The Killjoys
The Killjoys were one of the finest punk bands thrown up in the UK 1977 explosion. Energetic, frenetic and just a single piece of plastic to show for it. But what a record! Johnny Won’t Get To Heaven on the iconic Raw Records label is up there with the best in its class.
Like all bands though, there were tensions in The Killjoys and none more so than with their driven leader, Kevin Rowland, who would go on to find success with Dexy’s Midnight Runners.
To get to the roots of the Killjoys you have to go beyond the normally quoted Lucy And The Lovers history to a cabaret band called New Blood which featured Kevin, his brother Peter and, and a drummer called Lee Burton. It was a lifeline for a kid with problems.
Kevin Rowland Even before I left school at 15, I’d been in court on four separate occasions. Small stuff. Taking and driving away and that. When I was 14, I’d bunk off school and go wandering around the West End alone, trying to rob money from somewhere. There were times when it was fun. But mostly, it was dark and very lonely. I’d go to a cinema on my own and rip up the seats with a knife. Or I’d go and smash up a tube train carriage. I might have become a rent boy. I was approached one time and I almost went but for fear of the consequences of being home late….I know I would have ended up in jail if it wasn’t for my music career. Defunct website
His brother gave him 6 months to learn the guitar, Kevin joined and his earlier dream of wanting to be a singer after seeing Billy Fury on a pop show was rekindled. Kevin then left to form Lucy & The Lovers a kind of art school band in a similar vein to Deaf School who were doing the rounds.
Kevin Rowland: Yeah, but I must admit I was already in a group just before. It was like an awful similarity with punk. Ideas were coming at the same time as punk and I started to read about it and notice the clothes we were wearing were exactly the same. And then with a group called Lucy and the Lovers we did what we used to think was “art rock,” and then merged into a punk band.
Mark had joined via an ad.
Mark Phillips: I phoned an ad in the Birmingham Evening Mail and within hours (perhaps I was the only respondent) this weird-looking guy with eyeliner, long rubber coat and curly hair turned up in a fucked up little blue minivan. He said he was a hairdresser. This was my introduction to Kevin.
When Mark Phillips joined, he brought in girlfriend Gil Weston on bass.
Mark Phillips: Gil (Ghislaine but she was Gil to me) and I met at college. I was already playing guitar and looking for a band. This was probably early/mid 1976. I had longish hair in a feather cut and was only dimly aware of any ‘movement’. I started teaching the bass to Gil (who took to it with natural aplomb)
And before you knew it we were gigging as ‘Lucy and the Lovers’. We were OK. Punk/Roxy/Art rock. We used to play ‘The Pose’ at Barbarellas, Birmingham’s first proponent of the punk scene. Then Punk became obvious – not as a commercial choice, this was still 1976 – but as a thing you wanted to do.
Gil Weston: At the very beginning it was a bit like Roxy Music with the 2 girl singers and sax player – people were curious because we looked different and had more people on stage than other bands but the music didn’t make much of an impact.
The band gigged before turning into the more punk-inflected Killjoys.
Mark Phillips: We got gigs at all the essential places – the Nashville, Greyhound, that place at World’s End. On the whole, this phase was fun; buying my guitar strings in Tin Pan Alley rather than Selly Oak was marvelous – and the many potential divisions were still buried under all this new ‘stuff’.
Kevin Rowland: Contrary to other accounts, we were too late for Punk and we just weren’t good enough or original enough, to make it. Had we stayed with our original plan of the Roxy Music inspired Lucy And The Lovers, we may have done alright, but the wind of punk was so strong at that time and that’s why we morphed into the Killjoys.
Also added to the band to make it a five piece was Kevin’s girlfriend Heather Tonge.
Gil Weston: She was a singer and punkette babe – audiences loved her because she looked so little and sweet even with the black eye make-up and spiky hair.
Heather Tonge – Photo credits Allen Adams
A chance meeting with Lee Wood owner of the Raw Records record shop in Cambridge which had released The Users Sick Of You single brought about a recording opportunity.
Lee Wood, Raw Records owner, remembering The Killjoys: Around this time (May 1977), you could count the number of un-signed punk bands on your fingers. There were eight people in the audience (including us), and on came The Killjoys. It soon became clear from the jeering that the other five people were Soul music lovers. Kevin Rowland gave as good as he got and for their entire set, the band gave it everything they had. This impressed me the most. We chatted afterward and I agreed to meet them in London and watch them rehearse.
A few days later, I met them near Euston. I found they came from Birmingham, but were staying in London. Five members were sleeping IN the van. The drummer slept either on top of, or underneath, depending on the weather. We arranged for them to come to Cambridge. I put them up in Bed and Breakfast and they spent a couple of days rehearsing in Spaceward studio. On the Sunday (the only day I didn’t open the shop), we began recording. Again four tracks were laid down. The session was one of those rare “magical” occasions. On the track “Naive” we all pogoed round the microphone to add backing vocals. The band were a six piece at the time. The guitarist was going out with the female bass player and Kevin Rowland was going out with backing vocalist Heather. There was a “fifth” track (of sorts) with the band taking the piss out of me.
Mark Phillips: It was one of these gigs we met up with Lee Wood from Raw. I don’t remember clearly, but I have a sense that it was just about the right time, that maybe our energy for what we were doing and how we were doing it needed just this recognition, before it went into decline. We whizzed up to Cambridge and did the single. Four tracks were laid down, including Johnnie and Naive. ‘At Night’ is known, and another, ‘Recognition’, was also recorded.
Gil Weston: The night before we recorded the session we had camped outside Spaceward Studios in Cambridge (me and Mark in sleeping bags on the roof of the van, Kevin and Heather behind the steering wheel, Trevor the Drummer (aka Joe 90) in the back of the van with all the equipment and his feet). The next morning we thawed out and I think the studio gave us a hot breakfast. Then we got down to recording and I learned an awful lot about mic vs direct injection and how you have to be so precise recording compared to playing live which was all I’d done before. I quite like the single though it sounds more tinny in real life than as I remember it. I have no idea why the cover is as it is.
Kevin Rowland: The single itself, I’m a little embarrassed about. The reason is: It was our first time in a studio, we did several run-throughs of the songs to get the sound right and the playing tight, before committing the songs to tape. On each of these, I sang my heart out. After many of the early run-throughs, the band and recording staff would say things like “The vocals sound great”. I was pleased, I too felt it was sounding good.
Trouble is, we did about 30 run throughs before we were ready to do my vocals (they were recorded separately) by which time, there was nothing left of my voice but a croak, I could barely even speak, never mind sing. I asked Lee if I could come back the following week when my voice had healed, but he said it wasn’t an option, due to the record being made on a small budget. So that’s why the voice sounds as it does. It wasn’t a bad out and out punk single, but I’m embarrassed by my voice. Also, it’s just not original enough for me. Deep down I wanted to create something that was different.
Regardless of the above the single Johnny / Naive is a classic piece of 1977 UK Punk that holds its own with the best of its class for ferocity, spat lyrics and a sense of dynamism. Not only could The Killjoys cut it in the studio but live the band were a popular high-octane act and gained a lot of press from both their single and act. Gil in particular was decked out in a variety of alluring get-ups.
Ahhhh – Gil gorgeous Gil – sigh! Photo Credits – Allen Adams
Gil Weston: Mine I suppose. Or maybe a bit on input from everybody. Not sure what Kevin wanted me to look like from week to week as his ideas changed a lot.
One story is you were asked to leave a pub because you were wearing the skintight white number! Is this true?
Yes it was the Ship in Wardour Street. It was a white leotard and tights but it was not rude in any way in fact they were ballet practice clothes…
Keith Rimell: Kevin wanted to make more of Gil’s appearance on stage…he encouraged the wearing of a Basque…fish net stockings and other sexually alluring clothing…(For Gil, not the rest of us) and sought to exploit that further by pushing her to the front for the one track.
One of the many places played was the infamous Roxy Club where drummer, Joe 90 picked up an unlikely groupie!
Mark Phillips: One night, after playing, we got wasted and just hung out in the bar. We were rubbing shoulders with, well, probably the second division, but it seemed pretty fab to me nevertheless. I distinctly remember feeling a bit of a provincial Brummy at that stage and so it was all the more surprising when Kevin St John, with whom we were chatting, invited the band to stay at his place. To this day, I can’t really see any reason why he should have other than random kindness.
You see, when we left Kevin, he had a couple of boys with him, one crippled who we called ‘Legs’. The other was a pretty boy. We followed him back to his house in the van. It was just getting light, in a grey sort of way. He let us in and said we could crash downstairs. I remember watching Kevin go upstairs with his boys and thinking well what’s that all about? But then he opened his upstairs door and it was an absolute pinkified shag palace in there. It’s luminous in my memory; Kevin, ‘Legs’ and the rent boy kind of disappearing upwardly into a pink, twisted, homoerotic heaven. Well, we were left with the ground floor. I remember turning back the sheet on the bed and there was a spanking great shit stain in the middle of the mattress…I slept on the floor!
But these acts of kindness sometimes had a darker side and that always involved trying to bed one of the band or worse.
Allen Adams (Roxygoer) The Killjoys used to come to Peterborough because they came from Birmingham. They used to pick me up and take me to gigs. They were to stay at Kevin St John’s place because he fancied Joe 45 (real name Lee Burton) the drummer. Everyone stayed there except him. He spent the night in the van!
In October 1977 they cut their first John Peel session
Gil Weston: The excitement of wheeling the equipment in through the back door at Maida Vale Studios and saying “We’re doing a John Peel session”, while what we really meant was “Wow brilliant he thinks we’re worth having on the show so we must be worth it”. Recording was great, John Peel was brilliant, John Walters was great, the engineers were great – it was all really exciting.
And then from here on … the trouble started. The Killjoys had released their single right in the heart of 1977 at Punk’s peak and had followed it up with an excellent session on John Peel. They even were filmed playing live by German cameras for a film called ‘Punk In London’ that would later come out. Punk was already mutating into New Wave/Powerpop But Kevin Rowland was unhappy with both the Killjoys rather one-dimensional sound and Punk itself.
Kevin Rowland: It was change every month and during the month of the most intense punk euphoria we recorded a single called ‘Johnny Won’t Get To Heaven’. That was a real punky single in May ‘77, and a month after that I hated punk. I fucking hated it. I used to go around hating punks. I just thought it was a load of shit and it made me angry that I’d been conned.
Johnny Won’t Get To Heaven from the film Punk In London by Wolfgang Büld
It certainly was change as surprisingly drummer Joe 90 and singer girlfriend Heather Tonge departed the band. Kevin advertised for their replacements and also strangely a bassist.
Keith Rimmell: An ad appeared in a local Midlands paper, I think it was the Birmingham Evening mail for a “Brilliant Guitarist, Drummer and Bass player” for a band with recording interest. Three of us, Kevin Mangan (Bass) Bob Peach (Drums) and myself (Guitar) from Supanova went along to the auditions, held in a private house (Kevin Rowland’s brother’s home) in Edgbaston Birmingham one Sunday in 1977.
A remarkably cool Gil recalls
I don’t think I knew until afterwards but it didn’t matter to me.
Bob Peach: I was surprised Kevin was auditioning bass players to replace Gill, maybe that was the first sign. It quickly became apparent to me that it was Kevin’s band and if you didn’t like something, tough, you can go and I’ll get someone else in.
Brought in were drummer Bob Peach and guitarist Keith Rimmell from from heavy metal band Supanova.
The effect of this was
Mark Phillips: Powerpop came and blew through us at a time when Gil and I were keen to consolidate a more angular style that we felt was developing. Powerpop won.
Keith Rimell: Kevin believed that Punk had a shelf life so he was trying to find the next progression before anyone else. For that reason, on the back of the punk movement, we started doing some covers of 60’s stuff like Dream Lover, Great Ball Of Fire
I think Kevin was trying to create the next craze. Punk was supposed to be about the bands themselves, not about those who were chosen by record companies to represent the rest. Kevin was a games player. He wanted us to fit in with the Punk scene for a while, then storm ahead as the movement died. I believe he chose Bob and myself for our musicianship as part of his plans for the future of the band after Punk.
To get the band up to scratch marathon rehearsals were introduced
Keith Rimmell: We practised for eight to ten hours a day, We had a set of ten songs, each lasting around three minutes…so a set practice took 30 odd minutes. Mark and I were not allowed to back strum the guitar chords….all chords had to be struck downward for power, and it took some real physical effort to maintain the pace with some of the songs. Quite often, Mark and I had blood all over our guitars as our fingers bled from the pounding of the strings. (Sad innit?)
And so the band changed. A second John Peel session within the space of four months reveals an almost completely different-sounding band.
Keith Rimell: I think Kevin wanted to retain some of the energy and power, but to introduce some melody….to create uncertainty and keep the punters on their toes. Kevin had the idea for ‘Ghislaine‘ and he asked Gil to write some lyrics in French.
Gil Weston: We were playing more melodic songs (all thrashed-out by then I expect). We went to see John Peel do a gig around this time and on the radio later he said we seemed a very nice bunch of lads which I hope someone still has on tape somewhere.
The lyrics to Ghislaine started out as French-type phonetics and morphed into real French words which were largely gobbledygook, though there were references to smells, feet, vegetables and facial features, for which any resemblance to any person, living or dead, is purely coincidental…
You can see the logic in Kevin’s thinking. Punters would turn up expecting the hard core punk pogo attack of the famous Killjoys and would then be served Dream Lover and Ghislaine among others.
Hilariously the vagaries of punk rock still mattered. Even the names of guitars were important to look cool.
Keith Rimmell: Mark played a Gibson Les Paul sunburst, and I played a Gibson SG standard. we had to cover the Gibson emblem because it was thought to be un-Punk to own a name make guitar. I remember having a toilet cistern label on my guitar…`New Era` .Mark unwittingly promoted Dauntless Rubberline cisterns.
Meanwhile, the band was falling apart and relations were becoming strained. Looking back Bob, Mark and Keith all feel rancour with Kevin Rowland.
Keith Rimmell: Kevin was the leader. He said so. If we had a contrary opinion, we were in danger of being ousted from the band. Kevin and Mark used to fight a lot at rehearsals….physically fight,…blood and all….`cause Kevin was a tyrant.
Song writing input was not recognised
Mark Phillips: This latter song perhaps symbolised my first clear understanding of the underlying structure of this group. You see I co-wrote Recognition but, regardless of whether it would ever be released, the Rowland Brand was clearly going to dominate, and all songs seemed destined to go out under his name.
Keith Rimell: At first all the ideas were Kevin’s. During the studio rehearsals, Kevin pushed us to contribute to the songs. Many of the song ideas were actually Mark Phillips’, but Kevin never credited anyone else as writers.
Though in fairness it may not have been Kevin’s fault.
Kevin Rowland: … the stuff about me claiming credit for other peoples song contributions is untrue. We recorded 4 songs for Lee Wood. We had no idea of any legalities, it was our first time in a studio and we were excited. The two songs that went out on the single (with our permission) were both written solely by me: ‘Johnny Wont Get To Heaven’ and ‘Naive’. I don’t think anyone in the group disputes that. At the time of recording, we also put down two other songs; ‘At Night’ (written solely by me) and ‘Recognition’, which I co wrote with Mark. When Lee Wood (Raw Records) later decided to release the remaining two songs, he must have presumed that I had also written ‘Recognition ‘alone, just like the others he had put out, as he credited it solely to me. That action had NOTHING to do with me, nothing. I would have liked Mark to have been credited.
With the publicity, image and sound the band should have been courted by the majors. Allegedly there was an offer from Bronze.
Keith Rimell: We were offered a deal by Bronze Records but Kevin turned it down. We were discussing this offer in the canteen at the BBC’s Maida Vale studios and Mark, Gil, Bob and I were really pissed off when Kevin said it wasn’t enough. We shouldn’t have been in the canteen at all, as it was supposed to be for `Staff` only. Bollocks to that.
Gil doubts the seriousness of any offer.
I wasn’t disappointed and I’m not sure how real the deal was anyway.
Kevin Rowland: I have no idea where the story about me turning down a deal with Bronze came from, but its a nonsense. I would have jumped at it. The truth is, I pestered them, but to no avail.
Amazingly though Kevin had a plan and it didn’t involve the band.
Kevin Rowland: … during the last 6 months of The Killjoys, my plan had been to get signed by a major label in the Killjoys, then get as successful as possible, then split up and form the band that I wanted to form. The rest of the band all knew all about this. It was out in the open. I can see now that it was a strange way of going about things, but it had become clear that there wasn’t enough singularity of vision for the group to last, so I figured we should try to use it to get to the next stage. A bit naive, but there it is.
Other members of the band dispute this.
Bob Peach: I’m quite surprised about the comment by Kevin “When we get signed I’m going to split the band up”. If this was “out in the open” as he says I think the band would have ended much sooner. We would not have put all this hard work into getting a deal, knowing once we had a deal, it was over! Would anybody? That was not the case, and I knew nothing of this.
In the end Keith Rimmell was the first to leave.
Keith Rimell: For me it ended because of one factor. Kevin Rowland. I couldn’t take any more of him. If I had stayed I would have exploded and probably killed him. At his house during a practice one day, he made some more demands of us…I can’t remember now what it was? but we all disliked him intensely, only I was not prepared to take it anymore at that stage. I quit there and then. I enjoyed seeing his face when I announced it. I had not planned to leave that day…but…the decision was made there and then.
Another guitarist was brought in
Bob Peach: I wasn’t surprised when Keith left, I thought the band was about to implode anyway, then Kevin said we’ll audition new guitarists, and decided on Kevin Archer (if he changed his first name to Al) “we can’t have two Kevins in the band”.
Meanwhile the arguments continued and the tension became unbearable with anger and resentment from the band being directed toward Kevin.
Bob Peach: The touring continued, and the arguments continued, mainly between Kevin Rowland and Mark. Kevin even locked us in the studio one lunchtime and went to have something to eat, just to make sure we were there when he got back.
Keith Rimmell: Kevin and Mark used to fight a lot at rehearsals….physically fight,…blood and all….`cause Kevin was a tyrant.
On days off Bob, Gil and Mark began to practise a new band and eventually all left leaving the the two Kevins and the Killjoys effectively over.
Bob Peach: Me Mark and Gill had decided to put another project together, I think we all felt The Killjoys were going to end soon, and started rehearsing on our days off. Luxhound Deluxe was the name we finally decided on and we recruited a sax player Aiden, keyboard player Mick Billingham (who became the keyboard player in Dexy’s mark 2, and Dave Plested on vocals, a Killjoys fan. Quite a few gigs and recording followed but not that elusive deal, although we made some excellent demos, Mark and Gil decided to move to London and that was the end of the band.
Gil Weston: It affected everyone in different ways though I think the person worst affected was probably Kevin. Keith had enough and left which was a shame. Mark, Bob and I were very excited about a new musical project we had started.
Kevin was none too happy about this as it was on the eve of a showcase for Island.
Kevin Rowland: In the end, Mark, Ghislane and Bob, did me a favour by leaving though I was devastated when they told me they were going. It was on the day of an important Nashville gig, (playing there was a massive deal to us\me in those days), which Howard Thompson from Island Records was due to attend.
And so that was the end of the band that could have been so much more though Kevin disagrees.
Kevin Rowland: It was my mistake to work with people who weren’t on the same page as me and then to try and convert them into being something else {yes, often through being autocratic}. It was a waste of my energy and theirs and any success could only have ever been short-term.
Gil went on to play with Girlschool and the two Kevin’s formed Dexys Midnight Runners looking and sounding like no other band around at the time. There would be trials, tribulations and accusations again but that’s a story for another site!
Labels from the Damaged Goods re-issue of ‘Johnny’
So why this much fuss over a band that only ever released one single? The answer simply is that for a short period, they had class and they had true punk style in spades. Energetic with a strong visual presence, including a horny bass player which never hurts, they were never a band made to last and of course, they didn’t. But at least they left a nugget of pure punk which should be in everybody’s record collection.
They should at least have had another single out. ‘Recognition’ was to be the next single on Raw but it never got released. Thankfully Damaged Goods (who own the right to Killjoys material now) have issued it on a Killjoys compilation that is unfortunately deleted. A strange band when you look at their two John Peel sessions and set lists. Mixing heavy punk numbers and rock ‘n’ roll, their two sessions sound like two completely different bands. As punk changed they seemed to be constantly searching for an identity and it was no real surprise when they split up.
The Killjoys – Johnny Won’t Get to Heaven / Naive
(Raw Records 1977)
“Singing about, and pretty much in the style of the Pistols, this Birmingham band sound as if they mean it m-a-n, although the words, will ensure this will get no airplay outside of the John Peel show. Tough lyric and committed helter-skelter speed freak playing on both sides of this, the strongest release yet from Cambridge’s Raw Records.” Alan Lewis Sounds 30.7.1977
Kevin Rowland The single itself, I’m a little embarrassed about. The reason is that it was our first time in a studio, we did several run throughs of the songs to get the sound right and the playing tight, before committing the songs to tape. On each of these, I sang my heart out. After many of the early run throughs, the band and recording staff would say things like “The vocals sound great”. I was pleased, I too felt it was sounding good. The trouble is, we did about 30 run-throughs before we were ready to do my vocals (they were recorded separately) by which time, there was nothing left of my voice but a croak, I could barely even speak, never mind sing.
I asked Lee if I could come back the following week when my voice had healed, but he said it wasn’t an option, due to the record being made on a small budget. So that’s why the voice sounds as it does. It wasn’t a bad out-and-out punk single, but I’m embarrassed by my voice. Also, its just not original enough for me. Deep down I wanted to create something that was different. Punk77, July 2007
For once an accurate review. Naive is ferocious! The a side is allegedly a swipe at Johnny Rotten. Punk don’t get much better than this. Alledgedly the single sold some 18,000 copies though little if no money made it to the band.
Kevin Rowland At the time of recording, we also put down two other songs; At Night (written solely by me) and Recognition, which I co wrote with Mark.
Incidentally, the artwork for the single: which I hated, had absolutely nothing to do with me and everything to do with Lee Wood. I had no say in it whatsoever. Punk77, July 2007
Lee Wood (Raw Records) The session was one of those rare “magical” occasions. On the track “Naive” we all pogoed round the microphone to add backing vocals. The band were a six piece at the time. The guitarist was going out with the female bass player and Kevin Rowland was going out with backing vocalist Heather. There was a “fifth” track (of sorts) with the band taking the piss out of me. Punk77 interview, 2000
“I don’t care about truth you see / To me its just hypocrisy / You should say more physically / Can’t blame your naivety / In this ball game its tough you see / No men in blue equality / You to say you’re gonna set me free / Is lying pseudo imagery.” Naive (K. Rowland)
Raw Deal Compilation (Raw Records)
The Killjoys have one track on this fine compilation. At Night is another stonking punk monster; this time a put down of journalists and playing in a band. This compilation is essential and everyone should have it. Perhaps the best punk compilation of the time.
The Killjoys John Peel Sessions
As I said earlier, you could play these and not even realise it’s the same band. The first features a cleaned up radio version of Recognition as opposed to the Damaged Goods one. The second session sounds dubious and perhaps a disappointment after the fireworks of the first one.
Gem sings on Ghislaine while Kevin plays guitar!!
Gil Weston: The excitement of wheeling the equipment in through the back door at Maida Vale Studios and saying “We’re doing a John Peel session”, while what we really meant was “wow brilliant he thinks we’re worth having on the show so we must be worth it”. Recording was great, John Peel was brilliant, John Walters was great, the engineers were great – it was all really exciting. Punk77, September 2004
18th October 1977
1. Recognition
2. Naive
3. Back To Front
4. At Night
13th February 1978
1. All The Way
2. Smoke Your Own
3. Spit On Me
4. Ghislaine
Other Tracks
Lee Wood (Raw Records) In 1978, Kevin Rowland asked me to produce some demos at Riverside Studios in Chiswick, London. We spent (I think), two days and produced a few tracks. One that stands out was definitely Down On The Farm. I had a copy but lost it. A great shame.
We finished a day earlier than expected and Kevin went home to Birmingham. From what I heard he found his girlfriend (Heather) in bed with someone else! These were the only other recordings that I am aware of. Punk77 interview, 2000
Going round clockwise
Killjoys Mk 1
Kevin Rowland – Vocals
Gem (Gil Weston) – Bass
Joe 45 ( Lee Burton) – Drums
Mark Phillips – Guitar
Heather Tonge – Vocals
Killjoys Mark 3
As above but Kevin ‘Al’ Spicer from The Negatives replaces Keith Rimell on second guitar.
The Killjoys had plenty of press and plenty of photographs taken not least I suspect due to Gem and also because they were a very good live band!
The galleries below are a treasure trove of reviews, ads, posters and live shots of a highly entertaining sonic and visual punk band in action. Enjoy!
Click on images to bring up larger ones
The Killjoys Scrapbook from guitarist Keith Rimell
The Killjoys Live Pictures
Allen Adams, later of The Destructors, went to a lot of punk gigs and captured them on his trusty camera. He was also a friend of the band. Here are some of his pictures.
TalkPunk
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