“The London Strip? - is it all sleaze, disease and rock n’ roll?” - The London rock scene in focus

Its something that has been on my mind for the past year or so. The London rock scene is undisputedly vibrant whether it be through the names that it attracts from overseas or the people that loiter around in the venues and clubs. Every rock sub genre that you can think of has a place in the capital - whether it be blues, metal, sleaze, thrash, punk or goth. I thought it would be a good idea to find out where the 'scene' is going, the types of people that are in the scene, who are the major players, who are the major posers, who will eventually cut it and who will fade into an oblivion.

Its also been an issue for a while about a resurgence of the 80's rock n’ roll scene. Every night in Soho and Camden, those of the decadent nature - don their eyeliner, leathers and high heels (with a comb and a can of AquaNet in their coat pocket and) come out to play and drink amongst the lost souls and scenesters of the underground music circuit. It makes one wonder.With the capital experiencing an explosion of bands branding themselves as glam, sleaze and metal - visually and through sound taking influences from bands such as Motley Crue, Guns N Roses, Skid Row and Poison (to name a few) it has to be looked at whether they are recreating or creating a scene. Is it a constant regurgitation of 80's influenced scenesters gracing the capitals stages? or is there hope on the horizon that there is something new and exciting that will explode into mainstream music and put rock firmly back on the map? I posed a few questions to those who eat, sleep, breathe, drink, write about/promote the music that matters to find out exactly what is going on in the capital.

Joolz, Pink Poison Promotions and Management:

London based Joolz runs Pink Poison Promotions along with managing Jack Viper, Lethal Fixx and Toybox. Her new glam night “Glammed Out” started on the 1st of July at Bar Monsta (formerly the G Lounge) in the heart of Camden. It’s a swanky looking wine bar from the outside, but a beer drenched, smoke filled pit on the inside.

“I’ve always had a love for rock music and happened to know the right people in industry, plus loads of friends in bands. I decided to take it a step further and bring over the bands I love!”. Joolz used to provide promotion services for a lot of iconic established bands in the USA and the UK and still takes care of a few acts still on the circuit. However, she is reluctant to tell me much more. “You have to get me drunk for that. Never kiss and tell, and as the saying goes 'what happens on the road, stays on the road’”

She is a colourful character indeed. She has her hair in dreads with small silver cusps in certain parts of her hair. I casually ask her about how she got her look “It just evolved over time. I love anything glammy and sleazy looking. Basically, that’s just Joolz an - old sleazy glambag!. I really love nice colourful glammy clothing with a hint of leather and lace! The dreads in hair is just an easy natural look for me!”

James “Jaimz Riot” Wright, Riot Promotions:

(Pictured: Steve Gibbons, Robin Black and James Wright)

James Wright established Riot Promotions just over three years ago with his wife Michelle. His promotions company are Nottingham based but with the increasing growth of the company, he has had the chance to branch out and take the acts on his roster around the country. The now yearly event “Trashstock”at Junktion 7 in Nottingham seems to have attracted some high profile names with the likes of The Glitterati, Drugdealer Cheerleader and Devilish Presley on the bill. He says that he got involved in music promotion by accident.

“I went to see a band that totally blew me away in early 2003. I mean, really blew me away, jaw droppingly good, feral beyond belief. At that point I realised that I wanted to be a part of this band in some way. Since they weren't about to fire anyone, and I can't play or sing anyway, I ended up helping them out with promotions at ground level in the UK. We formed a street team and began hassling people to pay attention. Through this we got to see a lot of the internal workings of the band on the road, we saw how badly their record company were treating them - people getting changed in the car park, per diems scrapped whilst record company execs were staying in plush hotels, a band cold and starving. We believed that we could do this better, so we formed Riot Promotions, and began putting on bands first at Junktion7, Nottingham, and then later across the UK and beyond. Our policy for looking after acts is clearly stated on the front page of our website - www.theriot.org.uk. It is precisely the opposite to the attitude taken by our "inspiration". For the record we now manage the band in question, they are called Robin Black.”

What are the perks of the job?

“Part of me wants to say there are no perks, its bloody hard work. However, that would be a tad arrogant and not precisely true, though the hard work element is spot on. Money certainly isn't a perk, because it all gets ploughed back into the business! I have met some of the most remarkable people on the road, some strange beyond belief, others who are just real rockers with a passion and belief like mine. So that is good. Another perk would be reading a great review of a show that you have worked on. However, my greatest pleasure has always been standing side stage watching a band play a total blinder, but my eyes are usually on the crowd going wild and crazy and living that party. That is definitely the best perk.”

But there must be negative things, what are the bits that drive you mental?

“Apathy. Apathy on every level. Venues and promoters who don't answer phone calls or emails. Bands who can't be bothered to get a decent promo pack together and send you a scrappy bit of paper and an unlabelled CD. Poor organisation at the venues. Arrogant sound men. However, crowd apathy is a nightmare ... especially when it is a big crowd who just watch the music quietly and fail to show emotion. Then there are those complacent crowds who only want to go along to their local club to hear the same old shit being regurgitated over the PA, they will turn up week after week to hear this because it makes them feel safe and warm and comforted, however they will not step out and catch something new and original and noisy and sweaty and filthy performing LIVE. That drives me crazy.”

Tell us a bit about the Nottingham rock scene?

“Nottingham is an odd place. It has a venue called Rock City, and the common perception is that this city is a banging place for music. It certainly has an awesome reputation. However, it has relatively few venues even in comparison to the rarely mentioned Leicester, and way less than Sheffield. Rock City owns a total of about 6 or 7 of the venues leaving only the Old Angel (a total shit hole with awful sound) and Junktion7 as the independent venues that aren't just the back rooms of pubs. This lack of venues has historically led to very few bands on the scene, and along with this very, very few quality bands. The biggest act to have ever come out of the entire East Midlands was Pitchshifter who were pretty big, but still underground. Compare this to the West Midlands who gave the world Judas Priest, Black Sabbath and Led Zeppelin! Rock City has a stranglehold and everyone has to dance to their agenda, and that agenda is not local bands, very, very few of these local acts have ever played there.

Then there is the problem that because Rock City offers international touring bands most nights of the week and club nights playing the latest rock chart singles the local fans are very, very loath to go anywhere that doesn't have the band that were on the cover of KERRAP! last week. I'm sure this can be the only explanation for the continued existence of The Towers Of London.

However, there are pockets of strength on the local scene. I keep mentioning Junktion7, and that is a great venue with a great attitude. You can go there and see a load of quality local acts like New Generation Superstars, Teenage Casket Co., Evil Scarecrow, and Illuminatus, and not just that you can see those bands play with some good sized bands as well such as Panic Cell, LA Guns, Trashlight Vision, or Ginger Wildheart.”

Alison, Bubblegum Slut:

Alison B has been running a (fur covered) fanzine called Bubblegum Slut for the past five years concentrating on sleaze rock, glam rock, classically influenced and industrial metal as well as covering rock cultures in London and overseas.

Sharing a very similar mind set to why Pure Rawk was established, Alison explains how she got into fanzine writing. “I came to the sordid world of rock n’ roll zine editing about 5 and a half years ago now, out of frustration at not seeing any of the bands I wanted to be reading about in the mainstream rock press of the time and a desire to amass a lot of promo CDs.”

What are the real perks of the job?
“All the obvious stuff like getting free CDs and merch and free gig entry. Otherwise having the opportunity to meet and interview some amazing bands, some of whom have held a special place in my record collection for a long time, others who I’m just excited to be telling people about first! And then there’s the stranger meetings and interview and feature opportunities that arise through fanzine editing... time spent in company of groupie Godmother Bebe Buell, a professional dominatrix and the founder of the London School Of Striptease spring to mind on that front. But calling the zine Bubblegum Slut was encouraging things like these really..”

What are the bits that drive you mental?
“Spending hours transcribing interview tapes, bands who promise to return questionnaires up to the last minute then don’t so leaving a big gap in the layout I’ve just spent ages sorting out.. and generally bands who act like doing press and speaking the zine editors - who chose to promote music using their personal time and funds - is a chore, the ridiculous amounts I end up spending on printing and postage ... but I still couldn’t do an online zine!”

So with a bit of knowledge in mind about our three points of view... here’s what they think about the London rock scene. Disclaimer: A few of the comments are directed at certain targets and do not essentially represent the view points of Pure Rawk (for the site’s view point there will be a new column by me which will be updated every month coming soon).

On favourite London Venues:

Alison: “The Underworld (Camden) - which seems like my second home a lot of time!, The 12 Bar and the Betsey Trotwood. I like my venues small and dingy with sticky floors and the odour of rock n’ roll (fags, split beer and sweaty bands then!) and preferably without any mean security or affiliation to major beverage or mobile phone companies!”

Joolz: “The Underworld, as you can have a good contact with the bands on stage, no barriers etc. it is also a prime location to the G Lounge, a few doors away, which promises to offer the best in rock, also a good venue for after show parties for bands playing the underworld. I have a glam club night now called Glammed out!”

Jaimz Riot: “In London? I have never had a shit time at the Astoria, and have seen some of my favourite ever gigs there. Bit big for my bands at this stage, but we WILL get there one day. The Underworld is cool, though those damned pillars wreck it a great deal. The Ballroom is cool if only because I saw Nikki Sixx there for the first time!

Outside of London, Junktion7 is the greatest venue right now, though it needs a better backstage area. Mexborough Civic Hall is outrageous and has the most rock'n'roll backstage, great lighting, great size stage, great management, and I hear people go "Where?" but in 12 months time you will all know it cos it is just phenomenal and they are attracting big bands away from the traditional Yorkshire venues. Dudley JBs is always a blast, as is Bradford Rio's, although both venues need to beware the tribute band phenomena.”

On the best and worst acts on the scene at the moment:

Joolz: “I love the band Jack Viper, they kick-ass, and yes, I am currently managing them. As well as those Milton Keynes sleaze rockers, Toybox. Spit Like This and King Lizard, are great UK bands too. Apart from acts like those mentioned, I will always remain passionate about my old time favourites, the hair metal bands, Cinderella, Poison, LA Guns, Britny Fox, Sleeze Beez, Danger Danger to name a few! also bands like Tesla, Aerosmith, Great White and Saigon Kick!”

And the bad acts? “I hate Emo and old the silly so called new rock acts that potentially killed the better bands of the past”

Jaimz Riot: “Most of the bands I really liked split up over the last 12 months! I really liked PornoVurt and the Renegade Playboys, both of whom I worked with on many occasions. I like Drugdealer Cheerleader. I also like Crowning Glory, though they are a tad retarded in their sound. If you can count them as a London band Dragonforce are awesome musicians, and stand a good chance of going all the way as Iron Maiden did. The Ghost of Lemora are shit hot, and have a real comic element between songs, which many goth bands completely miss. They are not originally from London, but certainly hit it big when they moved there, The Glitterati are a good band. Solid songs, and great live, although their record has dire production values to say that it is Mike Clink. They are also to a certain extent underdogs in the eyes of the press, most papers don't like them because the NME once wrote a favourable review of them!”

And the bad acts? “The Ga*Ga*s, Red Star Rebels, Nothin' To Lose, Spit Like This ... the list is endless, but these bands sum up my points very well. Musically retarded, a retarded image, a retarded attitude. All of these bands are trying to take a piece of what happened 20 years ago for their own existence, they have thought long and hard about how to act and sound like an 80s cock rock band from LA. The big news - this isn't revivalism or revisionism it is lame copycating. When that scene was around, the UK bands weren't doing that thing, they took a uniquely indigenous take on things ... bands like The Quireboys, Thunder and Little Angels added a very bluesy take, a toned down Stones type image, added an intelligent flair to the lyrics and even managed to successfully take this over to America. That scene is dead, and these new bands should move on and try writing something relevant to the 21st century.”

Alison: “Planet Of Women, Mab, JoanOvArc, The Rum Circus, Zen Motel, Silverjet, Rattlesnake Remedy, The Voxx, David Wyatt and Brand Violet are my pick of the acts currently gracing the circuit in London and beyond.”

And the bad acts? “I’m going to keep tactfully quiet on this one... wont go so far as to outrightly brand anyone the worst act on the scene but see the reviews section of the latest Slut for suggestions on who has room for improvement ...”

On the London rock scene:

Joolz: “There's hope in bands like Jack Viper, Nothin' to Lose, King Lizard, and bands of that nature that keep things going.”

Alison: “There’s a lot of fantastic independent promoters putting on some equally fantastic new talent in London at the moment ... and also still a few too many promoters affiliated to those major beverage companies on putting on bands with the right booking agent and press agent etc rather than the right degree of talent. And unfortunately there are also some independent promoters who have completely the wrong idea and only book bands that can shift the right amount of advance tickets and bring in a busload of their mates from the suburbs. Lets see even more of the former in future!”

Jaimz Riot: “No better or worse than any other scene. Its hard for London bands to get a break elsewhere, same for bands from Derby, Leicester or Nottingham. There are bands of every genre represented, most of them are appalling, and then there are a good few who end up hitting the ceiling pretty fast. They do a few good shows with decent crowds, then fail to make any headway, they don't get a big tour together, or some big supports, or a great record, and the crowds dwindle. Its the same all over the country. London is perceived to be different as it is the capital where 1/6 of the population lives, but it is still the same story.

There is also a great deal of money being bandied around on the scene, this isn't exclusive to London, but it is certainly a big part. Pay to play is rife in the city and also for many tours and gigs as well. Bands which engage in this are every bit as guilty as the promoters who charge”

How does it compare to other scenes around the country? “Every band makes a deal about playing London. Its hard, damned hard, to get a gig in the capital, and generally when it does happen the crowds don't give a flying fuck because they have never heard them and they would rather have a pint and a chat at the bar than watch an outside band flogging their souls on the stage. It always amuses me when the reverse happens. I have seen countless London bands who can get a good crowd in the Underworld on a Saturday play shows to virtually no one in the provinces. That's a real wake up to them, and a vital lesson that they need to learn fast. However, it all comes down to an indictment of the crowds rather than the bands, the crowds very rarely give outsiders a chance or a support band. This is why gig swaps and bands allying together is so cool.”

On the people that make up numbers:
What is your opinion on fans that you see at gigs in London? Would you say that there is a poser culture?

Joolz: “Not at all! Being an old head in this game, I remember when people really made an effort to get dressed up, look great and go see the bands they love. Now any old fool throws on a football shirt, jeans and goes to see a glam band for instance. Back in the day, men would wear hair spray, have big hair and look good!! I would say, however, there is a bit of a clicky culture in London.”

Jaimz Riot: “To an extent this does happen. However, it should be pointed out that there are these characters in every city and in every genre. I see this a lot at the moment in rock'n'roll, and London has definitely fallen foul of the wannabes of late. There are a lot of young naive kids who have read "The Dirt" and want to try and recreate it for their own lives, so they pick on a sleaze rock band and try and live the "high" life whether it be doing mammoth amounts of drugs, or shagging the whole band, or just hanging around looking snooty cos they once had a beer with the drummer. The good bands don't tolerate these people, they will hang out with the geeky kids that just love the music - those kids don't think they are cool, and as result are the coolest people. The awful bands revel in it and assume they have made the big time. Those bands will go nowhere because they immediately get complacent.”

Alison: “I think as any scene grows and becomes more fashionable its bound to attract a certain poser element who want to latch on to the latest cool thing. Being far too young and innocent to have been there the first time around I feel quite fortunate in a way to have gotten into the particular breed of dirty glam / sleaze Bubblegum Slut covers at a time when it was possibly the most unfashionable thing in the known musical universe. Why? Because at that time you could be sure that everyone at the shows and clubs was there because they genuinely completely loved the music, no-one simply out to look cool would dare be at those shows! Since then I think the scene has got a lot bigger, certainly in London where there are a lot of new bands keeping the genre alive and a lot of younger fans, which I reckon the press given to the Motley Crüe reunion a particularly The Dirt is in no small way to blame / thank for. Obviously new blood can be a positive for any scene but speaking as a zine editor I think the poser culture this brings, that wasn’t there so much before, is best expressed by the increasingly common experience while selling zines at shows of approaching someone wearing the t-shirt of a featured band, only to be told that actually theyd rather spend their money on drinks than reading about their favourite band. When I started this zine new info on the genre and up and coming bands within it was pretty scarce meaning it was never too much of a struggle to sell mags at the relevant shows. Now with more people listening to the music I should theoretically have a larger potential readership, but it doesnt always feel like this is the case!”

On groupies:

Alison: “There’s always some overly friendly ladies loitering about the Underworld waiting to get better aquatinted with the nights entertainment... if you’re wanting specific stories though how about the young lady who after a few drinks (red wine at that!) hooked up with a certain wild at heart rocker and then, feeling a little worse for wear, brought the booze back up all over him just as they were getting down to it but he still did the deed! Or - something I witnessed the concluding scene of and really wished I hadn’t! - the girl who evicted an entire band and crew from their dressing room in order to get more familiar with their guitarist in private ... after they were done everyone returns to the room and 10 minutes later she’s back, picks the used condom off the floor and runs off with it! You can only assume she must have a souvenir from every band that passes through town proudly displayed at home ...”

Jaimz Riot: “For the record I fucking loath groupies. They are of course a necessary evil. I don't mind a lass (or lad) who genuinely loves a band, and if she (he ... whatever, enough of the PC crap) ends up getting laid then great, it will be a fantastic memory when she is 75. However, there are girls out there that will just spread 'em for any band going, these are girls who will not date anyone if they are not in a band, girls that maybe have a passing appreciation of a band but are actually there for the sex. These girls are like leeches, sucking on the fame, and perceived kudos of getting a face full of semen from a guy in a band. The bands seldom have any appreciation of these girls, and will use them, however there is no love, no lust beyond a functional "lets get this over with", and they will not actually end up going with a real cool girl because they do not have the capability of seeing the girl they end up liking again because they are on tour. So no, it is the absolute full time groupies who rule those situations.

To add a "feminist" angle on this ... the guys in bands (and it is usually the guys, girls get a different response from male fans) are not all total whores either. I know many, many guys who just will not do the groupie thing, just as there are many girls who will not do it either. However, there is the belief that all rockers come off stage and then immediately have five 16 year olds gobbling on them, most of these guys just want a beer and to chill with some friends. On the other hand ... there are some total male whores out there ... this cannot be denied!

This is not to say that I haven't seen some pretty funny stuff going on, I'd prefer not to indulge you with a salacious story, because that is only going to serve to re-glamourise something which is seedy beyond belief.”

On the music scene in general:

Alison: “Nationwide I think its pretty much as what I said about the London rock scene, except you find a no out of town bands rule among local promoters greedy for advance ticket sales / pay-to-play cash. As opposed bus down your mates from out of town in London. And the culture of giving tribute bands higher billing and bigger pay packets than those who play original material at many small town venues just makes you despair of British rock fans.”

Joolz: “I am stuck in my 80's hair metal time-warp!”

Jaimz Riot: “I think that we are being sold short. There doesn't seem to be a will amongst the crowds anymore to resist obviously marketed bands. There are a few good people out there that will just not tolerate all of this middle of the road, bland crap, but far too often people are just too forgiving of bands who are not good enough. And this is where the big money men come in. Bands with their own agenda's and their own feelings, and sound, and image, and originality will never get anywhere because the promoters and record companies will not help them out. And unfortunately too many venues will not consider you unless you have a big record deal, even with the success of the internet as a tool to promote your music. The problem is that you have to wade through millions of crap bands to find the good ones. I get sent maybe 40 or 50 demos a week, and from the last 6 months there are only TWO bands who have piqued my interest.”

On the most popular music on the scene:

Jaimz Riot: “Bland, boring, middle of the road, faceless "music" with no soul, passion, or personality.”

Alison: “London still seems to be dominated by the Indie scene and poncy Old Street bar mob, although the Indie of the minute is attempting a rather disturbing impression of rock n’ roll! Away from Old Street though there’s still a very strong underground Goth culture in London - why Goth, and its cyber / EBM relatives, manage to fly under the radar of the mainstream music press is beyond me as the gigs and clubs are packed every week in this city, as well as a healthy metal scene right down to the heaviest stuff, and as you say there’s also a great, resurgent glam / sleaze scene going on right now.”

Joolz: “Not really sure, but I am trying my best to revitalise the glam sleaze scene and hence, the new club. People are sick of not having anywhere to go, after getting all glammed up!”

On the 80's rock scene revival - is there one?

Joolz: “God, I really hope so! That would make my day!”
Do you think there would be any negative effect in it? “Not at all. But then I come from that era! Maybe I am biassed.”

Jaimz Riot: “I would say that there are an appalling number of London bands out there who think that they personally are creating an 80s revival, but instead they are just living in mediocrity. The 80s is over, live with it. Its possible to take elements of the 80s acts and bring them a new face, but there is too much slavish copying. This hasn't been helped by the number of 80s cock rock bands on the reform trail. Some of these bands are actually really great such as LA Guns, Vain, and The Quireboys. However, for every good band there are a hundred acts such as Love/Hate or Ratt. Those bands aren't even big in the States any more, so they come over here because we seem to have a very naive fanbase. It is possible to bring this sound up to date as the first Brides of Destruction record proved, and both Beautiful Creatures albums ram home. Then there are the bands that weren't around in 1989 or whenever such as Backyard Babies, and homegrown talent such as New Generation Superstars and Disarm. However, down in London it seems to be a sea of big hair and cheesy lyrics again, if those bands want to get truly, truly great they need to look forward some more.”

Alison: “Definitely! there’s some great new bands picking up where the 80s classics left off and putting their own spin on the sound as well as there being a renewed interest among rock fans. The effect of the two coming together has been promoters recognizing that the demand is there for more 80s inspired band and club nights than London has seen since, well.. since the 1980s! Where a few years back you just had
Decadence once a week and the odd touring act there are now far more bills of new, homegrown talent being promoted and glam / sleaze / 80s club nights. And of course Decadence is still going strong and busier than ever!”

Do you think there would be any negative effect in it? “I think the only real problem could be if this does prove to be a passing fad, as the posers and bandwagon jumpers are notorious for supporting a scene while its fashionable and dropping it the second its not. As mentioned above there are signs some people around the scene now are more into the look and lifestyle (again, the rock n’ roll fairytale presented in The Dirt is so much to blame!) than the music, just getting away with displaying the right bands name on their shirt. If these people do move on though the scene will survive, just as it did through the grunge era, and will probably be better off without them!”

On the biggest challenge to new bands:

Joolz: “Getting noticed by the right person. Proving you are different and have more to offer than other bands on the scene. Some bands (not mentioning any names) are just a gimmick, but have the money behind them, others are awesome but have to push that step further. But then if you speak to any of the great bands around like Aerosmith, Cinderella, Motley Crüe, for instance, they all had to struggle before making it big.”

Jaimz Riot: “There are lots of challenges. Talent is a big one - too many bands are shit and don't realise it, The Ga*Ga*s haven't exactly done wonders for rock'n'roll have they? Apathy is a big problem as I mentioned before. Too many crowds just want to hear the same old crap being regurgitated at a club night than listen to something fresh. Tribute bands, and venues that do 95% tribute or covers, fall into this category too. However, the age old problem is money. Money for guitars, amps, peddles, drums, strings, posters, websites, hotels, vans, fuel, roadies, equipment hire, studio space, recordings, photography. It all costs money. A lot of it. Then of course there is the bane of pay to play. Any band who encounters this should immediately walk away, its not worth it - do you pay your boss to go work in your day job?”

Alison: “The London scene is renowned for being overcrowded and competitive for new bands starting out. I think competition can in many ways be positive force though as it forces bands to put in the time and work to be the best; its very easy for a mediocre band to reach the top in there local, hometown scene and start feeling a sense of achievement before even looking at the bigger picture. Instead I think one of the biggest hurdles for a new act attempting to get on to the scene is the promoters still asking for pay-to-play, whether in so many words or in the form of buying tickets up front, as it’s a culture that allows new bands with more friends than talent to get the good shows.”

On what the future holds for the London rock scene:

Joolz: “Hopefully a big improvement in general, and a complete rebirth of sleazy rock! It is great to see bands like Poison, Cinderella re-emerge, this hopefully will be a positive leap forward for bands of that nature ... both in London, and worldwide! That’s Joolz, always living in hope!”

Jaimz Riot: “I would love to say that there will be a fantastic crop of new bands, who will be genuine, won't engage in pay to play, will be super nice guys, record a top notch album, get a great deal and go all the way with full support of the record industry. However, what will happen will be the same crap that has been going on for over a decade, and probably a long time before. A lot of highly successful touring acts playing the big theatres and arenas. Maybe one or two mid level bands getting an album out and doing a couple of club tours. A few bands doing OK on the circuit in the city, playing a few good nights, the occasional big support slot, but essentially going nowhere. And then an awful lot of cloying, clogging dross. And its always been that way so I don't see why it will change next year.”

Alison: “I’m not making any predictions but it’ll be interesting to see whether the glam / sleaze / 80s revival scene continues to grow or proves to be just a passing fashion.”

Agree or disagree with anything that was said here? Have they hit the nail on the head or do you think otherwise? Go to the Pure Rawk forums and get talking ...

Words by Nicola “Nix” Crichton

© Pure Rawk 2006