BIZNAGA

 

"bremen no existe"

Year:  2022

Country:  Spain

City:  Madrid

Label:  Montgri

Format:  LP

Tracks:  10

Time:  30 min.

Genre:  rock

Style:        Punk Pop

Members, probably unintentionally, of a generation of groups from the independent scene such as Juventud Juché, Futuro Terror or El Pardo that have taken their musical proposal to the regions bordering punk, Biznaga have been growing steadily with each album. Based in Madrid, but marked by their deep Malaga roots, their career extends from the first models in a learning period to conceptual works once they have gained the respect of the public and the specialized media.

The original nucleus of the band was formed by Álvaro García (vocals and guitar) and Jorge Navarro (bass), both from Malaga who, however, met in Madrid through a mutual friend, Pablo, also from Malaga. The first arrived in the capital from Barcelona, where he worked as a nurse, while Jorge tried to look for work after finishing his Audiovisual degree in the Andalusian city. Once the affinity between them and their common tastes were proven, they decided to start a band back in early 2011. While Jorge had not played in any group, Álvaro brought the experience of having first participated at the age of 15 in Malaga in a hardcore group. punk (Walltrape Center), and then, already in Barcelona, having played drums in Destroyed Room. As the former would later tell He Reunido a la Banda, they soon reach an agreement: “Jorge was cool with it and although he didn't know how to play, he picked up the bass until he learned. I taught him how to play and told him to be in charge of the lyrics, because I liked the way he wrote. We were locked in a room for almost a year, and over time “Toilets” came out, etc..”

In this early stage of the band there is, above all, a lot of rock work by both of them with borrowed bass and guitar: “In the beginning, in our rooms, everything was very precarious and elementary. We met to release acoustic proto-songs, while we became familiar with some instruments that we had never played before,” they tell us.

In what can be interpreted as a nod to their place of origin, they decide to name the new project with the name given there to the bouquet of jasmines attached to a small frame: biznaga. “He never really made up his mind,” Jorge says with a certain air of disappointment. “As the project arose completely by chance and without any kind of pretension, so did the name.” For this reason, “provisionally and in the absence of a better alternative we decided to take it from Pablo,” recalls the bassist, who concludes by telling how in the end there was no turning back: “Then the months went by, the joke continued and began to take shape.” , there was already a minimum repertoire, they called us to play etc. When we seriously thought about 'better' names or names that we liked more, it was too late and we were functioning as Biznaga."

To record their first demo, they asked Pali (Wild Animals, Secret Society) for help on drums: “Pali is a friend and offered to record the songs for the demo, so she was rehearsing with us for a while, but it was never an option.” "That she became part of the group, more for her than for us." With their support, “Demo” (2012) was recorded and mixed in the basement of Perico Font in Malaga in early 2012. It contained four songs, the first of which was the aforementioned “Váteres” which used a wedge taken from Pink Flamingos (1972) by John Waters, with a high-sounding statement by Divine under the pseudonym Babs Johnson in which she was decidedly in favor of eating shit, killing everyone and advocating cannibalism among other niceties. Probably the best possible intro for a sufficiently eschatological theme: “Toilets instead of icons / like the bear and the strawberry tree / toilets for what I eat / toilets are what we are.”

It is precisely the launch of the demo, in the month of May 2012, and the subsequent passage “from the catacombs to the internet” that they agree on indicating as the official date of the group's public appearance (to continue reading the bio HERE ).

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"gran pantalla"

Year:  2020

Label:  Slovenly

Format:  LP

Tracks:  12

Time:  36 min.

Genre:  rock

Style:      Punk Pop

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"sentido del espectáculo"

Year:  2017

Label:  Slovenly

Format:  CD, LP

Tracks:  11

Time:  33 min.

Genre:  rock

Style:        Punk Pop

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"centro dramático nacional"

Year:  2014

Label:  Slovenly

Format:  CD, LP

Tracks:  10

Time  33 min.

Genre:  rock

Style:        Punk Pop

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LOS CHIKOS DEL MAIZ

 

"yes future"

Year:  2022

Country:  Spain

City:  Madrid

Label:  Mazorka

Format:  CD, LP

Tracks:  11

Time:  44 min.

Genre:  electronic

Style:        Rap Conscious

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"comanchería"

Year:  2019

Label:  Boa

Format:  CD, LP

Tracks:  15

Time:  45 miin.

Geenre:  electronic

Style:        Rap Conscious

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"la estanquera de Saigón"

Year:  2014

Label:  Boa

Format:  CD, LP

Tracks:  14

Time:  45 min.

Genre:  electronic

Style:        Rap Conscious

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"pasión de talibanes"

Year:  2011

Label:  Boa

Format:  CD, LLP

Tracks:  15

Time:  45 min.

Genre:  electronic

Style:        Rap Conscious

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IV REICH

 

"discografia completa"

Year:  2001

Country:  Spain

City:  Zaragoza

Label:  Outline

Format:  CD

Tracks:  28

Time:  60 min.

Genre:  rock

Style:        Punk Hardcore

Uncompromising hardcore punk that evolved from rabid criticism to political engagement. Many were the bands that in the punk wave of the 80s launched into the practice of the sharpest and most extreme side of hardcore. Music built from guitars and basses fired at a thousand, unappealable, incontestable, before which it is only possible to let oneself be carried away by the created tide. IV Reich, a band from Zaragoza, was one of a long list that included bands such as the Basques R.I.P., Radical HC, or from Catalonia, one of the main centers of activity, G.R.B., L'Odi Social, Frenopaticss, Ultimo Resorte, Antidogmatikss...

This "maño" group was formed among friends who met in 1981 from frequenting the bars that were in the Moncasi street area. They also had a friend's shop as a place to meet and listen to records from England. It was there that they were introduced to the sounds of bands like the Sex Pistols, and began to adopt those intensities as their own style. They were Tomás –Cota– as singer, Pilar guitar, Juan Ramón –Juanra– as bassist and Isabel –Isa– on drums.

Her attitude, as defined by Pilar when she recalls the beginnings of the group, was to position herself against everything: "Our philosophy was very simple, we were in the denial phase, we were anti-everything, everything was shit." The group's anger is directed at the system in general, religion, the police. The attitude would radicalize against the army even more when the fatal accident with a military truck takes place, which ends the life of Juanra when she was doing her military service. For the group it is a real blow, which it wrests from a partner when they had just begun to get to know each other within the group. They would later dedicate the song “No to the army” to him. The group, as far as the formation is concerned, is remade with the entry of Juan Vicente –Juanvi– who is in charge of drums, passing Isa to bass.

As Pilar recounts in Silvia Escario's blog (Último Springe), Juanra's death "was a fat host for us, since no friend had ever died." A couple of years later they would participate in a tribute concert organized by the family in Olot, their town of origin, which brought together, in addition to the IV Reich, Decibelios, Excesos y Dandys. On their return to Barcelona from Olot, they suffered an accident when the car in which Juanvi, Pilar, Isa, Fray (singer of Decibelios) and some other concert partner were traveling left the road and managed to get into the trunk. "Without seatbelts, all quite cooked, so many in the morning and a secondary mountain road equals an accident." Fortunately, except for some bruises, nothing serious happened.

The group's activities really begin when they share their rehearsal space, a basement that Juanvi had precisely, with another local group, Parasites, who provide amplifiers and bass for Isa to the deal. "Making songs was easy because we had a lot to spit against the system," said the guitarist to one of the fanzines that has interviewed her. The life of the band in that first stage was as follows: "(...) We would get together in the afternoon at the venue with a few liters of beer and there we would give birth to whatever occurred to us, when a concert came on we would leave with our clothes on and return the same but we had a great time and we met people ”. As a homemade promotion, they were in charge of filling the streets with graffiti that said “IV Reich, 1000 years of anarchy”.

As expected, they have been asked many times for the reason for the chosen name, if it responded to any specific meaning. They have always said they chose it, at Cota's suggestion, because they liked the way it sounded. It did not bring them too many problems with unwanted visits from some clueless attracted by the possible far-right connotations. In any case, they suppose that there would be those who were reluctant to their concerts, imagining that this was the political ideology of the group. It was not enough, however, to verify how wrong those suspicions were.

They started playing in bars in the city, where after agreement with the owners, they performed without charging anything. Street festivals and neighborhood and town festivals were also toured, sharing the stage and experiences with bands such as Más Birras, Distrito 14 or Parkinson.

The influences they had were, as Pilar does not hesitate to point out, in addition to the aforementioned Sex Pistols, Dead Kennedys, GBH and Discharge. Regarding the state scene, as well as Madrid, only La Uvi stands out, they do not hesitate to talk about their connection with the bands that started in the Basque Country (R.I.P., Cicatriz, Vulpess…). It was precisely in a room (Happy Day) in Rentería where Javi Sayes, responsible for the fanzine Destroy, invited them to play, in what would be the first concert the band gives outside of Zaragoza. Isa and Pilar recall the occasion in the documentary "No Accepto" (José A. Alfonso / Alberto Bocos Oyarbide, 2007) as the best performance they remember. For the same they could only be paid with beer and some money for gasoline. They played with R.I.P. and they were surprised by the response from the public, who spat at them on stage. They thought they didn't like it. Very different was the reaction they used to get when they played in the towns of their autonomous community, where it was not uncommon for them to throw stones at them or come out behind them chasing them.

It is not until 1984 that IV Reich prepares to record some of the songs it has in its repertoire. They do it in the form of a demo, with the money that the drummer's brother leaves them. They cannot consider the option of a disc, because it would have been much more expensive. The guitarist, when asked for details of the recording, tells us that it was made in the studios of some musicians from Zaragoza, who were in charge of all the production details and even mixing.

The demo, which came out in January, included ten songs, authentic cannon shots, presented with a breath-taking cover: death, scythe in hand, and dressed as a German soldier, advances towards us with barbed wire behind him. The group launched bombings against the police, governments, religion, and all kinds of powers; He predicted apocalypse and extermination of the human race. It also included the aforementioned song dedicated to Juanra "No al ejército". The song was recorded with the collaboration and assistance of Fray, the aforementioned singer of Decibelios. As Pilar explains to us, he helped them with the choirs and advised them on sound issues. This was also reflected in the corresponding acknowledgments. The connection with Fray begins with his friendship with the deceased Juanra, and will be cemented later with the relationship he would have with Isa. Directly related to the attitude towards the army and the friend's deadly accident is the release, that same year, of the song “Kill or die”, a chilling hardcore exercise that appeared both in the Barcelona long-running “Caldo de Chicken” (DRO, 1984) as in a single “Kill or Die” (DRO, 1984). In the latter, a text was included in which the dedication was made explicit to Juanra. IV Reich disbanded in 1985.

(*Review from HERE ).

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GARY NUMAN

 

"the pleasure principle"

Year:  1979

Country:  UK

City:  London

Label:  Beggars Banquet

Format:  CD, LP

Tracks:  10

Time:  40 min.

Genre:  electronic

Style:        Synth-Pop

Gary Numan goes solo and pre-empts the sound of the next decade with a No.1 record that remains a compelling document of its time and continues to inspire great pop music today – The Pleasure Principle… By Felix Rowe. It’s an enduring image: a young, besuited man behind a desk, fixated on the throbbing red glow of a translucent pyramid object. His face, while almost expressionless, nonetheless carries a degree of reticence and suspicion at the mysterious, futuristic form before him. But clearly he’s curious, too, enthralled by its untapped potential. Like a portal into another dimension, the future has literally manifested itself before his eyes, and it’s his for the taking. This is, of course, the iconic imagery that adorns the front cover of Gary Numan’s debut solo record, The Pleasure Principle. Over 40 years later, we now know just how prescient it turned out to be. Numan seized that metaphorical prism with both hands and used it to help shape the future of pop.

The Pleasure Principle is the centrepiece of three UK No.1 studio albums in succession – his extremely successful ‘Machine’ phase, that spawned two chart-topping singles and continues to resonate today. Its influence has spread far and wide, extending beyond pure pop into hip-hop, dance, reggae and even industrial metal. Pick any of the countless ‘Best of 80s Pop’ compilations at random, and there’s a good chance that it features either Cars or its predecessor Are ‘Friends’ Electric? After all, both are so completely representative of the 80s – in sound and aesthetic – despite actually belonging to the previous decade.

Although by no means the only pioneer of UK synth-pop, or indeed even the first, Numan was certainly positioned on the cutting edge, operating at the advance guard of electro-pop. When he first arrived on the Old Grey Whistle Test and Top Of The Pops, he did so fully formed – like an android beamed down from space, sent on a mission to teach us earthlings how to groove. In fact, the reality was not quite so clear cut. Numan’s early man-machine persona owes as much to accident as it does to design. Like many synth-pop heroes, Numan’s musical journey began on six strings, delivering scrappy three-chord punk. Tubeway Army’s debut single That’s Too Bad has more in common with Buzzcocks than Kraftwerk. The band were signed off the back of the punk explosion a good year or so before they even discovered synths.

While that record documents their first dabblings in the dark arts of electronics, it essentially remained a more conventional band effort. Equally, the androgenous, robotic cyborg look – somewhere between the crisp, clinical and ordered Kraftwerk and Bowie’s Thin White Duke – was, at least partially, another happy accident. Numan has since admitted its genesis was a matter of pragmatism, when the BBC’s make-up department slapped on a load of white foundation and eyeliner to hide his acne shortly before a Top Of The Pops appearance. Likewise, his cold, detached performances that became key to the android persona he attributed to stage fright and incompetence.

Props to Numan for candidly shattering the mystique behind his own mythology. Still, however he arrived at it, he certainly nurtured the image to great effect. Although now billed as a solo artist, the personnel on The Pleasure Principle remains essentially the same as on the previous Tubeway Army album. Recorded swiftly, the LP was released in September 1979, less than six months after the band’s last effort, Replicas, with the core line-up retained. In fact, Numan had wanted to ditch the name as early as the first Tubeway record, distancing himself from the punk scene the band grew out of.

Gary had long been the face and creative driving force of the band, not just writing the songs, but also producing their records. The latter is a considerable and under-recognised feat for an unproven kid, still barely out of his teens. It was only off the success of Replicas that his label, Beggars Banquet, consented to the new identity.

The Pleasure Principle picks up directly where Replicas left off, indulging Numan’s obsession with the dystopian stories of sci-fi futurist writers like JG Ballard and Philip K. Dick. He’d already explored these themes right off the bat with Tubeway Army, back when he was known as Valerian, though by now the music was keeping pace with the futurist stylings. Replicas was heavily inspired by Dick’s book, Do Androids Dream Of Electric Sheep?, the same source material for the Ridley Scott classic, Blade Runner (incidentally Numan’s favourite film). With The Pleasure Principle, the album’s title and cover were direct references to the painting of the same name by Belgian surrealist artist, René Magritte.

Even song titles play into the notably sparse and clinical imagery – single words thrown out like a typological list of theoretical concepts or constructs of modernity: Cars, Films, Tracks, and so on. While the record is frequently hailed for its sonic invention, in reality it uses a very limited palette of sounds, derived from a standardised core ‘band’ set-up. Throughout, you’ll witness the same identifiable synth sound (innovatively pushed through guitar pedals), crunchy live drums courtesy of Cedric Sharpley and bass from Paul Gardiner, then a few otherworldly textures on top.

Despite the progressive choice of instruments, it’s still essentially conforming to convention: a band playing together live in a room, rather an electronic producer, painstakingly programming beats and samples in an automated studio environment. The looseness and – dare we say – punk mentality is still discernibly present. A notable hangover, of course, is Numan’s vocal itself. Possessed of a limited range, he’s not a naturally gifted singer. Nonetheless, he uses what he’s got to great effect, firing out his words in his childlike twang like the Artful Dodger lost in the wrong century. Equally potent, is the inclusion of violin or viola, courtesy of Chris Payne and Ultravox’s Billy Currie, that provide a counterpoint to the synthesized sounds, and an otherworldly character when overlaid.

As with the best synth-pop, it’s that tussle between the machines and more organic elements that create its unique character. The era was captured in a performance at Hammersmith Apollo in the month of release (September 1979) – later issued as the live album, Living Ornaments ‘79, and (with a slightly different tracklisting) The Touring Principle. It largely draws on tracks from The Pleasure Principle, bolstered with a smattering from the first two Tubeway records, which again emphasise his punkier beginnings (*continue reading this review by Felix Rowe ).

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"replicas"

Year:  1979

Label:  Beggars Banquet

Format:  CD, LP

Tracks:  10

Time:  40 min.

Genre:  electronic

Style:        Synth-Pop

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SCOWL

 

"how flowers grow"

Year:  2022

Country:  US

City:  Santa Cruz, CA

Label:  Flatspot

Format:  CD, LP

Tracks:  10

Time:  18

Genre:  rock

Style:        Hardcore Punk

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"psychic dance routine"

Year:  2023

Label:  Flatspot

Format:  CD, LP

Tracks:  10

Time:  20 min.

Genre:  rock

Style:        Hardcore Punk

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THE SONICS

 

"boom"

Year:  1966

Country:  US

City:  Tacoma, WA

Label:  Etiquette

Format:  CD, LP

Tracks:  12

Time:  34 min.

Genre:  rock

Style:        Garage Rock

The Sonics are an American garage rock band from Tacoma, Washington that formed in 1960. Their aggressive, hard-edged sound has been a major influence on punk and garage music worldwide, and they have been named inspirations to the White Stripes, LCD Soundsystem, and other musical artists.

The band performed several early rock standards such as "Louie, Louie", and "Skinny Minnie" as well as original compositions like "Strychnine", "Psycho", and "The Witch". Their catalogue is generally based around simple chord progressions, often performed with a speed and tonal aggression that was novel for the time, making the band a notable influence on later punk rock bands, such as The Stooges and Iggy Pop. 

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"here are The Sonics"

Year:  1965

Label:  Etiquette

Format:  CD, LP

Tracks:  12

Time:  34 min.

Genre:  rock

Style:        Garage Rock

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THE WHO

 

"my generation"

Year:  1965

Label:  Universal

Format:  CD, LP

Tracks:  12

Time:  35 min.

Genre:  rock

Style:      Classic Rock

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"a quick one"

Year:  1966

Label:  Universal

Format:  CD, LP

Tracks:  10

Time:  40 min.

Gemre:  rock

Style:        Classic Rock

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the who sell out"

Year:  1967

Label:  Universal

Format:  CD, LP

Tracks:  11

Time:  40 min.

Genre:  rock

Style:        Classic Rock

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"Tommy"

Year:  1969

Label:  Universal

Format:  CD, 2 x LP

Tracks:  24

Time:  70 min.

Genre:  rock, classical

Style:        Opera Rock

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"live at Leeds"

Year:  1971

Label:  Universal

Format:  CD, LP

Tracks:  13

Time:  45 min.

Genre:  rock

Style:        Hard Rock

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who's next"

Year:  1971

Label:  Universal

Format:  CD, LP

Tracks:  9

Time:  50 min.

Genre:  rock

Style:        Hard Rock

Who’s Next is widely considered the Who’s best album because of its cohesive songwriting and accessible musical themes. But nobody would’ve likely predicted such triumph if they’d witnessed the nervous breakdown-inducing strain lead singer and songwriter Pete Townshend experienced prior to the record’s 1971 release.

Brilliant hard-rock stadium anthems like “Won’t Get Fooled Again” and moving folk-rock ballads such as “Behind Blue Eyes” were originally part of Lifehouse, a massive project Townshend intended as a follow-up to the Who’s genre-defining rock opera, Tommy. Steeped in Sufi mysticism and the teachings of Indian spiritual leader Meher Baba, Townshend envisioned merging the band with its audience using synthesizer vibrations, quadraphonic sound, and live interaction.

No one, not even his fellow band members, could quite explain the intricacies of the science-fiction-tinged storyboard Townshend struggled to get out of his head. Just as the band seemed on the verge of breaking up over the chaos and stress, a mentally exhausted Townshend abandoned his byzantine plot lines and allowed producer Glyn Johns to help the quartet assemble a traditional album. The course correction resulted in an emotionally rewarding collection of statements about politics, social upheaval, and relationships that continues to withstand the tests of time and repeated listening.

Fans looking for a fresh copy of this classic shouldn’t allow themselves to be fooled by the 2015 Geffen Records reissue. While the lacquers are cut by Ron McMaster and the pressing flat and relatively quiet, the music sounds dull and empty when compared to an expensive U.K. Track Record original. “Baba O’Riley” teems with dynamic swings and a wide range of instrumental textures—from the distant opening piano chords and repeated Marimba Arpeggiator effect on Townshend’s Lowery Berkshire organ to Keith Moon’s aggressive drum attack and John Entwistle’s melodic bass lines. On the Geffen remaster, these thrills are presented on a one-dimensional canvas that turns the performance into background fare. Playback on three vastly different audio systems confirm this assessment. Any of the album’s full-resolution streams on Tidal sound better.

Kevin Gray’s all-analog 1995 remaster for MCA proves Geffen could’ve done a much better job. The record’s accompanying liner notes explain Gray’s cut avoids noise suppression and bass roll-off, and the results speak to such claims. The MCA LP is lively, with balanced frequencies and a wide-open soundstage. You can turn it up as loud as your system can endure. But the elevated level of sonic satisfaction comes at a cost: The Gray cut remains out of print and regularly sells for upwards of 50 bucks.

So, what’s a Who fan to do? While a tad brittle and splashier on cymbals than a U.K. original, a clean U.S.A. MCA repress might be your best bet. The 1977 edition used for this review exhibits the analog depth, texture, and dynamics demanded by the music. It also serves as a stark contrast to Geffen’s lifeless wax ( *Review by Vance Hiner)

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"Quadrophenia"

Year:  1973

Label:  Universal

Format:  CD, 2 x LP

Tracks:  17

Time:  70 min.

Genre:  rock

Style:        Hard Rock

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"odds & sods"

Year:  1974

Label:  Universal

Format:  CD, LP

Tracks:  11

Time:  40 min.

Genre:  rock

Style:        Hard Rock

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"Tommy soundtrack"

Year:  1975

Label:  Universal

Format:  CD, 2 x LP

Tracks:  30

Time:  70 min.

Genre:  rock, classical

Style:        Opera Rock

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"the who by numbers"

Year:  1975

Label:  Universal

Format:  CD, LP

Tracks:  10

Time:  40 min.

Genre:  rock

Style:        Hard Rock

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"who are you"

Year:  1978

Label:  Universal

Format:  CD, LP

Tracks:  10

Time:  45 min.

Genre:  rock

Style:        Classic Rock

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"the kids are alright"

Year:  1979

Label:  Universal

Format:  CD, 2 x LP

Tracks:  17

Time:  70 min.

Genre:  rock

Style:        Soundtrack

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"face dances"

Year:  1981

Label:  Universal

Format:  CD, LP

Tracks:  9

Time:  45 min.

Genre:  rock

Syle:        Classic Rock

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"it's hard"

Year:  1982

Label:  Universal

Format:  CD, LP

Tracks:  12

Time:  40 min.

Genre:  rock

Style:        Hard Rock

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"endless wire"

Year:  2006

Label:  Universal

Format:  CD, 2 x LP

Tracks:  19

Time:  52 min.

Genre:  rock

Style:        Classic Rock

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"idem"

Year:  2019

Label:  Universal

Format:  CD, LP

Tracks:  14

Time:  50 min.

Genre:  rock

Style:        Classic Rock

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"an all star tribute to The Who"

Year:  2023

Label:  Cleopatra

Format:  CD, LP

Tracks:  16

Time:  45 min.

Genre:  rock

Style:        Classic Rock

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(pass: onlygoodsong)

VORTEX

 

"live at the Vortex"

Year:  1977

Country:  UK

City:  London

Label:  Nems

Format:  CD, LP

Tracks:  12

Time:  30 min.

Genre:  rock

Style:        Punk Rock

In October, bands had been recorded at the Vortex Club for a proposed live album along the lines of the first ‘Live At the Roxy WC2’ record. The record featured the Maniacs, Suspects, Wasps, Neo, Art Attacks, Bernie Torme and Mean Street who were all regular players at the Vortex and Roxy. Paying the bands virtually nothing and holding them to ludicrously disadvantaged contracts, Miller and Draper raked in even more from Punk and its naive bands.

John Miller (Vortex Manager) I even made more money out of a privately produced album ‘Live At The Vortex’, featuring the most tuneless bands of our time. It must have been one of the worst records ever made, but it was hailed as a breakthrough in ‘New Wave Punk’. It was all.

The record was universally panned by the music weeklies smelling a cheap cash in. Comparisons with the Roxy album did it no favours either. Where one was a vibrant affair featuring crowd noise and conversation, heaps of photos of bands and clubgoers alike and a fairly detailed run down of the bands the Vortex album had nothing.

There was also the curiously sterile atmosphere of the recording and some controversy over whether the 'Live' tag was actually justified. Following a review by Jon Savage an irate Jesse Lynn Dean from the Wasps replied to sounds in a letter.

...that these live recordings were made with plastic glasses and other objects being thrown through the air while some of the audience were trying to take a singer's microphone from him.

This letter prompted another letter from an attendee at the gigs... continue to reading HERE 

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