Cleopatra US Vinyl & CDs

Review: Neo-soul chanteuse Bette Smith is an upcoming talent who lends her tones to the blistering blues guitar work of Kirk Flecther here. The pair take on a cover of The Rolling Stones' classic tune 'Brown Sugar' and do it with real gusto. The drums smash hard, the guitar riffs are big and angular and the vocals re delivered in sleazy fashion. The Tone's quirky pop dance hit 'Dance Monkey' then gets covered don the flip and turned into a psyched out bluesy guitar number with big vocals. It's a unique rework that makes this a collectible 7".

Review: 'Neat Neat Neat' might have only been the second single released by The Damned, but its timeless longevity as an essential punk staple has seen it appear in episodes of The Simpsons and The Boys while Edgar Wright would give the track yet another lease on life by using it to score the intense opening chase sequence in 2017's Baby Driver. That's before even mentioning the vastly differing artists it has influenced with everyone from My Chemical Romance to Elvis Costello taking a stab. Pressed to artwork complimenting purple wax, this 7" offers a slice of cuts captured during a set in Mulhouse, France in 1994, with the classic single on the A-side, while the flip boasts a dynamic yet bizarre bevvy of covers, from the likes of iconic pop duo The Righteous Brothers ('You've Lost That Lovin' Feelin') to 60's mods The Craig ('I Must Be Mad') to Johnny Cash's 'I Walk The Line'.

Review: Originally featured on the soundtrack to The Hangover II (of all movies), 'Black Hell' from Misfits mastermind and all round evil Elvis curmudgeon Glenn Danzig finally comes to vinyl for its first time ever in both 12" format and in the form of this limited orange splattered 7" (just in time for spooky season). Featuring 'Thirteen' on the flipside (originally appearing on Danzig 6:66 Satans Child whilst made abundantly more popular by Johnny Cash's cover version), this is a perfect little slice of sultry, macabre wax to get the Halloween ghouls doing their best hoedown.

Review: California pop-punk comedic shitheads The Dickies have always provided a refreshing, jovial counterpoint to the political and aggressive edges often associated with the punk movement ever since their 1977 inception. Known for their leftfield cover versions and numerous film, television and especially sci-fi references, it was an ideal meeting of creative minds when the band were tapped to pen the theme song for 1988 cult classic horror-comedy Killer Klowns From Outer Space, a task they took to with gusto, while going on to shoot an accompanying music video with the single becoming both a fan-favourite as well as entry point for many a newcomer. This 7" provides a newly re-recorded version of the now iconic theme song as well as new versions of both 'Give It Back' and 'Silent Night'; two cuts from their much adored 1979 debut LP The Incredible Shrinking Dickies.

Review: Cleopatra Records are no strangers to collectible 7"s from the archives of Iggy & The Stooges. In recent times we've had the likes of 'The Passenger', 'Scene Of The Crime' and even a live spot with David Bowie in 1977 thrown into the mix. Now comes something which feels so right tucked up tight on a 45 - a raucous live rendition of The Kingsmen's classic beat track 'Louie Louie', a song which would go on to be a lifelong staple in Iggy Pop's performance career. On the flip comes another rarity - a blistering version of The Stooges' own cut, 'Wild Love', all pressed up on purple vinyl for your listening pleasure.

Review: Sexbeat are the latest gem you're about to fall in love with from the lost generation of punk, Now Wave and Neo-Goth. We only wish there was more information we could share about them, other than the fact they hit hard and manage to straddle the lines between raw and nasty and strangely romantic and melodic. It's rousing stuff that wants us to sing along while getting spat in the face because the front row is so close to the stage and the vocals are delivered with such resolute aggression. On this self-titled A-sider, they launch from the starting blocks with all the energy and atmosphere of an era that's sadly now confined to history, rolling bassline and driving drums immediately gunning for your attention, nodding to the likes of Surf Nazis Must Die and Aufrichtiges Zappa.

Review: Mary Wells was one of the many jewels in the crown of Motown at the peak of its powers back in the 60s. 'My Guy' is one of her biggest-ever hits from 1964 and was written by Smokey Robinson of The Miracles. Lyrically it addresses a woman's rejection of another man's advances in favour of remaining loyal to her boyfriend. The tune reached the top of the Billboard Hot 100 pop singles chart but was Well's last for the label aside from a few duets with Marvin Gaye. It remains a classic to this day.