Depending on which side of the footpath you were on in the Australian 1970s, Sharpies were either misunderstood working class rebels or teenage thugs and bullies.

One Sydney Sharpie who went by the name of Big Victor (name changed to protect the guilty) would wait at suburban railway stations looking for long-haired surfers with the intention of breaking their surf boards and, if need be, a bone or two in the process. The Sharpies in Melbourne may have been different.

This is their soundtrack - ironically of mostly long-haired bands. The only real sharpie bands would have been Lobby Loyde and the Colored Balls and Buster Brown, whose singer Angry Anderson was a sharp. Certainly, Billy Thorpe had a sharpie haircut for while. The music is Australian 1970s pre-punk heavy rock/glam and as a collection that's representative of this era, it is nothing short of excellent.

UK label Easy Action is launching into its three-legged re-issue campaign for trans-Atlantic super group the Hydromatics by leading off with the band’s next-to-last studio recording. And with good reason. “Powerglide” is the perfect meeting place of blue-collar Detroit rock and roll and blue-eyed soul.

“Powerglide” came out in 2001 but if you can remember blinking back then you probably missed it. No sooner had it landed in the racks then the Italian label that put it out went belly-up. Fourteen years later, the gap in the market for genuine, rocking soul with power is larger than ever, so it deserves to sell by the truckload.

This lavish double CD package closes the lid on the first life of the Hard-Ons, nicely. Not in the literal sense of the term. Far from it. It's like a skateboard ride down a very rough track, a mix of disparate hardcore and metal songs that sits at odds with much of what came before. 

When the original album came out in mid-1993, nobody knew (but band members could sense) that it was the last recording by the Hard-Ons with their original line-up. That's the context and it now makes sense. 

It’s funny how records released in the past evoke specific memories when revisited years later. For me, this one doesn’t throw up much. I think I bought it well after it came out. It seems lots of fans shared that indifference.

This album’s the second and final chapter for a project that had modest enough aspirations. Jim Keays just wanted to strip things back and rock out on covers of obscure and semi-obscure songs.

He and his crack band not only sound like they had a great time but produced a killer recording in “Age Against The Machine”, the follow-up to 2012’s “Dirty Dirty” set of garage rock covers.

We don’t have pop stars in Australia any more. In their place, we have reality TV-manufactured, milksop product whose fame is carefully designed to meet a demographical need and is disposable as the songs somebody else writes for them. Just as the tag “R & B” has been diluted beyond recognition, these people aren’t pop stars in the true sense of the term.

You might know him for an infamous TV fist fight with a shock jock (and, hey, that was almost one lifetime ago) but back in the 1960s, Normie Rowe was one of Australia’s first bona fide pop stars. There was no need to manufacture stars back then – the media certainly was complicit but they largely just appeared – and the good looking Rowe inspired teen adulation on the back of a string of national hits.

There are few survivors from when New York City’s rock and roll world revolved around a few seedy nightspots in a now unrecognisably gentrified district called The Lower East Side who are still musically  active. Joey Pinter is one of them, making spirited, raw guitar music on their own terms, and this is his debut solo album.

Transplanted to Los Angeles and now living in Chicago, Pinter is best known as Walter Lure’s guitar foil in his killer post-Heartbreakers outfit, The Waldos. These guys should have been huge but labels kept their distance and Walter had a career in stockbroking that clipped their touring wings. Their solitary album, "Rent Party", was recently re-issued and kicks arse.

Pinter played in a host of other NYC bands, most notably with Max’s Kansas City regulars The Knots whose solitary 45 “Heartbreaker” b/w “Action” is highly collectable. So he has lots of form.