UK punk in the late 1970s was a vast and impossibly diverse sea of groper, mopers and dopers, all desperate to clamp down on the raw nerves of a new generation full of anger and distrust, and when you look deep into the well, theres so many incredible overlooked gems, most of which dont quite fit the mold of what was to be soon homogenized for the public. Apart from the higher end of the UK punk food chain, there were countless imitators instantly, all unanimously clamouring for the attention of the new wave, and one little self-released 7 inch EP from a group hell-bent on shaking up the emerging genre confines known as Charlie Ungry, was among that vast output. Band founders Jeff Gibbs and Tony Sando had done time previously in Yellow Bird, a glam rock band that released one sole single in 1974 and then fragmented upon its immediate dismissal by the rock press, but they had more ideas to flesh out and by the time 1976 rolled around they had assembled the new group with Andy Demetriou and Steve Protheroe, named after a fictitious scapegoat Jeffs father always blamed any misdoings on, and this Charlie Ungry was born. Leveling off their enthusiasm for a wider variety of sounds than most of their contemporaries, the band grasped a serious metallic sound right out of the gate, as their signature song Who Is My Killer? rips through the speakers in a NWOBHM style thats undeniable. However, their glammy Slade-like rhythms and break-neck speed signaled a very punkish angle, reflecting the energy and nihilism of the exploding punk phenomenon, and their unique interplay between song styles, even mid-song as in Who Is My Killer? had an incredible effect, yet it was sadly underexposed. In retrospect, most truly innovative bands trying something new have had a cold response in general, par for the course in the case of Charlie Ungry as well, with their incredible fusion of British metal guitar, pulse-pounding glam vocals, and white-knuckle punk rock delivery. Most simpletons just couldnt get their heads wrapped around it. - Hozac.\r\n
After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.
This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).
Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.
Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.
Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).
So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.