This is one of those “lost album” stories. It’s about a record - no, three vinyl LPs of recordings - by an obscure San Franciscan band that existed in the 1960s and ‘70s - and its body of work that was built, buried and all but forgotten for 40 years.

This is a time capsule of a band you probably never heard of. Uther Pendragon were as underground as they come. They arose out of the San Francisco Bay Area in 1966, played with the likes of Country Joe & The Fish and won local prominence. They recorded extensively for the next 10 years but didn’t release a thing. That's nada. Zilch.

They took on half a dozen different names and morphed from folkish rock into psychedelia and hard rock. They lived communally and played in an occult rock opera. The polar opposite of “Jesus Christ Superstar”, which threw a career lifeline to a gaggle of Aussie rock stars in the ‘70s.

You just know some records will be good. UK trio Black Bombers summoned an explosive storm-front in the guise of a seven-inch single (“Crazy” b/w “That Kind”) in early 2015 that sold out its first pressing in a week. To say a full-blooded long-player was anticipated is like saying Kayne West has lots of self-confidence.

Black Bombers hail from Birmingham where everything is either black or Black Sabbath. Those local legends might be held in high regard around the globe but apart from a shared love for riffing and volume, Black Bombers are cut from a slightly different cloth.

It’s a re-issue from the mid-‘90s but most of us missed it the first time around. The Monsters are from Switzerland and that put them at a serious disadvantage in places like the USA, where they did attempt to break only to find they were swimming against the tide, no tsunami, of grunge.

he Monsters are right up there with the likes of The Mummies, Thee Headcoats and a handful of others setting a benchmark for trashy lo-fi rock and roll. That’ll become obvious with even a cursory listen to “The Jungle Noise Recordings”, now in expanded form with extra tracks.This is perfect junkyard fodder.

Tell me, was the Jim Jones Revue one of the highlights of the Big Day Out (2011) or fucking what? They were utterly on fire, all Jerry Lee and compressed brutality … I thought the majors would scoop them up and take them to war …

Well… almost. The band broke up after years of battle, but Jones, retaining Gavin Jay on bass, picked up Joe Glossop on keyboard, Phil Martini on drums and David Page on pedal steel and theremin … why?

Well, when the main songwriter is … I think “trangressing” might be appropriate here rather than “progressing”… from one place to another, it’s not fair on the band he’s gathered to try to shove them down a hole they don’t want to go. If you thought JJR were shit hot, wait’ll ya get a load of this stinky skanky beast.

It’s difficult to believe that Chris Masuak is only in the second half of his 50’s when you examine his output. It’s been a diverse and solid career, spanning almost four decades.

He was in his late teens when he joined Radio Birdman. He was half of the sound of the “twin-guitar attack” that assaulted Sydney with its array of proto-punk influences, to forever stake Birdman a claim as one of the most influential bands the city has produced.

Then there were the post-Birdman bands. The Hitmen never had the songs, in my opinion, but they always delivered as a live act. Masuak’s guitar playing was the stand-out.  Chris was still in his early 20’s and still forging his own style. It lay somewhere between the technical brilliance of Mountain and the pop-rock sensibility of The Dictators.

“The Lucky Girl” is a seven bottle CD. This is a brilliant, fabulous record (yes, she has vinyl as well) and if there was any justice in the world she’d be making a triumphant return to Australia after touring the stadia of the USA and Europe, coming home to pack the Rod Laver Arena four nights in a row. If this were only 25 years ago, the industry would be elbowing each other with intent to get ahold of a moneymaking talent on a par with Kate Bush.

That good? Well, don’t blame me, I didn’t make it. You need “The Lucky Girl” like you need your thumbs; not having “The Lucky Girl” is the equivalent of having paws. She’s currently recording a follow-up. But why seven bottles?