Although this intense Melbourne, moatly-instrumental, punk rock band (containing two ex-members of Venom P Stinger) has placed "Movement" first, "The Marianas" was recorded some four years earlier, so I decided to listen to that first.

Yes, this is a double CD set, and it’s not one of those purple burns either. Properly recorded (by Rick Ferrara) in a real paid-for studio, mixed by the band and mastered by head Spook Loki Lockwood, the band spent some time and serious dosh on this. They wanted us to hear it.

Er, yes, well, I do apologise for taking a little while to get to it, it arrived in my inbox a few months ago. (It came out in 2009 and - mea culpa - I lost it down the back of the lounge - ED.) Which turns out to be a good idea, as I don’t enjoy "Movement" as much as "The Marianas". I’m pretty sure the Drown’s pack is a four bottle item, so stop picking your nose and pay attention at the back.

This LP you’re gonna sink into like a warm bath on a winter’s day… This is one sexy album. In a way, it’s got ‘make-out disk’ pencilled all over it…

It’s a sequel to Gluck's 1987 cult classic, “I Knew Buffalo Bill”.

Get this, though. Jeremy Gluck - ex-Barracudas singer and collaborator with Nikki Sudden, Rowland S. Howard and Jeffrey Lee Pierce - is hugely talented. Here we have a man who’s found another way to get our attention and make us smile and cry and dance… all to his trademark confessional style… hard to pull off, yet so easy for Gluck …

What do you think we’d say? Sonic’s Rendezvous Band was truly The One That Got Away. It’s a crime they weren’t signed, recorded and backed to the hilt by a major label and elevated to a household name, but rock and roll is seldom fair. That’s why you need to hear everything you can of this great lost band.

Never heard outside a small circle of alumni and fans, this short but sweet five-song set comes from the January 14,1978 show, on the undercard to the Ramones and the Runaways at the Masonic Temple in Detroit. Maybe.

The opening act was un-billed and surviving band members (that would be Gary and Scott) can’t agree that they played it. All but one song (“City Slang”) has remained in the vaults and the label thought it had issued the gig as part of its splendid box set. But that disc wasn’t even from one entire show, if that makes sense.

Let's not get into discussions about how many times this notable, nay historic, 1969 Toronto gig from the nascent Alice Cooper band has been released.Ladies and germs, this is the definitive, speed-corrected version, with correct song titles, spunky pink artwork and a second gig from San Francisco appended, for good measure. Plus, a couple of feathers inserted, if you're lucky.

Toronto 1969 was the notorious Chicken Show where Alice (the man, not the band) threw a live bird into the crowd only to have it tossed back at him...in pieces. Leaving aside the animal rights aspects of this on both sides - being out of your mind on booze is no excuse for throwing a flightless fowl into a crowd of excitable Hoser  stoners – you might wonder what the fuss was all about, musically speaking.

It is true that Alice Cooper was the most despised band in L.A. at this stage; soaking in the discordant skronk, seemingly random rhythmic shifts and walls of feedback, it's often easy to hear why.

"Hipster beware! Time to be free; rock 'n' roll is primeval beat."

Lindsay Hutton, founder of the “Next Big Thing” fanzine and “The Legion of the Cramped” Cramps Fan Club, knows a thing or two about great rock 'n’ roll. His liner notes to the “On The Red Eye” anthology of early Primevals material succinctly summarised the appeal of the Glaswegian garage veterans: "Their Gun Club meets Radio Birdman take on Detroit rock 'n' soul preachin' blues was much more direct than practically anything that has ever come outta Glasgow.“

Formed by Michael Rooney in Glasgow, Scotland in 1983, The Primevals were the compete antithesis of everything that was fashionable at the time. Right up to the present day, the group has always been roundly ignored by mainstream media both in Glasgow and at a national level, aside from a handful of free thinking journalists who have championed them through thick and thin.

Even if writing about music really is like dancing about architecture, applying descriptors is still a necessary evil. You could probably tag Brisbane’s Prog Psych. Americans would probably call them a Jam Band. Both would be correct.

Dreamtime hails from the depths of Brisbane’s underground scene and its music is as exploratory as it gets these days. Both feet are planted firmly in the late-‘60s scene of the US West Coast with a bit of Syd’s Floyd thrown in for good measure. These are meandering, weighty jams built on guitars and a nimble but minimalist engine room. “Sun” pulls in influences like Eastern ragas and percussive touches like chimes.