Thanks so much for the interview Paul. When did you form HellsBelles?
You're welcome and thank you for inviting me. Well, let's see now, I got HellsBelles
together back in about 2004 after some years of contemplation. As far back as the late 1990s, the
band had a kind of 'memorial' page on the Internet at www.hellsbelles.co.uk from about 1998 onwards
that hosted memorabilia and the old discography, but at that time, the idea to go out again as
anything to do with Hell - or especially Belle - had not been considered seriously, given that the
state of the music industry and the world as a whole was, and still is, in such a state of chaos and
confusion, with the established music industry in a state of collapse, it was difficult to see how
to make a straightforward return to the boards, so to speak. So in earnest, I reckon it must have
been 2004 when it started to dawn that the only real way to make a fist of anything in such
post-establishment anarchy in this sector was to do to it just as the indies used to do it back in
the late 70s when punk and new wave began, to wrest the initiative away from the corporates and to
take control of it all ourselves and do it independently. So work started on writing new songs with
a view to doing something new about then, but even having said that, it was not abundantly obvious
it would be going out as HellsBelles, but the whole numetal and core thing had matured and it seemed
that genres mattered little any more, which appealed to me personally, as I was always a fan of many
styles and always wanted to mix and match the best of what I could do within such styles, whether
that be rock, punk, folk, crossover, all that – even classical old instrumentation if it sounded
original and authentic. I remember a quote I heard from Discharge's erstwhile manager and svengali
Mike Stone, who advised new bands who approached him about him for advice. And the short and simple
reply he gave was “Be original”. And I believe in that too. But it's easier said than done, as going
out on a limb can often take a very long time for people to “get it” and that's why most musicians
sell out and either emulate too closely, or as we see together, capitulate completely and form
tribute and cover acts to their heroes. A total sell-out and it makes me puke. Personally, but hey,
freewill to all men. Not my thing, I'd rather keep my integrity no matter what than do anything like
that. So HellsBelles now is a musical adventure in 'anything goes' if its good. And you can define
that however you want, if it floats you boat, but if it doesn't, that's fine too. Music isn't a
competition, it's an extension of and a reflection of one's humanity. That's all. The rest of the
business side is all bullshit and any self-respecting muso should remember that. Don't let the
soulless sharks eat your soul. They need you more than you need them kids, so stay true to yourself
and suffer for you art, rather that than plastic corporate elevator tones.
Who were the original members of the band?
I was, along with Discharge's Garry Maloney and Peter 'Pooch' Purtill on drums and
guitar respectively, then there was Noddy on bass and we also had Ozzy Osbourne's touring keyboard
player Lyndsay Bridgwater playing on the first album, though he wasn't a permanent member of that
line-up, more's the pity.
Paul what bands had you played with prior to HellsBelles?
I was in quite a few bands over the years, some more permanent than others; the main
ones were first in '77 I was the singer and bassist in the West Midlands-based punk band
'Punkenstein', we played all around the 'Black Country', Staffordshire and places like The Rum
Runner and Barbarellas in Brum supporting bigger acts right at the beginning of that whole punk
thing in England, then, after the plastic punks moved in and the whole movement was hijacked by
posers and the mainstream, I moved back to my roots, on to heavier bands in the original English
regional heavy rock movement – later dubbed as the New Wave of British Heavy Metal (NWOBHM), though
at the time, the actual bands like us who were playing it never called it that, it was a broad term
to try to stuff everyone into a pigeon-hole. The mainstream media always tries to do that, the
hardest part is trying to stay out of the pigeonholes in order to do your own thing. So, from about
1979 to 1983, I was trying not to be typecast as a NWOBHM player, and so kept forming new bands such
as The Stormtroopers, Death Wish, Swingfire in 1982, gigged all over London and the South, and later
formed A.M., then RAAM and even a fun, glam metal band I formed after Hell's Belles, called rather
amusingly 'Belladonna' in '87. They carried on after I quit them. In between times, I had short
fill-in stints with some other London-based friends' bands, other low-level hair metal novelty acts
that the majors signed, such as AirRace, Bronz and Wild Strawberries, for very short spells just to
keep the voice well-oiled for the 'next big push' so-to-speak, and what was to come. The AirRace
stint was notable, as it's manager was Led Zeppelin's Peter Great (RIP) and was formed by my old
mate Laurie Mansworth from NWOBHM band 'More', and featured Led Zeppelin drummer John Bonham's son
Jason Bonham on drums. I used to go round to Laurie's father's pub in Kennington where he lived at
the time where we'd rehearse and the stark contrast between a South London boozer and the mean
streets of Kennington and the Elephant and Castle, dark rainy nights and beer-soaked upholstery
steered me on to the leafy suburbs of Royal Leamington Spa where the more fragrant Hell's Belles
band was then based. Fortune favours the brave, so they say! Yes, I had long apprenticeships in this
game. False starts, neurotic musos, bent managers, dodgy venue organisers, all a far cry from the
noble art of song-smithery. Enough to make a grown man cry and only the insane, thick-skinned
masochists endure it for longer than they have to. It can be a thankless place, but, hey, as people
like to remind Tony Blair, there are no pockets on shrouds. Haha!
Would describe HellsBelles sound as metal with punk overtones?
Of the sound back then, I would certainly describe the sound of that early
incarnation of the band that way, when it was 'Hell's Belles' from 1984-1987 - metal with punk
overtones, yes, you can hear that from the raw energy on that early material. Now, however,
HellsBelles is anything it wants to be - so long as it's good! I'll cherrypick genres and dynamics
to do that: whether it be punk, metal, folk, psychobilly, classical, zydeco even, why not, dubstep,
crust, ambient, whatever it takes. I'm really not too worried about genre categorization to guide
listeners to HellsBelles via a label. If people stumble across us because they dig us going mental
with some souped-up post-punk metalcore song, great! Similarly, if they dig more shoe-gazing
balladry and they find HellsBelles via '(Why Did They Kill) Joe Hill', then that's fine too. As
you're referring to the sound back then, yes, it was still quite unique for its time. Few could
match us then for raw power and energy. Probably only Motorhead as well as Discharge were at that
level of frenetic intensity as we were. But even Lemmy is quoted as saying those new bands who just
play loud and fast don't “get it” is so true. It's an attitude thing. Not a volume game or a speed
game. In fact, without blowing our own trumpet, we blew most if not all the acts away who ventured
to share stages with us. I think anyone who saw us back then would say the same. It was just this
wall of exuberant, 'controlled mayhem' energy as Kerrang's Derek Oliver called it, that we managed
to harness. Yet the HellsBelles of today, 25 years on, is an entirely different beast on so many
levels. After all, it's always a team game in bands, so twenty five years is a long time away and
what we do now, as you might expect, delves genuinely into all sorts of new areas, both in terms of
musical genres, and the stories are all new ones now! So yes, metal and punk combined, but now we're
very much into 'songs' with emotional content and power on different levels rather than just volume
and speed, so, we're not frightened to try out new things, experiment using acoustic sounds, and all
manner of technological tools of the trade to just make good music that sounds good to us. And
that's the key actually. If we like it, that's good enough. If no one else does, hey, no big deal.
Our own benchmark is sufficient as a quality control thing. We won't put out shit, but if people
don't dig it. Too bad, that's cool too. Each to his or her own. Remember, as musos, we have to play
these songs every night, so they need to be interesting for us to play over and over again. If they
got boring for us, we'd impart that to the audience, and that's not good enough. The fans expect a
real-time show, and that's what they're gonna get from HellsBelles. Both live and on record. I
remember Zeppelin used to say about themselves that they were 'tight but loose' – that's us, we need
to be tight, but flexible enough to allow for improvisational areas and grey areas where we can
experiment to keep things real. It's all about the music at the end of the day. I think now more
than ever, punk is an attitude as well as a musical genre, so anyone who's got attitude is a punk.
And if you don't have attitude, well, join the Sheeple.
There is another band called HellsBelles does it cause much confusion for the band?
Not for us. We've been in existence for over 25 years. Records out since 1986. They
are just an AC/DC covers band having a laugh, they'll never record as Hell's Belles as they have
their own original projects they are involved in. If you look on iTunes, Amazon, Spotify, the only
Hell's Belles anyone will find is us. They are a 'live' tribute show only. So no problem. We
pre-date all! I do recall emailing them about ten years ago to point out the overlap, and there
response came was that the spelling of their name was different? Huh, it was identical. So instead,
when I decided to get the band going again, I modded the name to one word with no pesky apostrophes
– just HellsBelles – or even The HellsBelles, it's not that important really. Our music and our
originality sets us apart. As soon as someone hears a girl singing an AC/DC song, that's them. As
soon as someone hears me singing over our riffs, no one will confuse anything. So I'm cool with it.
Our name logo is a registered trademark with the U.S. Copyrights Office too, so it's all fairly
clear who's who now. The music is what we're interested in. We've got the back catalogue history,
see our website, with our tracks on 'Metal Killers' compilations albums as well as 'Rock Legends'
and 'Rock Classics' LPs back in the Eighties and Nineties, so it's obvious who came first. It's just
a shame that some fans will be disappointed when they come looking for us a get a novelty tribute
band doing covers. I feel sorry for those fans. That's all. They can do other people's songs 'til
the cows come home. No one can ever mistake songs we do for anyone else – its uniquely us.
In the bands early days did you play with mainly metal or punk bands?
Yes, mainly metal, but back then even, the metal bands weren't really 'metal' as we
know it today. They were, indeed most of them were, variant mutant crossover genre acts, doing punk.
heavy rock, glam rock, alternative, mixing together those with pre-grunge trash metal, loads of
bands like New York Dolls tribute acts, Hanoi Rocks, Gunslingers, and clones of The Tubes, all sorts
really, but the metal thing which catalysed later, was really still in its early days, so we were at
the cutting edge of all of that, the vanguard if you will, of metal back then. What we were doing
was, pretty much, as metallic and hardcore thrash as it got in London at the time, but still that
post-Discharge punk-heavy fusion was there for all to hear too. We didn't really try to fit in to
any of those genres anyway, the idea was to just take them all together, shake them all up and you
got Hell's Belles, as it was called at the time. It was only later that acts like Metallica and
others began to show their overt influence from Discharge and what we were doing. As you know, even
Cal used my 'Overload' theme for later re-formed Discharge songs, and, James Hetfield borrowed my
'sleep with one eye open' lyric in my song 'Looks Like Love' for his multi-platinum-selling 'Enter
Sandman' track on their 'Black' album. Such is the influence we had, both overtly and covertly.
Highest form of flattery for me all of that is. Thanks guys!
How did your alliance with Discharge come about?
That came about on account of when Discharge's then long-standing drummer, Garry Maloney and Bones'
replacement guitarist Pooch left Discharge at the tail end of 1983, there was an ad in the music
newspaper 'Melody Maker' looking for a vocalist for a new band. That band was Hell's Belles, which
formed in April of 1984.
I remember meeting Cal the lead singer of Discharge in San Francisco. he was a really
nice guy. Had you been friends prior to being in bands?
Yes, Cal is a really great guy. We didn't know each other, Discharge was based in
Stoke-on-Trent in North Staffordshire, whereas at the time they were forming and building up their
local following, I was in the South Staffordshire area of the 'Black Country' in the West Midlands,
near Stafford, Cannock Chase, that area, so our paths didn't overlap at that time.
How long was Garry Maloney in HellsBelles?
Garry was in Hell's Belles for a relatively short time in hindsight, as it was clear that his D-Beat
style of drumming was not quite going to be appropriate for the crossover metal sound that was
planned for the band. But he is such a great guy, there is no doubt about that. He was fundamental
to that early formation Hell's Belles during 1984. He's a great guy, a fantastic hardcore drummer,
of course, he virtually single-handedly invented that D-Beat style as it's now known, and was such a
creative force in that whole thing back then. His drumming on 'Hear Nothing, See Nothing, Say
Nothing” - probably the best punk album in my view since the Sex Pistols 'Never Mind the Bollocks'
or The Clash's 'London Calling' – the guy's a legend, along with the others on that poignant, dark
and shocking album. Awesome. When I used to hang out with Garry at his place in Whitnash, we used to
talk about all sorts of ideas we had for future musical possibilities. I'd love to work with him
again one day. I know what when he got back together soon after that with Cal and rejoined
Discharge, the time he'd spent in Hell's Belles had clearly been very influential on him and Cal.
Did you ever play in Discharge yourself?
More's the pity, not myself, I didn't get that honour, sadly. After Garry moved on, he
got back together with Cal and then reformed Discharge with some other musicians. That must have
been 1985-ish. I'm always open to offers though, guest slots on any of the guys upcoming new works!
Tell the readers about your song "Overload"?
Quite an influential track, in retrospect, by all accounts. But then again, so was
'Looks Like Love' too, with Metallica having a bit outta my lyrics (See 'HellsBelles' on Wikipedia
for more on that). I wrote the lyrics to 'Overload' in 1984, all about overindulgence, solipsism,
mindless hedonistic nihilism and self-destructive obsessions, when we were getting our songs
together to get out gigging. It was always, without exception, our show opener. Anyone lucky enough
to have the album on vinyl knows, its blows you away with its sheer power. Kerrang's Derek Oliver
picked up on that when he reviewed it when the album came out.
'Overload' seems to have been the catalyst for Cal's rekindled Discharge songwriting. After the
success of 'Hear Nothing, See Nothing, Say Nothing' and the questionable wisdom of them following a
more 'glam' metal/hair metal/high-pitched style, ditching their hardcore thing, that he then got
back on track in the early 1990s with Discharge again. And then he used 'Overload' again for
'Fantasy Overload' and then yet again for 'Love Overload'. If you're reading this Cal mate, thanks
buddy, you flatter me my friend! :-) Where the world copies Cal, the man himself comes to me for
inspiration. Anytime, my man, anytime! So I reckon it'll be time soon for me to return the
compliment and borrow some of Cal's titles – how about 'One Monstrous Nuclear Wasteland', hey, I
like that, you read it here first folks, thanks Cal :-)
During the 80's it seemed you were the darlings of Kerrang Magazine. Tell us about that?
Yes I guess we were, judging by the superlative reviews for both live and recordings,
yes, even though it didn't quite seem so at the time given. We were so busy gigging everywhere we
could, in retrospect, yes I guess Kerrang did rather take a shine to Hell's Belles - which helped
immensely, of course, as back then, not many knew quite what to make of the band and the music. It
was so crossover that I think it confused many and therefore it took us a lot longer to break
through than many of our contemporaries. But once we did, well, you can read the reviews on our
website at http://www.hellsbelles.co.uk
Did the band ever tour the USA?
Haha! We had it all planned to do just that! But after one thing and another,
management big on talk, short on action, it didn't happen at that time. When I was in the States in
the Nineties, I got the chance to jam with fellow musos at places like the House of Blues in New
Orleans and the like, Buddy Guy's on Wabash in Chicago was another memorable night for me, as well
as the odd appearance in the Big Apple, 'Frisco, Dallas, Orlando, Portland OR are some that stick in
my mind. At that time we didn't, as I recall, we did actually have an American co-manager at the
time called Dean Brownrout from Buffalo, NY who was working for Discharge's as their tour manager on
the 1983 tour, and, the plan was to get us out there once our set had been done and we were ready to
rock. This was before we got our record deal. After the deal, we were supposed to be touring
supporting UFO and Venom in the US, if memory serves, but the management side of things always
handled such logistics so we focussed on making the music. So our official US début is yet to
happen. Maybe 2012 will be that year? :-)
Tell us about your involvement with Girlschool?
Haha! Yes, well, what can I say about all that. A great bunch. It was a fascinating
chapter in the months just prior to forming Hell's Belles. It in the Fall of 1983, I had been
working with a band called Bronzz who had inked a deal for a one album thing on Gerry Bron's Bronze
Records up in Chalk Farm, London. They were label mates with Motorhead, Uriah Heep, Girlschool
amongst others. Whilst I was strolling around the offices at Bronze with my mate Richard Bron,
Gerry's son who was handling the band at the time, I was just hunting around the offices for lyric
sheets to their songs as I needed them next door as I was recording them at the Roundhouse Studios
that Bron had block-booked to work on their tracks. I just happened to walk in on a meeting that was
taking place in one of the offices, and as I stepped in through the door, a table full of executives
all stood up in unison, and pointed at me – I thought I was about to get the hairdryer treatment for
disturbing their cosy little tête-à-tête. How wrong I was. No sooner had I began formulating a
pithy, Malcolm McLaren-esque putdown about their cosy corporate tryst, they all bellowed in unison
“You! You! Hey you!” I stopped motionless like some rock'n'roll rabbit in the headlamps – and
grinned as if caught with my hand in the cookie jar. One of the suits bellowed over the din “Hey,
can you act?” Stony silence as all eyes fixed on me. “Yeaaaah, I can act!” quoth I, being a lead
singer in a heavy metal rock and roll band is all about acting a part, it certainly was then.
Probably not now, I'm too old for poncing around like some effeminate famine victim with a vagina
fixation. So, back to '83. I replied, thinking that nothing was impossible back in those days! And
so began a wonderfully bizarre chapter of the proverbial sex and drugs and rock and roll, film
crews, make-up artists, location filming, celebs-ville, guest lists, that archetypal 80s hedonism
that was one hand incredibly self-indulgent and materialistic, but at the same time, hilariously
funny. It was all a far cry from the dark forces of Disharge, mutually-assured destruction and
anarchic nihilism. But hey, even anarchists and subversives need some gallows humour, some slapstick
once in a while to break up the tedium of imminent Armageddon. And then MTV. And a lot more besides.
Read about it all in my upcoming autobiography “Big Balls And Belle Ends” - haha!
Were you also chummy with Lemmy? I know he was a supporter of Girlschool!
That's right, he was. I wasn't like close pals with him as he was always on the move,
so he was very rarely hanging out in London back then for long, such was Motorhead's schedule. But
there's a funny story there too: I used to rehearse with Bronz at Simon Napier-Bollocks' NOMIS
rehearsal studios over in Kensington where Motorhead also used to rehearse. It was at the time that
Brian 'Robbo' Robertson was playing with Lemmy in Motorhead just after Robbo had left Thin Lizzy and
they'd just recorded their 'Another Perfect Day' album. From what Robbo told me, they were on their
way to Paris to do some warm-up shows, and whilst we were in NOMIS rehearsing for our own mini-tour
of England, Brian then used to pop into our studio and join us for jams. We used to return the
favour and jam with Motorhead in their studio. Robbo's not only an awesome guitarist, he's a flaming
good drummer too. The highlight of that period for me was when me and one of the other guys in the
band picked up their guitars, Robbo went on Phil Taylor's drums and I picked up Lemmy's famous
Rickenbacker 4001 bass which was leaning up against his Marshall stack and I played bass and sang at
his archover micstand. The other guy picked up Robbo's Les Paul and the three of us then proceeded
to blast out 'Rosalie' and other Lizzy classics, while Lemmy watched, laughing and chatting with his
roadies as we jammed and jammed. Then we always used to bump into Lemmy up at the Funny Farm in
Chalk Farm, just near the Roundhouse Studios where I was recording my vocals for the Bronz sessions
and Lemmy and Girlschool and the other guys on the London rock scene used to hang out. Our keyboard
player Lyndsay had crossed paths with Lemmy before too, as it happens, as Motorhead's first US tour
back in summer '81 had been to support 'Blizzard of Ozz' when Lyndsay was playing with Ozzy. Great
days those, especially late night drinking bouts after the Marquee Club over at Frank's Funny Farm.
Tell us about 'Beavis and Butthead'?
Haha! Yeah, that was hilarious, and a fantastic skit on the naffness of that whole
hair metal bastardization of heavy music back then – the MTV series picked up on that video because
the two Girlschool videos I was in were on what was then called 'heavy rotation' on the channel, so
it was aired dozens of times every day back the end of 1983 into 1984. People used to come up to me
in the street because of those videos! I think the producers who did Beavis & Butthead, which used
to feature current rock tracks in each show anyway, picked up on the 'Play Dirty' one as it was
basically a comedy, as you can see on our YouTube channel at HellsBellesYTChannel
) – the 'fight sequence' in the boxing ring was the
section they picked up on, just after all the slapstick stunts that I did, and as I was knocked to
the floor, I was undone – as you can hear from the dialog between Beavis and Butthead if you go and
watch it – its very funny. The attention, was, of course, a kind of Zeitgeist thing, and fitted in
very much with that early 80s Thatcher-Reaganomics post-Falklands, privatization period in politics,
a very dark time for unemployment in Britain – much as it is now in fact – so the comic relief was
something a lot of people were looking for, some sort of escapism from the overarching nuclear
threat that still existed at that time. So the whole period in music was against a backdrop of fear,
dark times and austerity. Sound familiar? Lightening it up with such shows was an antidote for many.
The alternatives didn't bear thinking of. So with MTV picking up on that video, was very welcome and
made it a lot easier for me in particular to break down barriers and get through to new audiences
for the HellsBelles music. Good times.
Did you have a keyboard player who was also in Black Sabbath?
Yeah, you mean Lyndsay. Lyndsay Bridgwater was in Ozzy Osbourne's band after he quit
Black Sabbath, Lyndsay was in Ozzy's touring line-up from 1980 to 1982. He was hired by Ozzy to play
in the first and second 'Blizzard of Ozz' tours, the line-up with Randy Rhoads in. Lyndsay was there
when Randy was killed in that tragic accident. When we were recording the first Hell's Belles album
in '85, I got to spend a lot of time with Lyndsay when we were working together on the keyboard
tracks on our album. He used to drive up from London to do the recording sessions, so we got lots of
opportunity then to talk about those heady days on the long journeys we shared, He told me all about
those times. An amazing musician. When Lyndsay was playing with us on that first album, he was also
closely into the classical and 'organ meister' thing, due to his Cambridge Masters background. The
guy's a genius. His synthesizer and organ work on 'Looks Like Love', 'Strangelove' and 'Barricades'
in particular was stunning. I hope to work with hum again at some point. A real musician's musician
is our Lyndsay, and a really nice guy.
In what year did the band officially call it quits?
There was never an 'official' announcement of the end of that band, it just kinda
'petered out' if you know what I mean. At the back-end of 1986 it was clear that things weren't the
same any more, and though I tried to keep the spirits high and push on, the other member in the band
at the time seemed to lose heart and went and did other things. It was at that time, we tried out
with a great bassist friend of our drummer called Jon Archer who had this fantastic custom black
Charvel bass, as I recall, the guy was phenomenal, he made Billy Sheehan look like Bill Wyman on
Mogadishu. This guy was a bassist's wet dream. Boy could he play, but even then, the finances
weren't right and it couldn't carry on for much longer and it didn't, more's the pity.
In what year did you reform the band?
Yeah, the smell of the greasepaint and the roar of the crowd beckoned again, haha, so
around mid 2000s I had the idea to rekindle something, the idea started to get some traction over
time and as time passed, it just felt like the right time to revisit old energy with new songs I'd
been working on for years, bringing the old faithful together with the fresh and new.
Tell us what you have been doing since reforming the band?
Haha, yes well, working hard on new songs, building the studios, rehearsing for live
and recording, but the hardest part for a good long while was finding the right musicians. Steve
Steadman is the bass player and 'Buckshee' Bazz is the drummer. I play guitar, keys and of course
vocals. It's quite a task for find genuine people to work with in this game. Most seem to be wedded
to that quaint notion of wannabee-dom and primadonna-itis – even as the years go by, I'm shocked at
how psychologically deranged and psychotic most people are who wander in and around this business.
They seem to have little notion of what being in a band is all about, and hence you see countless
bands who can't keep it together because they're so up themselves rather than loyal to the banner.
Being a muso isn't for the faint hearted, yet most people piss around wasting time and getting
nowhere. Integrity and civility is the key. And sadly, such noble qualities are in short supply so
hardly anyone you'd want to be in a band with is in this game
You wrote a song "Why Did They Kill Joe Hill" that has won many accolades from the
British press tell us about that?
Yeah, that's right. I wrote that song back in April 2008 and the plans at the time were for that one
to go on my next solo album, but it seemed crazy to keep it on the back burner indefinitely that I
just decided to throw it into the melting pot in HellsBelles to see how it would play out. Everyone
loves it. In fact, even though everyone expected us to go out with a set full of full-on metallic
punk thrashery, the fact is, this is why HellsBelles is different – we like to push the envelope and
refuse to be typecast in one sonic genre – to my mind, music is music, you shouldn't be expected to
play and write within the confines of one genre – that's a surefire recipe for stagnation and
boredom. We're going to be introducing all manner of different sounds into HellsBelles – just look
at Killswitch Engage – they did metalcore and then Jesse Leach goes and does the most beautiful
acoustic work and instrumentals in Times of Grace, then goes and does more power rock in The Empire
Shall Fall – and there are others. Everyone seems a lot freer to experiment these days, and that's
how it should be. The music will be all the better for it. It's just common sense really.
Do you have any website or other addresses that the readers can catch up with you at?
What is in store for HellsBelles in 2012?
We've got a new promo video to shoot for the next single, get that released then it's
time to get the live show polished up ready for the festival circuit as well as working on the next
album, writing new songs, so it's going to be quite a busy year for us. The new album is something
rather special, which will be released hopefully by mid-year, we can update Punk Globe on all that
as we go, of course, so stay tuned!
Any final words for Punk Globe readers?
Just to thank you Ginger, and your fine team at Punk Globe for your ongoing support
and also to everyone of your readers for their appreciation over the years and in the future. You