in the early 70s. These records would be posted up at £1-2 each.”

Junk Shop Glam Records

Since the beginning of 2000, King and Barber have released four compilations from their private collections, old record archives, and other places. There were certain recordings, like James Arthur Edwards’, harder to find than the others. Beginning with Velvet Tinmine and followed by Boobs, Glitterbest, and All the Young Droogs, the two have introduced many Juvenile Delinquent Wrecks and Rock 'N' Glams from the less fortunate bands such as Hello, Mint, the Jook, Bearded Lady, Ning and Iron Virgin.

King and Barber undoubtedly inspired the rise of Junk Shop Glam. Like a wildfire, the name of Junk Shop Glam spread to mainstream outlets like the Guardian and British Vogue. Music collectors and obsessors shared their own collections. Some went digging even deeper around local record stores, searching for the lost pieces in the music history.

Depending upon which side of the Atlantic you were raised on, the term “glam rock” means different things to different people.To Brits of a certain age and disposition, it refers to one of the most effervescent starbursts of 45 rpm fun in rock and pop history, a period generally placed between 1971-1976, and encompassing everyone from Roxy Music and Cockney Rebel to Lieutenant Pigeon and 10cc. Neither of whom were glammy in the slightest, but we’ll get to that later.

In America, the pickings are slimmer. Bowie’s eventual superstardom really kicked in only after he’d dumped the glam trappings. UK serial hitmakers T. Rex, the Sweet and Gary Glitter are effectively regarded as one-hit-wonders. Detroit's own Suzi Quatro is best remembered for her role in Happy Days and the country’s own attempts at zapping the spangled zeitgeist were either hapless non-starters (at least in commercial terms) or were swiftly rebranded as hard rockers.

Even Slade, who could barely break wind without scoring another UK chart topper, are best-known here for Quiet Riot’s cover versions; Glitter scored a second hit, but he needed Joan Jett to record it; Arrows scored their first, and ditto.Glam, in America, is a lot of things, but most of them had eighties hair and metal guitars.

Junk Shop Glam, on the other hand… well, we all know what that is.

Briefly, however, Junk Shop Glam encompasses any record released, primarily in the UK, but also across Europe and elsewhere, that adhered to at least an approximation of the blueprint laid down by the movement’s British cheerleaders, but which never received the attention it deserved. Or, more accurately, which sank like a stone, to live out the remainder of its natural life, indeed, in those boxes of singles that most junk store owners once begged passing customers to take away for free.

You probably wish you had, now. Not so long ago, a copy of Hello’s “Teenage Revolution” single, scheduled for release in 1975 but abandoned at the promo stage, sold on e-Bay for a couple of hundred bucks. Last year, a Barry Blood 45 went for a couple of hundred pounds at a private auction. The British Record Collector magazine values a test pressing of Giggles’ unreleased “Wiggle” single at £300, and Streak’s “Gonna Have a Good Time” at a little less than half that.

It's a rapacious market. Reissues of albums by Americans Brett Smiley, Jobriath and Milk 'n' Cookies might never have happened without Junk Shop Glam to alert folk to their potential. Likewise New Zealander Alastair Riddell.

Just a few months back, another glory-laden classic of the genre, Alan Lee Shaw’s “She Moans” was reissued by the German label Last Year’s Youth, to take some of the edge off the original's current £75 valuation. Arguably, the explosion of interest in Junk Shop Glam represents the most exciting, if unexpected, development in British record collecting in years, and if its legends have yet to scale the financial heights that, say, Freakbeat and Northern Soul now call their own, it’s probably only a matter of time. After all, it’s early days, still.

As both a term and a genre, “Junk Shop Glam” is relatively recent coinage, dating from around the beginning of the century. Prior to that, it was just rubbish. Phil King, the former Lush/Jesus & Mary Chain/etc bassist who both pioneered the genre’s collectibility and compiled the Droogs box set, recalls his own introduction to the topic.

“[Former Buzzcocks bassist] Tony Barber invited me round to his place and blew my mind open with a succession of brilliant singles that he’d bought at car boot sales and record shops run by grumpy Teddy Boys who told him ‘I’ve got some of that ‘70s rubbish that you like out the back’ - Iron Virgin, Spiv, The Jook, Hector, The Rats.

“The names were as brilliantly succinct and in your face as the music they made - and more often than not they made just the one, normally a promo pressed up in small quantities - for DJ’s and the music press - in the hope that someone would ‘bite’. In the UK at the time, it would be a period of industrial unrest - three day weeks, miner strikes, power cuts which, coupled with the oil crisis in the Middle East, meant that even promo copies of the singles would be in short supply. Hence their collectability now.”

It was Barber who came up with the term, “Junk Shop Glam,” but it was never intended seriously. King continues, “it was started as a joke, an antithesis to the world of stuffy record fair record collecting. These was not the records that would proudly be on the walls to be sold - they would barely be in the beer crates beneath the trestle tables. Most of them wouldn’t even make it out of their lockups. It just wasn’t worth the hassle.”

Record store owners today bemoan what they call “Indie Landfill,” referring to the slew of unsaleable singles that flooded out in the late 80s and 90s, usually by bands with names like Daphne's Reactionary Lickspittles and the like.

“This was the glam version. Record Collector in the mid to late ‘90s would have a monthly look back at releases in the early ‘70s. These records would be posted up at £1-2 each.”King recalls one store, Beano’s in Croydon, which effectively operated two shops.One was stocked with “records priced up using the Record Collector price guide. Next door was their shop full of the rest. A lucky dip of four for a £1 for Junkshop Glam collectors like Tony and I.”

It was Record Collector that first announced Junk Shop Glam to the world, across a nine page spread in January 2002. A Top Twenty rarities discography accompanied the piece, topped at £12 by the Tartan Horde’s odes to the Bay City Rollers (“only because of the Nick Lowe connection,” King astutely points out), and bottoming out at the £3 mark. Last time around, Tartan Horde didn't even make the Top 50.

That article set things rolling.It also flushed other secretive figures out of the woodwork; fellow folk who had devoted years to picking up the records that time (and more or less everything else) had forgotten.Soundtrack collecting maestro (and eponymous label head) Jonny Trunk was among them, declaring “this is what the passion of record collecting is all about and these collectors don’t just follow trends or buy what everyone else has before. These people have created their own small, intimate scene. They’ve discovered a single no one else even knew existed…and all this for a series of singles valued at next to nothing. How cool is that?”

Other writers and publications got on board. Websites were produced and, over the next few years, the first Junk Shop Glam compilations emerged - Velvet Tinmine, compiled by King and Saint Etienne’s Bob Stanley (another vocal adherent), the splendidly titled Glitter from the Litter Bin, Glitterbest (focussing on the glam roots of so many late seventies punk acts), Boobs and Bubblepop, a collection devoted to the manifold works of one of Junk Shop Glam’s most prolific producers, Jonathan King, and his UK label.

What a difference two decades have made. Less than ten years earlier, the fledgling Biff! label released The Great Glam Rock Explosion, a scintillating look back that dipped more than a couple of toes into these same waters. A blend of the genre’s genuine big hitters (Glitter, Wizzard, Quatro etc) with, indeed, some Junkshop Glam flotsam (the Teezers, ex-Glitter Bandsman John Rossall and Hello's Jeff Allen), it peaked with Arnold Corns, an early David Bowie alias, performing a similarly early version of “Moonage Daydream.”

That, alone, should have brought the collectors running - it was the performance's first appearance on vinyl since its original 1971 release, and its last until it was included among the bonus tracks on Rykodisc’s reissue of The Man Who Sold the World. Forget Junk Shop Glam, this was Junk Shop Gold. But nobody cared. They didn't even notice.The Great Glam Rock Explosion imploded as silently as any of its lesser-known contents, and maybe that’s appropriate. Nobody cared then, nobody cared now.

The nineties - and beyond - on the other hand, saw Junk Shop Glam rise to become a veritable Behemoth in record collecting land.

King: “I started collecting seriously in the mid ‘90s. My big break (after meeting Tony Barber of course) was putting a ‘Wants Ad’ in the back of Record Collector in the late ‘90s and one person who contacted me had worked as a salesperson at Bell and had a huge collection of unwanted, mostly promo, ‘70s singles.He would make up handwritten lists and would supply me with a cassette with an excerpt of each song up to the first chorus. These singles would be priced for just a few pounds each.

“Another person who contacted me had bought a whole collection of ‘70s singles (cleared out from the BBC record library, I seem to remember) that were wall to wall in one of his rooms of his country home and filed alphabetically by the label name and also consecutively by the catalogue number. I drove up to the Midlands one Saturday and spent the whole day pulling out records and playing them – and then bought a stack at the end of the day, including one brilliant stomper which I had never heard before - ‘Rave N’ Rock’ by Daddy Maxfield, which sounded like a glammier Iggy and the Stooges.”

If a track fits the timespan, there’s an argument to include it simply because very few records are made in a cultural vacuum, particularly if you’re chasing a hit single.You could not move in early-mid seventies Britain without being assailed by glam on TV or radio, boutique or bedroom.Whether you knew it or not, your music would be influenced accordingly.Or, as Phil King puts it, “To paraphrase what Phil Smee said recently in an interview about the genre ‘Freakbeat’, which he created, he doesn’t recognize some of the records being put forward (or sold) as Freakbeat at all. But I guess that is how it goes – it mutates and replicates, like the alien spores in Invasion of the Bodysnatchers, into something familiar, but at the same time, unfamiliar.”

Clearly, then, not everything here is strictly Junk Shop. Mott the Hoople’s “Whizz Kid” was taken from a UK Top 10 LP; Hello’s “Games Up” was the follow-up to a Top 10 single; Be Bop Deluxe seem beloved by everyone; Iggy and the Stooges… well, they’re Iggy and the Stooges, aren’t they? And both the Spiders from Mars and Woody Woodmansey’s U-Boat spun off from (him again) David Bowie’s breakthrough glam years, even if their own records did die painful deaths.

Nor does King believe Droogs is the last word on the subject, or even his last word. “There were a few tracks that fell between the cracks – mostly stuck in licensing limbo – that we would have loved to have had. Only one artist got back to us with a resounding ‘No!’; and one other said we could use their track, but then the trail went cold. The only label that we would have loved to have license from, but were unable to (and they had some great glam releases) was Magnet. One day.”

There are other tracks that probably would have been in contention, had they not already been anthologized out of the wazoo - Grudge’s “I’m Gonna Smash Your Face In,” Edwina Biglet and the Miglets’ “Thing,” Bubbles’ “This is Where the Hurdie Gurdie Heebie Geebie Greenie Meenie Man Came In.” (Or maybe they're just among my favorites. Who knows?) And others still that fall so far out of the time period that they probably weren’t even considered (and were never even released to begin with) - La Rox's "Photograph" (1981) and Sexagisma’s “Glitter Devils” (1986).

In fact, delete “junkshop” from the equation and glam itself has scarcely had a compilation that can match this one for thrills, spills, surprises and delights. Glo Macari, Stud Leather, Biggles, Tank and Paul St John… “Big Boobs Boogie” and “Bye Bye Bad Days,” “I Live in Style in Maida Vale,” “White Stockings”… not one of them drifted even remotely close to the Toppermost of the Poppermost in its day.  But the passage of time has created a level playing field upon which they can all cavort with equal abandon. And glam rock glitters as garishly as ever.

So, after exhaustive and extensive online research, plus my own recollections and memories, here is my personal compilation of what I consider to be the 220 best and most important tracks from the original Junk Shop Glam era. This fully packed 9CD set contains many rare and extremely hard to find tracks. Only the original studio mixes are included. No later remixes, 'stereo enhanced' or live versions here!  Compiled as always using the very latest and highest quality digital remasters, with a considerable number of tracks sourced from the original master tapes for superior sound quality and enjoyment.

Cover design credits go to the immensely talented Lora Findlay for the excellent Junk Shop Glam Girl illustration.

K

==========================================================

Pt.1     Pt.2     Pt.3 

or

Pt.1     Pt.2     Pt.3 

or

===========================================================

Track lists

CD1

01 Hello - Another School Day 2:51

02 The Jook - Aggravation Place 3:27

03 Brett Smiley - Abstracting Billy 2:49

04 Tiger Lily (Pre Ultravox!) - Ain't Misbehavin' 3:15

05 Iron Virgin - Ain't No Clown 3:25

06 Chunky - Albatross 3:29

07 Dog Rose - All for the Love of City Lights 3:03

08 The Jook - Alright with Me 4:43

09 The Washington Flyers - Another Saturday Morning 2:50

10 Sensation - Baby 3:05

11 Kenny - Baby I Love You, OK! 3:48

12 Simon Turner - (Baby) I Gotta Go 3:13

13 Bilbo Baggins - Back Home 3:07

14 Arrows - Bam Bam Battering Ram 2:38

15 Streak - Bang Bang Bullet 3:36

16 Tartan Horde - Bay City Rollers, We Love You 3:38

17 The Brats - Be a Man 2:53

18 Buster - Beautiful Child 2:57

19 Slowload - Big Boobs Boogie 3:05

20 Shakane - Big Step 3:01

21 Flame - Big Wheels Turnin' 3:41

22 The Jook - Bish, Bash, Bosh 3:35

23 Sensation - Black Eyed Woman 2:35

24 Slik - The Boogiest Band in Town 3:08

CD2

25 Taste - Boys Will Be Boys 3:47

26 Dead End Kids - Breakaway 3:25

27 Kid Dynamite - Breaking the Ice 3:05

28 Fancy - Brother John 3:58

29 Billy Hamon - Butch Things 3:13

30 Hector - Bye Bye Bad Days 3:30

31 The Jook - City and Suburban Blues 3:03

32 England's Glory (Pre The Only Ones) - City of Fun 3:57

33 Bonnie St. Claire and Unit Gloria - Clap Your Hands and Stamp Your Feet 3:59

34 Ducks Deluxe - Coast to Coast 3:14

35 The Washington Flyers - The Comets are Coming 2:27

36 The Jook - Cooch 3:30

37 Heavy Metal Kids - The Cops Are Coming 3:46

38 Trevor White - Crazy Kids 3:35

39 Metro - Criminal World 3:35

40 Stud Leather - Cut Loose 3:09

41 Shelby Flint - (Dance with the) Guitar Man 3:14

42 Flintlock - Dawn 3:00

43 Heavy Metal Kids - Delirious 3:44

44 The Boston Boppers - Did You Get What You Wanted 3:03

45 The Jook - Different Class 4:30

46 Barry Ryan - Do That 2:58

CD3

47 The Jook - Do What You Can 5:24

48 Starbuck - Do You Like Boys 3:27

49 Mint - Dog Eats Dog 2:39

50 Steve Elgin - Don't Leave Your Lover Lying Around (Dear) 3:28

51 Light Fantastic - Don't Let Go 3:26

52 Rats - Don't Let Go (Original MAM 1974 7" Single Version) 3:07

53 Bobby Dazzler - Easy Lovin' Lady 2:49

54 Iron Cross - Everybody Rock On 3:35

55 The Jook - Everything I Do 3:06

56 Kenny - Fancy Pants 3:25

57 Ayshea - Farewell 4:05

58 Tank - Fast Train 2:06

59 The Farm - Fat Judy 3:03

60 Paul St. John - The Flying Saucers Have Landed 3:31

61 Hello - Game's Up 2:51

62 Shakane - Gang Man 3:34

63 The Hammersmith Gorillas - Gatecrasher 2:56

64 Hustler - Get Outa My 'Ouse 3:07

65 Biggles - Gimme Gimme Some Lovin' 3:46

66 The Teens - Gimme Gimme Gimme Gimme Gimme Your Love (Heartache Number One) 3:34

67 Kenny - Give It to Me Now 2:45

68 Bitch - Good Time Coming 2:54

69 Angel - Good Time Fanny 2:58

70 The One Hit Wonders - Goodbye 2:47

CD4

71 John Howard - Guess Who's Coming to Dinner 3:30

72 The Arnold Corns - Hang On to Yourself (Original 1971 7" Single Version) 2:52

73 Stevie Wright - Hard Road 3:02

74 Dead End Kids - Have I the Right 3:14

75 Starbuck - Heart Throb 3:21

76 Shambles - Hello Baby 2:40

77 The Jook - Hey Doll 3:45

78 The One Hit Wonders - Hey Hey Jump Now 2:51

79 Ray Owen's Moon - Hey Sweety 2:28

80 Crushed Butler - High School Dropout 1:53

81 Brett Smiley - Highty Tighty 2:59

82 Method - Hold On Tight 3:25

83 Iggy and the Stooges - I Got a Right 3:22

84 Supernaut - I Like It Both Ways 3:47

85 Helter Skelter - I Live in Style in Maida Vale (Demo Version) 2:57

86 Arrows - I Love Rock 'n' Roll 3:03

87 A Raincoat - I Love You for Your Mind (Not Your Body) 2:55

88 Helter Skelter - I Need You 2:29

89 Ricky Wilde - I Wanna Go to a Disco 3:05

90 Hot Rod - I Want You (All Night Long) 3:09

91 John Henry - I Won't Dance 3:02

92 Grudge - I'm Gonna Smash Your Face In 3:37

93 Barry Blue - If I Show You I Can Dance 3:35

94 Screemer feat. Zaine Griff - Interplanetary Twist 3:52

95 American Jam Band - Jam Jam 3:16

CD5

96 Iron Virgin - Jet 3:08

97 The Jook - Jook's on You 2:42

98 Erasmus Chorum - Jungle 2:38

99 Tub-Thumper - Kick Out the Jams 2:30

100 Le Sisters - Kick Your Boots Off 2:41

101 The Jook - King Kapp 2:56

102 The Rats - L.A. Highway 2:41

103 The Jook - La La Girl 3:19

104 Change - Lazy London Lady 3:13

105 The Hammersmith Gorillas - Leavin' 'Ome 3:33

106 U.K. Jones - Let Me Tell Ya 2:02

107 Catapult - Let Your Hair Hang Down 2:42

108 Crunch - Let's Do It Again 2:53

109 Warwick - Let's Get the Party Going 3:27

110 Bay City Rollers - Let's Go 3:26

111 Rock Rebellion - Let's Go 3:06

112 Iron Cross - Little Bit O' Soul 2:31

113 Angel - Little Boy Blue 3:52

114 Beano - Little Cinderella 2:55

115 Hello - Little Miss Mystery 3:38

116 Milk 'N' Cookies - Little, Lost and Innocent 2:52

117 Glo Macari - Lookin' for Love 2:56

118 Redhead - Looking for You 4:39

119 Hot Rod - Love Is Alright (Hey) 3:17

120 Shakane - Love Machine 2:51

121 James Hogg - Lovely Lady Rock 3:15

CD6

122 Lemming - Lucifera 4:10

123 Ning - Machine 3:24

124 The Rats - Main Horse Cowboy 3:39

125 Squeek - Make Hay While the Sun Shines 2:58

126 Stumpy - Make Me a Superman 2:14

127 The Jook - Mohair Sam 2:20

128 The Arnold Corns - Moonage Daydream (Original 1971 7" Single Version) 3:53

129 The Damned - Morning Bird 2:30

130 Jimmy Jukebox (Kim Fowley) - Motor Boat 2:10

131 Buster - Motor Machine (Original 1973 Bradley's Records 7" Single Version) 3:02

132 The Jook - Movin' in the Right Direction 2:56

133 Renegade - My Revolution 2:28

134 Harpo - My Teenage Queen 2:55

135 Cozy Powell - Na Na Na 3:27

136 Paul Ryan - Natural Gas 2:52

137 Plod - Neo City 3:26

138 Clive Kennedy - New York City Pretty 3:14

139 Be Bop Deluxe - Night Creature 3:35

140 The Rats - Nose Job 3:57

141 Milk 'N' Cookies - Not Enough Girls (In the World) 3:33

142 Jet - Nothing to Do with Us 4:47

143 Spiv - Oh You Beautiful Child 2:57

144 Streak - On the Ball 3:10

145 The Jook - Oo Oo Rudi 3:31

CD7

146 Anthony Bygraves - Painted Lady 3:12

147 Brian Wells - Paper Party 2:43

148 Whistle - The Party Must Be Over 2:55

149 James Arthur Edwards - Pastiche Blue 3:52

150 Chris Spedding + The Vibrators - Pogo Dancing 3:10

151 Barry Blood - Poor Annie 3:45

152 Frenzy - Poser 3:00

153 Child - Public Enemy Number One 3:06

154 The Rats - Queen 3:32

155 Daddy Maxfield - Rave 'N' Rock 2:55

156 Iron Virgin - Rebels Rule 3:13

157 Small Wonder - Ride a Black Sheep 2:48

158 Zappo (Marty Wilde) - Rock and Roll Crazy 3:16

159 Bearded Lady - Rock Star 3:06

160 Tartan Horde - Rollers Show 3:33

161 The Rats - Rolling Railroad Wagon 3:03

162 Roobarb - Roobarb's a Star 3:07

163 Sweeney Todd feat. Bryan Guy Adams - Roxy Roller 2:50

164 The Jook - Rumble 4:27

165 Bilbo Baggins - Saturday Night 2:30

166 Buster - Saturday Night 2:42

167 Simon Turner - Sex Appeal 2:06

168 Big Wheel - Shake a Tail 3:27

169 The Jook - Shame 2:35

170 Buster - She Ain't My Baby 3:01

CD8

171 Capt. Skidlid - She Knew Him Too 1:50

172 Hobnail - She's Just a Friend of Mine 3:27

173 Heavy Metal Kids - She's No Angel 3:38

174 Cole Younger - She's Not My Lover 2:58

175 Ice Cream - Shout It Out 2:52

176 The Hollywood Brats - Sick on You 5:10

177 Blackfoot Sue - Sing Don't Speak 3:38

178 Stavely Makepeace - Slippery Rock 70's 2:50

179 Paper Lace - So What If I Am 3:27

180 Flintlock - Sooner or Later 2:46

181 Paul St. John - Spaceship Lover 2:56

182 Woody Woodmansey's U-Boat - Star Machine 3:25

183 Hello - Star Studded Sham 2:54

184 Buster - Sunday 2:37

185 Andy Bown - Supersonic 3:14

186 Buster - Superstar (Original 1974 Bradley's Records 7" Single Version) 3:19

187 Despair (Pre The Vibrators) - Sweet Sweet Heart 3:25

188 Boneshaker - Sweetness 3:03

189 The Shepperton Flames - Take Me for What I Am 2:14

190 Ricky Wilde - Teen Wave 2:56

191 Iron Virgin - Teenage Love Affair 3:01

192 Hello - Teenage Revolution 2:39

193 The Jook - That's Fine 3:51

194 Edwina Biglet and the Miglets - Thing 2:51

195 Bubbles - This Is Where the Hurdie Gurdie Heebie Geebie Greenie Meenie Man Came In 2:18

CD9

196 Fancy - Touch Me 3:46

197 Arrows - Touch Too Much 3:01

198 Arrows - Toughen Up 2:53

199 The Streakers - Turn Me Down 2:27

200 The Rats - Turtle Dove 2:28

201 Rococo - Ultrastar 2:46

202 Brett Smiley - Va Va Va Voom 3:11

203 Greg Robbins - Virginia Creeper 2:18

204 Doctors of Madness - Waiting 4:07

205 The Jook - Watch Your Step 3:21

206 Buster - We Love Girls 3:54

207 Bilbo Baggins - What's Goin' On 3:51

208 Spiders from Mars - White Man, Black Man 2:48

209 Roy Allison - White Stockings 3:08

210 Mott the Hoople - Whizz Kid 3:09

211 Angel - Who D'Ya Think You're Fooling 3:02

212 Buster - Who Told You 3:03

213 Fancy - Wild Thing 2:57

214 Hector - Wired Up 2:45

215 Alastair Riddell - Wonder Ones 4:04

216 Third World War - Working Class Man 4:31

217 The Jets - Yeah! 2:37

218 The Hammersmith Gorillas - You Really Got Me 2:47

219 Spunky Spider - You Won't Come 2:40

220 Baby Grande - Zephyr 3:39

=============================================================

=============================================================