Once upon a time, in the relatively genteel state of Virginia, there was a self-destructive punk rock band called The Candy Snatchers. Named after a trashy crime flick, they spilt beer and bled all over American stages before their guitarist prematurely shuffled off this mortal coil a decade ago, and they promptly fell apart.

L.A.-based The Ringleaders have Larry May of The Candy Snatchers on vocals and for that reason, among others, you need to pay attention.

The rest of the band – Hans Molnar (the Hellbenders) on guitar with Tim Bender (Death by Stereo) on drums and Mark Ho (Hollywood Hate) on bass – are similarly well-credentialed. Fully cranked, they sound like they’re heading to Hell in a Honda while out of their heads on glue.

It’s fashionable to label Spain as rock and roll’s last remaining outpost, and if you live there or you’ve visited for more than 10 minutes you’ll know why.

The Spaniards didn’t throw off the yoke of Fascist cultural oppression until 1975, so they came late to rock and roll. Partying hard, however, is in their genes and they’ve been making up for lost time.

So say “Hi!” to Hey Honcho and The Aftermaths, a band from Oveido in the country’s north who their label says have a sound that’s typical of Spain’s garage punk scene.

The Aftermaths are ex-members of Los Ass-Draggers, Amon Ra and Electric Children – bands whose profile will be negligible outside of Spain (but don't let that stop you.) They had an EP out before singer Von Gustopher (aka Hey Honcho) joined.

Each of these requires repeat listening, possibly with a bottle of red, one or two glasses and (in my case) a hanky.

A couple of weeks ago we went out in Adelaide to see these folks play the Hades Hula Hut, and the next night The Metro. Both Marsden and Tim rather rashly pressed their offerings into my paw, not knowing that I am trying desperately to cut down on my reviews.

Seeing them all play, of course... yeah, and here I am, listening to Marsden's little cassette on my little boombox in my cold little room. So this will be a quick overview...

It's rated five bottles. What's so good about Ultravox!? 

Really simple. First, great songs, unique construction and clever use of synths; second, powerful, heady stuff. Pretty much essential. My favourite is the middle LP, but I have always loved the other two.

You could argue that, given that the band was riddled with elements of what would become electronica and dance, but with dub reggae, glam and funk also welded into place, Ultravox! offered a step forward, beyond punk, yet before punk had even happened. 

They're not just a fucking important band, but they're a damn fine band.

There are box sets and there are box sets. If you don't have anything by Ultravox!, or, if you like, you found the “Vienna”-era band a tad gooey on the nerves, this set brings their first three LPs together plus an extras disc. 

Certainly the deluxe edition re-issues are part of their time. Can't help that.

You know what they say of the younger fans of Green Day, on the occasion of their first listen to The Clash? "Golly, they sound just like Green Day!" ...

One of the weirder things is revisiting old men's records and realising that their leaps forward 40-odd years ago did the spade-work for mega-selling buttonhead bands by the hundred. I mean, come on. The late '80s and mid-'90s Britpop thing owes a huge debt to Wire.

What is astonishing here, apart from the vibrant inyerfaceness of the pre-"Pink Flag" demos (recorded between May and August 1977), is that, like The Buzzcocks and The Clash, or Siouxsie and the Banshees around this time, how broadly creative Wire were over such a short space of time. Like The Clash and the Banshees, Wire were part of the punk burst, but didn't rely on its DNA.

There’s a Neil Young biography (maybe one of the earliest about him) by Johnny Rogan from 1982 that documents the great man’s “Ditch Trilogy” period in some detail. A section about Neil’s 1973 UK tour - before the release of “Tonight’s The Night” – makes him sound unhinged.

Rogan’s telling has Young believing his own audience patter that he’s “in Miami Beach” (tagline: “It’s cheaper than it looks”) and delivering ramshackle, desolate songs that the audiences had never heard before – when all the punters wanted was a run-through of the hit album “Harvest.”

Besides criticising the op shop stage décor, Rogan painted Young as near incoherent, bombed out of his brain on whatever was handy and mumbling. It’s like the man’s mind was a bottle short of a full case of Corzo.