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Way back in the early 2000s, Leeds garage punk trio The Real Losers recorded quickly their planned follow-up to their 2003 debut LP Time to Lose. However a bunch of offers were hitting the band so those recordings were split up over a series of singles and compilation tracks with some never seeing the light of day. Instead those recordings were shelved and the band later released Music For Funsters, their second and final LP in 2005. Last year, the band along with producers and twin brothers, Gary and Ryan Jarman of The Cribs, stumbled upon the original tapes of what was meant to be the band's sophomore effort called Good Clean Fun. Remixed and sent to Total Punk Records for its long-awaited release on April 12th, these recordings find the band at the peak of their game — inhumanly fast, primitive rock 'n' roll, topped off with punchy guitar playing and relentless rhythms. As the 1990s and 2000s were filled with really awful gimmicky rock bands that tapped into that terrible word "revival" The Real Losers, along with bands in the USA like the Carbonas and Lost Sounds, were the few some that were most sincere. To dig deeper, I caught up with the trio and the Jarman brothers to discuss how exactly the original master tapes were discovered, the stories behind the recordings, and what its's like looking back at those sessions 20 years later. It's totally nutzoid!
How exciting is it to see the long-awaited intended sophomore album Good Clean Fun finally coming out in the year 2024?
Chris "Shake" Taylor: It's exciting, I'm really pleased with how everything has turned out. It's been great working with Rich Evans of Total Punk on this record, he's been fantastic to work with. So all in all it's a positive experience.
Paula "Hot Dog" Taylor: 20 years later!! Amazing that someone, somewhere still cares. Very grateful. Thanks Rich!
What can you tell me about the origins of this release coming out on wax and
hitting shelves April 12th?
Chris: The origins go back to August 2022. I was working at Five Rise Records in Bingley, at the time Gary's band (The Cribs) were doing various in-store signings to promote the re-release of their first two LPs. I got in touch with Gary asking if they could swing by the record shop to do some signings and he obliged! We then started talking about the recordings and the tapes at their show in the evening, that set the ball rolling really — Gary managed to locate the tapes and he got them baked as they’d been in storage for 20 years or so, then unprompted he'd pulled together some mixes and sent them on — saying how brilliant the
tracks still sounded. They did sound fresh, so I thought it would be cool to compile these into some sort of LP, rehoming them as it were, before the tapes became completely knackered.
Gary, what was your first reaction when you managed to locate the original "lost" master tape?
Gary Jarman: We had a ton of unmarked reels from our old studio, Springtime, which had closed down in 2006. We didn't know what was on any of them, so we took them to a studio in Leeds to bake and transfer the tapes. Lots of random sessions, Cribs B-sides, etc, and then all of a sudden, we put The Losers reel on and it was like stepping back in time. It sounded incredible — all that chaos from those party days, just bleeding onto the tape. Lots of studio chatter and good vibes. Felt like being a kid again, as sentimental as that sounds. I was struck by how good and vibey it sounded, even unmixed. The main feeling was surprise though — we used to recycle our tapes all the time because we had no money, so I was convinced that both those Losers tapes were long gone.
Chris, what made you and the band wanna get in touch with Rich for the release?
Chris: I'd been keeping an eye on what Rich had been putting out and I'd picked up some releases on his Florida's Dying label years ago... I always thought the quality was there. Anyway — there was a chance comment on Dale's (Bancroft Records, who'd released one of our singles) Instagram post, Rich said that he loved the Losers, so I thought, yes! That's the label for this. So I sent him some mixes, and here we are!! I feel like Total Punk works well to home these recordings from this period. I did think of Goner as well, I also sent some tracks to Todd Trickknee (he put out Music For Funsters CD in the US,) — I wanted to sound him out about the mixes and get his thoughts and input, he was like yeah, get Rich involved.
Gary and Ryan, both having a presence in the garage punk UK scene with your band The Cribs, how big of a deal were The Real Losers for you in the early 2000s?
Gary: The UK music scene at the time more broadly was pretty fascinated with "garage rock" — but referring more to the style played by The Strokes, The White Stripes, The Hives, etc. It was hugely influential on youth culture across the spectrum nationally — it was everywhere. Our DIY scene in Leeds was a very tight knit independent community, but all the bands were pretty different sounding — it wasn't a uniform garage punk scene in Leeds. The Real Losers were the band that The Cribs identified most with at the time for sure, and we played a bunch of shows together. Everyone on that scene loved them — they were so uncompromising and so FUN, that no one else could really compare. The main influence that the Losers had on everyone was that once they came on the scene, nothing was the same afterwards — no one was as cool as them, and they took no prisoners.
Ryan Jarman: I think the strongest impression they left with me was that, on any bill, the band who gives the least fucks is by far the best. Leeds was always awash with very pro-minded bands and that always seemed like the least fun thing I could imagine, and then you had the Losers, who reminded you of how fun it could/should be.
What made you two want to work with the band during the Good Clean Fun recording sessions back in 2003?Â
Gary: We had been hanging out with them since late 2001. We set our studio up in early 2002, mainly just to make Cribs recordings and to have a communal place for people to hang out. It was my brother Ryan that initially offered to record them — I think Chris hustled him into it! Ryan and Shake were hanging out a bunch and so it just seemed like a good idea. Having seen them play live I knew it was gonna be chaotic and pretty fucked up — but that was part of our recording ethos at the time, so we were all on the same page.
Ryan: Yeah I initially offered to record them after meeting Shake for the first time at a venue in Leeds. We knew of each other through the Squirrel Records guys and he came up to me and asked if I liked garage rock. We chatted for ages then he asked what I was doing the next day. I said I needed to get a leather jacket so we arranged to do that, then go get some burgers. I woke up on his couch the next morning, Chris walked in stark naked and we chatted about doing a session.
What do you guys recall about the making of Good Clean Fun?
Shaun "The Hand" Alcock: We did it two months after Time To Lose came out in another two day sleepover session at Springtime in Wakefield which was in an old mill building. Darren from Squirrel accidentally locked us all out on the roof on the Saturday. We were there ages until he came back and set us free. Most of the afternoon was therefore spent setting fire to a stack of phone directories and throwing them into the canal instead of recording. There's some super-8 footage from this I think.
Paula: We did it so soon after Time To Lose we were on fire. You gotta strike while the iron's hot right? Crazy times.
Chris: Yes — things happened fast. December 2002 we recorded the first LP, then come Spring/Summer 2003 we were back in Springtime Studios, Wakefield with 13 songs ready to go. I still can't figure out how we managed to write all these new songs pretty much after the first LP had come out. Gary will give you the lowdown on the recording session — for me it's a bit of a blur. The weather was good though!
Gary: It was intense. Good Clean Fun was the second LP we recorded for them — the first one Time To Lose was even more crazy. It was the middle of winter and the studio — which was in a huge abandoned mill and it was freezing. We recorded over a full weekend, and didn't sleep at all — it was like a long warehouse party with some recording thrown in. Ryan wasn't at that session, so I was flying solo. The second LP was much more fun — again, a warehouse party over a full weekend, but this time it was in the summer and Ryan was there, so it was a lot easier. No sleep, lots of alcohol. No one really knowing what they are doing. Just an amazing teenage wasteland dream really. You can really hear all of that in the recordings.
Ryan: By the time the first session came around, I'd left the country so Gary had to do it. He seemed totally frazzled after the first one so when I heard they were ready with another I couldn't wait to get involved. We had a really outdated studio even in the 2000's with basic gear and no outboard, but we knew if the band could play we could get an accurate, exciting sound because the room was big and we knew where to put the mics. One thing I distinctly remember was when Shake was tracking the vocals, the headphones were literally smoking and melting on his head. At the time, we thought it was down to the jet sonic nature of the record, and it seemed quite symbolic of the sessions, but in hindsight I'm pretty sure it was down to the jerry rigged "monitor system" we had set up that involved the headphones being plugged into the speaker output of the rehearsal PA.
What is it like hearing the new mixes compared to the original sessions?
Chris: As I said — it was refreshing to hear them taken straight from the master tape, everything was there, it sounded crisp. One thing I'll say is that we sometimes got too involved with the mixing and mastering sessions in the past... things got messy, we'd add more treble on top of treble, on top of treble, we were a bit obsessed with the Teengenerate
sound, but because Gary was at a safe distance in Portland, we didn't interfere this time. Plus he knows the sound — it's not like he tried to make us sound like Foreigner or Boston or something! He kept things simple — balanced the overall sound nicely, maybe he pushed the vocal out a bit more and defined the HotdogTM beat more.
Paula: It's like all the crap out of my ears has finally been removed. I can hear! And more importantly I can hear the drums!
\What was it like revisiting those sessions when pulling the new mixes together?Â
Gary: I really kind of hate mixing, but the moment I heard the tracks during the transfers I knew that I wanted to have another crack at this album. Back in the day, we always had the band breathing down our necks trying to make us push it further and further into the red, adding shitloads of treble to everything etc. — but the raw tracks sounded so good even just untreated that I knew it would be a blast to mix. I spent about a day on each song before sending them to the band. And then obviously went back later and kept tweaking stuff like a crazy person. I really didn't want anyone else touching these recordings — I felt like no one else would understand them or care as much about them as we do, so I really put a lot of work into it. They were such an amazing live band that you have to make sure that comes across — I didn't trust anyone who wasn't involved back in the day to do that.
Ryan: The original mixing session was basically just pushing faders/balancing as we didn't really have any outboard like I mentioned before. I think the whole album was done in a couple of hours late afternoon on the last day so definitely very different to now. Although having said that, the couple of tracks that made it to this album still stand up pretty well.
We used to mix to minidisc back in the day though so with the new mixes coming from the 1/2" tape, you're definitely gonna get a better end result.
What was your first reaction when Gary informed you he located the original "lost" master tape?
Chris: It was great to hear! Gary had originally thought that the tapes had been lost and wiped! I also couldn't locate any of the final mixed D.A.T. tapes, (I have since located these from the back of the loft space!) Ultimately, it's down to Gary's efforts and his new mixes that
we're having this conversation, and to Rich for taking a punt on putting it out!
Paula: Where the hell did he find that? I thought it had been lost with all the bobbins in the mill at Springtime Studios. Well done and thank you Gary.Â
What stands out for you about the recording when hearing it now?
Chris: I've listened to it a few times and I've enjoyed it — it's almost like the passing of time has made it sound like a different group, a group that I wasn't part of. That disconnect has given it a different dynamic for me, I was sometimes a bit hyper critical of some of the singles back in the day — more to do with not totally surrendering to those who knew what they were doing regards mixing/mastering, some stuff sounded a bit muddy to my ears, which would have been our fault for over egging the pudding. This LP is definitely brighter, crisper, and fun to listen to! I've learnt to leave these things to the professionals!
Gary: It was a different time. It wasn't about seeing a fucking wave form on a screen, or recording on a grid, or tweaking every last thing to make it sound special — it was, let's get drunk and stay up for 48 hours and party and try and record and mix 13 songs. Totally ridiculous, but that is the way The Losers work best. It just totally fit with the way they were as a band and as people. You don't need to tweak every last thing if the band are just in there killing it together. I was a kid when we made this album, and it was like living back in that world for a bit. I think it's the best Losers album, and I'm totally psyched at the job Total Punk has done with its release.
Paula: It's made me realize we were pretty shit hot! And never realized it then.
Ryan: Shaun should sing more.
Why was the album shelved and never released until now?
Shaun: There wasn't any urgency in putting it out straight away as it was recorded two months after the first LP came out. At the time, my thinking was that there wasn't many bands outside like Devo, The B-52's, The Cramps, Wire, and Talking Heads that I had time for more than one LP by. Maybe Ramones. I wanted us to do another session later in the year as we were pretty prolific — all three of us wrote so I thought that by then we'd have at least another 14 or so songs ready to record and we'd combine the best of both sessions to make a solid LP so bugged the others to hold off releasing it. And then The Cribs became an actual successful pop group! So them being able to give even more of their time to record us (for free as well) became pretty much impossible. We'd had offers for singles so we plundered it for A and B-sides, and compilation tracks.
Chris: That's basically it — from the first LP coming out, and it gaining favorable reaction from the US punk illuminati, offers came in for singles, which is always flattering, and we didn't want to turn anyone down. Plus we're fans of the 7" single format. It made sense — the songs were there, so put 'em out.
Gary: Well, what happened was — after Time To Lose was released (via Squirrel Records) in 2002, the buzz around The Real Losers really kicked off in the garage punk world. So basically, they had singles offers coming out of their ears — and they ended up using a bunch of the LP songs for singles. And then the leftovers just sat on the shelf, forgotten. We always expected that it was going to come out as a full-length LP, so even though they had that exciting run of killer 7"s, it was still kind of a bummer that the LP didn't happen how we envisioned. The songs were SO good, a real step up from the first LP, the recordings really captured that, and we thought people were gonna lose their shit when it came out.
What are some of the unreleased tracks and stuff from various split singles on this
release?
Chris: "One More Time" never appeared anywhere, that's our one and only power ballad... the weird thing was that this track wasn't on the tape, even though it’s from that session, so maybe Gary used the end of another tape or something. "Time To Lose" was something that didn't make it onto any LP and was originally supposed to be on the first LP, but we'd forgotten to record it! Some of the other tracks ended up on a couple of CD comps on Squirrel Records, our first real label we were on. Another one that I'm surprised by is "Martian Death Ray" — it's an instrumental track and we sound very together on that, there's even a key change on there! I like some of the B-sides, like "We Don’t Care" and "Sick By You" — these could have been singles in their own right.
Which song from the record is your favorite and why?
Paula: I'm really digging "Martian Death Ray" because it sounds so iconic, like a theme tune and the drums sound like IÂ wanna play them again!
Shaun: "Treat Me Bad" is a fave rave-up though that one ended up as a released B-side. "One More Time" was always fun to do. It was supposed to be a doo-wop song. We'd have done more with it if we hadn't have ended up locked out on the roof for most of the fist day or
recording.
Chris: "My Rocket Radio" I like, by this point I'd deluded myself that I could write a smash hit single, and I had it in my head that I should enter this song, or write a new song, for the Eurovision Song Contest. I wanted to write the ultimate catchy, yet snotty song. I was totally
influenced by The Real Kids take on Eddie Cochran's "Jeannie Jeannie Jeannie" at this point, hence the chorus.
Do you think this new release will spark a renewed interest especially in the USA
for The Real Losers? You're certainly one of the archetypes in the current garage
punk landscape.
Chris: It's been nice to dig back through the archive, boxes of stuff we kept, old flyers, photos. I'm glad we didn't just throw it out. At the time we didn't feel that connected to anything, like we were out on a limb, we played with lots of weedy indie bands at first — then we made some connections with fellow groups like The Ulcers and The Hotwires, they
were ploughing a similar furrow and we did a few show swaps with them, and I'm still pals with members of these groups. We're a modest bunch so I can't recognize us as being an archetype of or for anything. Basically it was just a hobby for us. The USA connection certainly was favorable for us, Todd Trickknee is the one who really pushed the first LP and got us over to tour there. Horizontal Action also helped a lot by interviewing/reviewing us... we even had favorable write ups Maximum Rocknroll magazine! Ultimately the physical and emotional effort required to replicate what we were doing twenty plus years ago could prove too much for anyone. But I'm a believer in never say never at this stage of my life.
Take me through the origins of The Real Losers. How did you three meet in Leeds
and decide to make music together?
Shaun: When I moved to Leeds I joined a garage band called The(e) Tombstones as drummer, and Chris was the bassist. Later on it turned out his girlfriend at the time had been in The Marigolds with my housemate and current band member Neil. Me and Neil were in an
indie pop band called Bouquet which were very sha-la-la Sarah records indie pop but we were also massive garage/psych fans. Chris, when he first came around to the house, was this really obnoxious Mod ace-face who was almost intolerably over-familiar and we thought he was a total cunt at first but after a while we were really charmed by him. By the time
he left, we really were taken by him. As for Paula, I'd go to Adam's, the singer of the Tombstones' house to rehearse and wait in the lounge for the others to turn up. In there would always be these this couple of sarcastic Mod teenagers sat in opposite armchairs slagging off whatever was on the TV. One of these was Paula. I thought Paula was
fucking hilarious.
Paula: We met through the mod scene which was pretty big from 97 in Leeds. I moved to Leeds with my mod boyfriend and met Chris and his mod girlfriend. Then I met Shaun through some other mods who I lived with. Then Chris and I got together and called upon Shaun to be in a band with us. It was great living in the student area of Leeds as we could practice in Shaun's cellar. Shaun's house had great parties, which sometimes ended up as Real Losers gigs.
Chris: Yeah, I was a gobby Mod, but I think that helped craft my songwriting and loved catchy riffs, stuff by The Eyes, The Yardbirds, and The Who — they all wrote powerful and memorable songs. Anyway in 1999 The Insects, which featured me and Shaun, had come to an end. It was around this point that me and Paula rented out Mike McCarthy's The Sore Losers VHS from our local Village Video store — this formed the template for our next group, we scribbled a manifesto... Shaun had been playing guitar in Action Central and I loved
what he was doing, very Velvets like playing... so we got together and itwas literally me, Shaun, and Paula just messing about, very freeform. Then the Guitar Wolf whole Sore Losers wild rock 'n' roll thing took over and really gave it impact, we wanted it to be intense, discordant, noisy, and full on. Our first show together had people sticking their fingers in their ears, so we knew then that we were on the right path! It took us a year or two to get the sound and songs that we wanted — by this point we'd discovered Crime, Teengenerate, and The Real Kids, so this combination had a massive influence, plus we hated the whole Stokes/Libertines version of what a punk/new wave group should sound like, we despised the NME and the bands they were pushing, it all seemed so lame.
What were those early Real Losers shows like around the UK in the early 2000s? What are some of the most memorable shows you played?
Shaun: We didn't play with many garage bands at the time at first because we were generally thought of as a joke band. Mainly because we used to send up rock 'n' roll as much as we liked it. My friends at school were all thrash metal fans and what we had in common was that they understood how stupid and ridiculous the bands they liked were,
but they also really did love them. I never did like bands, or their fans, who took themselves too seriously. As much as you like a band, you can also equally enjoy how ridiculous they must look to someone outside of the band's fandom. It doubles your enjoyment! When I used to ask my friend Ian what he'd bought that week, he'd be stifling a laugh whenever
he told me he'd just bought, for example, Slowly We Rot by Obituary (which is a great record by the way). The more extreme the band, the funnier they were. I love Joy Division but I can guarantee there are probably Joy Division fans who don't think Joy Division are in any way
the slightest bit funny. As for our early gigs, these were mainly played with bands from the
Leeds DIY, Riot Grrrl, and twee pop scenes. Which was good for us as we were always the most extremely stupid band on the bill. We were probably booked to add some kind of contrast and balance to the night's line up. The very few initial UK copies of Time To Lose were sold to Sea Urchins or Le Tigre fans before the yanks got wind of it. Gawd
bless 'em!
Chris: The first gig was weird, we were still sort of improvising the songs, we had tracks with titles like "Gits Galore," "The Devil Rides Out," and "Electric Losers," these were designed to be daft, so it was fun. Paula's drumming was the real backbone to proceedings, the primitive "band-bang-thump-thump-bang-bang-crash" approach made people sit up and take note, she made Mo Tucker sound like like Buddy Rich! People thought it was novel that Paula played with just a floor tom, a snare and one cymbal, this predated the White Stripes so it stood out. Gigs with The Hotwires and The Ulcers in London and Leeds were always good fun, playing with Flyin’ Brian's (Coyote Men,) band and The Illegal Movers was also great. Brian has been a Losers champion from the start and I've stayed in touch with him. His review of this album to me was "so you can polish a turd!" and that's a compliment
from Brian.
Paula: Early shows involved drunken chaos and so much FUN. We really didn't give a shit that we were classed as a joke band, we were having a laugh. Too many memories and they tend to blend into one. Food fights, nakedness, laughter, beer, broken glass, dancing and brawling. Early songs were slower and more rock than roll.
What are your thoughts looking back on the band's previous releases in the 2000s? How do you think Good Clean Fun compares to those?
Shaun: This record is largely the mid-period singles with a few leftovers tacked on. I can't make it sound any more exciting than that, though I do think as a whole it's good to have them in one place. It's like a "Greatest Hits," and I'm a massive fan of greatest hits albums!
Paula: I think Good Clean Fun is the icing on the cake with candles. Previous releases were great at the time and the recording was such a blast but listening to them now, makes my ears hurt, as I'm old and have tinnitus.
Chris: I like the run of singles and the official second LP Music For Funsters! Good Clean Fun is a really great collection, it's strong and it best defines what we were about, it wasn't always about trying to be noisy for the sake of it, there's some subtlety to some of the songs and this LP captures this without it being over sanitized in anyway. As I've said, I'm really chuffed with it and Gary and Rich have done it justice, it's presented like our second LP — it would've been if the single offers hadn't come in. The original title was gonna be Let's Go Nutzoid, which is a title of one of the songs. I then dug out a notebook with a list of songs and the title Good Clean Fun which I felt suited this collection perfectly. All our LPs are three word titles, all the LPs feature a band photo taken in Shaun's cellar where we rehearsed, so it's totally in keeping with Time To Lose and Music For Funsters.
Why exactly did The Real Losers split up in the mid 2000s?
Chris: Basically Paula was pregnant, she played her last show when she was six months pregnant — so it was time to hang up the drumsticks and prepare for motherhood! Maybe the drumming effected out eldest in the womb, she now likes drum and bass! I tried to do a few bits with Shaun, we wrote a few songs and recorded them as The Subliminal Kids, one of them "Say Some More" was sent over to The Flakes (Russell Quan's group,) and they covered it and were gonna record it. There wasn't any big bust up, or any talk of packing it in, it's just the circumstances. We're still friends!
Shaun: We did ask Dave from Cowtown to replace Paula. Our thinking was that nobody could replace Paula, so if we did need to replace her, we would draft in a drummer who was a total technical prog guy instead so that there'd be a marked difference in sound (plus it would fuck with people's heads). Dave felt awful because he liked us but couldn't commit.
We were happy to leave it there.
Since the split, what have you three been up to since? Are either of you still active
musically?
Shaun: We did two singles with the same band members under different names that went unreleased — "Say Some More," "Switched On," "My Girl" by The Subliminal Kids in 2005 which are on YouTube somewhere. Chris on bass and vocals, me on drums and guitar, Paula on backing vocals. And then there's "Cheerleader Car Wash" / "Retail" by The Now Boys in 2006 which was me and Chris on all instruments and vocals. That would have been a good record if the tape hadn't been fucked and the only versions we had left hadn't so been horribly badly mixed. After that I returned to drums with a bunch of surf/budget rock bands and returned to guitar in 2012 with City Yelps. When I started that band I was forced to write the early sets — "Down On The Beach" which I'd written the same afternoon as "Rocket Radio" (music only, Chris wrote the words), and "Nothing Better To Do" which I must have on one of my Real Losers rehearsal tapes somewhere. We re-did it without any changes as the song "Nothing" on our first tape "album."
Chris: I entered fatherhood, so like Shaun says, we tried writing a few songs, toyed around with a replacement drummer, which would have been a bad idea, we were still getting offers to play, but turned them down. I had about five years of not doing anything music-related, then joined Darren and Caroline's band, they both run Squirrel Records in Leeds, so it
was fun just to go along and play bass. I did a brief stint in a Velvet Underground covers band. I also did a lot of record sleeve designs for other groups, so I did stuff for Rich Crook's Lover!, The Gut Reactions, Catholic Boys, Blacktime plus some stuff for Deadbeat Records. So still music inspired. I'm currently in a instro/garage band called The Razerbills, an early '60s/Joe Meek/Screamin' Lord Sutch-inspired outfit. Again — it's just purely for the fun of it.
Paula: SO MUCH, but 20 years has flown by. I've not been musically active but creatively massive — making stuff, pissing about, achieving personal goals. I don't remember Chris and Shaun doing stuff together, maybe I was catching up on sleep or breast feeding?
Are there more unreleased Real Losers material still floating around the archive
and if so, will it ever be released?
Paula: We have masses of rehearsals recorded. Very amusing but only to us I guess?
Shaun:Â It's mainly us arsing about on rehearsal tapes.
Chris: We used to record most of our rehearsals onto a crappy cassette player, so the sound quality is bad. We did it just so we could remember the songs. There's nothing that I'd be happy to be released, they are rough sketches really.
Lastly, how would you like The Real Losers to be remembered?
Shaun: To be forgotten, and then unearthed like Stonehenge. Or an interesting bit of '70s crisp packet on a beach. Or a 50p piece retrieved from the pocket of a long neglected dinner jacket.
Chris: Frankly I'm amazed that we're here and talking about this stuff — it amazes me that folks post favorable things about the records on the Budget Rock Facebook page. It's been great that people have wanted to release our stuff, then and now so I'm grateful for that. It was fun and we didn't take things seriously — so maybe we could be remembered for being silly sausages!
Paula: Do you remember that cool band from Leeds, they were a three-piece and they were so much fun. Good clean fun!
THE END.
Good Clean Fun is out April 12th on Total Punk Records.
