If there’s one band in the NWOBHM scene that I liked with all of my heart, it must have been BITCHES SIN. Their songs meant a lot to me. The band had a special bond with Holland (which band from the eighties hadn’t?) and their sound was very recognizable. Each NWOBHM band had their own individual sound, but the sound of BITCHES SIN was really amazing. The most characteristic thing about the BITCHES SIN songs were those flashing ultrasuperfast guitar solos of the Toomey brothers. The destroying sound of their guitars was captured in many great songs like “Sign Of The Times”, “Ain’t Life A Bitch” and “Strangers On The Shore”. When I got in touch with the Toomey brothers, it felt like a dream come true. This was my ultimate goal. Get in touch with Ian and Pete Toomey of BITCHES SIN and do an interview with them. They were nice to me and they answered all my questions. Now I’m proud that I can tell you their story, here in Snakepit. The story of Ian and Pete Toomey, BITCHES SIN, FLASHPOINT and everything else that has got to do with these two guitar wizards. After you’ve read this, there will be no ‘strangers on the shore’ again. ‘Ain’t life a bitch’? Not after I’d met Ian and Pete. Read on what they had to say to me…………
BITCHES SIN was formed in April 1980. Who decided, the band would carry that name? Perhaps it wasn’t an obvious choice for a bandname?
"Pete and I came up with the name in about ten minutes one Friday night. The band has only ever been called BITCHES SIN, although a lot of fans call us ‘the Sin’."
How did you guys get together and who can be seen as the founder members of BITCHES SIN?
"Pete and I and Alan (Cocky) Cockburn the first vocalist were the founder members of BITCHES SIN."
Your hometown was Ulverston (Cumbria) in the Lake District of England. Can you name a few other metal bands, that played in that area?
"Only FLASHPOINT and COBRA from Lancaster were album status bands."
Your first line up consisted of Bill Knowles on drums, Perry (Pez) Hodder on bass, Alan (Cocky) Cockburn on vocals, Peter Toomey and Ian Toomey on guitars. Was BITCHES SIN the first band, that you guys played in or did you already have experience with other bands before that?
"We had all had limited experience in bands previously, but nothing like BITCHES SIN. This band was special from the moment we got together and remained exciting, until we disbanded."
The first demo tape you recorded was called “Twelve Pounds And No Kinks”. This title may need a little explanation...
"Easy to explain, my friend!! Pete saw an advert for a call girl on a card in a telephone kiosk in Soho, London, England for “Twelve Pounds and no Kinks”. The perfect name for a demo tape."
Where did you record it?
" “Twelve Pounds…” was recorded at Smile studios Manchester."
How many copies were sold of this great demo tape?
"Initially about three hundred copies."
How would you describe the music of BITCHES SIN and can you name us a few bands that you were influenced by in these days?
"We always wanted to sound different to other bands and liked to be unusual. Some groups borrow ‘ideas’, which we never did. To get a song or riff through to a recording meant a lot of criticism from the other guys, so it had to be original ideas and this went for guitar solos as well. We were influenced by BLUE OYSTER CULT, DEEP PURPLE and LED ZEPPELIN in general, but tried to keep an open mind and embrace other, wider influences. Have you heard the bell ringing in the background second verse?"
The most remarkable song on this seven track tape definately is the long ballad “Ice Angels”. Is the fast solo, at the end (done by Pete), dubbed? And why was it done that way?
"Pete did indeed do this guitar solo. The reason for the dubbing was the night it was recorded, we were very tired and it was very late. The band thought Pete could do better, so the solo was dubbed."
On this demo tape there are a few lyrics, that go like this: “Life in this game, is a life with no place. The sin of a Bitch, is a sin and no grace”. Maybe you can give some explanation here as well?
"I wrote these lyrics and I have always liked Lennon’s lyrics, because they provoke comment so thank you for asking this question. The words refer to the life of a call girl and is related to the title of the demo tape. A call girl does not own her working life and lives by sin not by grace. Hope this explanation helps?"
You recorded your next demo tape at the CSS studios in Manchester. Can give me more details about it?
"We recorded the cassette album ‘Your Place Or Mine?’ at CSS studios, Manchester. “Sign Of The Times” was taken from this album and was the title track. The title was from a contact ad, that Pete found in the back of a porn mag. Track listing was: “Sign Of The Times”, “Overnight”, “Living On The Highway”, “What The Hell”, “Fallen Star”, “Over The Top”, “XF 2894”, “Up For Grabs”, “Hold Onto Love”."
I also read that you once won the ‘Battle Of Bands’ at the Manchester’ Apollo. What can you remember from this event? And were there any other interesting bands there during this event?
"Big argument as to who won!! Oficially, we didn’t, but the fans there that night disagreed with the verdict and brought the house down! So you might say we won. hahahha."
Let’s talk a bit about your 7 inch “Always Ready (For Love) / ”Sign Of The Times” here. Which songs made Neat Records decide that you could record a single for their label?
" “Down The Road” and “Ice Angels”."
And who’s the beautiful blonde babe, posing with a Flying V on the sleeve? Was Sharalee her real name and how did you get to know this model?
"The babe is Carol. I won’t give her surname, but she was a friend of our official photographer who remained throughout the BITCHES SIN lifetime. He took all our band photos. Carol was a local model and was heavily into the band. She was very keen to do the photo and is very proud of this work. She is 5’6’’ and slim. She had a good sense of humour and was good fun to be with. The 7’’ photo is tame compared to her other photos."
I read in an interview with Pez Hodder somewhere, that Pete was kinda pissed off at first that Neat used “Always Ready (For Love)” for the A-side, while “Sign Of The Times” (that I like much better, by the way!) which he wrote, came on the B-side of this single. What’s true about this story?
"I would prefer not to comment, but some people in BITCHES SIN at that time thought they were better than they actually were, so let’s leave it like that. It is enough to say looking at what BITCHES SIN and Pete have subsequently achieved, who was right."
The single was also pressed on yellow vinyl, so I’ve heard. How many copies were made of this very rare version?
"First I’ve heard of this!! Please tell me more."
Together with “Axe Crazy” of JAGUAR, I’ve listened to this single a zillion times. For me, it’s an essential must for every NWOBHM fan. Are there any songs from that period that you could listen to over and over again, or didn’t you really listen to the music from the NWOBHM scene at that time?
"I was only interested in BITCHES SIN, although obviously I listened to Tommy Vance Friday Rock Show and heard other NWOBHM bands there."
To promote this single, BITCHES SIN played at the Newcastle Mayfair Festival in England. With whom did you play there?
"Another British band, whose name I can’t remember."
Let’s take a closer look at your live shows. Which songs were on the setlist most of the time? And did you only play self-written material or did you throw in some cover songs sometimes?
"We did originally play covers of classic rock bands, but by then only our own material. “Strangers On The Shore” for example and all current ‘Sin’ material."
Perhaps you can share some interesting (or funny) stories with our readers about life on the road in the 80’s?
"Typically, there would be a rock disco and then we would play our set. We rarely played with other bands, because we had a large following anyway. By then, we had real cult status. Two funny stories: There was the time after a concert Cocky was so pissed, he took a taxi from one side of the car park to our bus!! Another was, when Pete got caught shagging by a bouncer and the bouncer apologised, when he saw it was Pete! I pissed myself laughing."
I read that your live shows were visited by many fans, sometimes three hundred or more. How the hell did you atract so many people at your gigs?
"Sometimes it would be five hundred, if the venue was big enough like a civic hall or town leisure centre. We were on the radio selling albums in the press advertising and played the Friday Rock Show, so the fans were keen to see us."
On the Neat sampler “Lead Weight” you appeared with a song called “Down The Road”. Who chose to contribute it to the “Lead Weight” sampler, Neat or BITCHES SIN? And why was “Down The Road” chosen?
"Pete and I were never happy with “Always Ready..”, so we were determined that “Down The Road” a real crowd favourite, was on that album. It was far more representative of BITCHES SIN and was on there because BITCHES SIN chose it."
You also appeared on the “Heavy Metal Heroes” compilation (Heavy Metal Records), with “Strangers On The Shore”. In my opinion one of the best, and one of the most important songs of BITCHES SIN. It’s used for this compilation, you played it during your BBC sessions and it’s on your first album “Predator”. Is it your most important song or would you rather choose another track to give that title?
"Ask any band member and they will tell you their own choices. Personally, I really like “Strangers On The Shore” and loved playing it, but I also really like “Invader” and a couple others, too. But my favourites change, because we always tried to make each song special."
In that period, the line up changes started to take place, too. Ian and Pete were the only constant factor in the line up of course. Pez Hodder founded GOLDSMITH, after he left BITCHES SIN. What happened to Bill Knowles and Alan Cockburn?
"There had been a lot of conflict in the band and Bill and Cocky left for that reason. On reflection, I don’t blame them and think of them kindly."
Pez was replaced by Dave Newsham, while Tony Leece became your new drummer and Tony Tomkinson became the new singer of BITCHES SIN. How did you get to know these new people and did they play in any other bands, before they joined BITCHES SIN?
"Dave and Tony Leece were well established local musicians. Tony Tomkinson was a roadie. We knew them all well and they were keen to join, so I was happy about this, but I missed Bill and Cocky, ‘cos they had been there from the start and should never have left."
I think, this was the line up that did the famous BBC sessions on August 26th 1981. [“Strangers On The Shore”, “Down The Road”, “Fallen Star” and “Hold On To Love”]. The set was broadcasted on October 16th, 1981. Can you tell us a bit more about how things went during these sessions?
"We had a great time!! The sessions were recorded during August 1981 and Pete and I played with our shirts off. It was so hot in the studio. The studios were brandnew in Maida Vale, London. The producer Tony was brilliant and other BBC staff came in to hear our solos from the other studios and were very complimentary. Tony Leece and I had a real blow-up on the day, ‘cos he hadn’t tuned his drums properly, but played really well and it was cool in the end. No guitar pedals were used, other than an Overdrive sat on top of a Marshall 50 watt head."
Shortly afterwards, Bill Knowles returns to BITCHES SIN. What happened? Couldn’t Tony cope with the fastness, that you guys were so famous for, or was it the usual musical differences again?
"Bill was a better drummer and more reliable."
For the “Predator” album, you changed your line up again. Martin Orum (ex WITHERED MAN, ex CHAINSAW) became your new bass player and Mark Biddiscombe (also ex CHAINSAW) became the new drummer of the band. How did you get to know this band CHAINSAW, from which you took the whole rhythm section?
"Mark and I were at University together and played in a band, called SCHARNHORST that did no big gigs but were as heavy as BITCHES SIN. Mark and I are still good friends and that line-up should have achieved more. The chemistry wasn’t right though."
In 1982 you were supposed to play on the very first “Aardschok Dag” (translated: Earthquake Day) in Holland, because you were voted as the most promising band by this Dutch Metal magazine. Can you remember, why this gig got cancelled? You were rumoured to play there next to bands like VANDALE (NL), CROSSFIRE (B) and IMPACT (NL)."
"This is one of the biggest regrets of my life. Pete and I were mad keen to do it, but the rest of the band wouldn’t travel, so that was it. When I told Mike at Aardschok, it was the worst day of my life. Mike and I were and, I hope, still are friends. But if the others wouldn’t travel, then it couldn’t happen. I would like to apologise again."
Then we come to your first full length album, called “Predator”. A total desaster, according to the press. I loved every second of it, and not only because you put Holland related songs like “Haneka” and “Aardschok” on it, but simply because I liked the music and the guitars on it. Why did a lot of people dislike this great album, which is full of flashing guitarwork by you and Pete?
"We weren’t completely happy with the album, but the guitars worked OK. Holland had been good to us and we had to thank Hanneke Kappen and Aardschok for all they had done. The Dutch fans wrote a lot of letters telling us how much they liked those two songs."
Did you also get a lot of positive reactions from your home country and abroad?
"Right across Europe and some from the USA, too."
I can’t remember, but did you also get to meet Hanneke Kappen personally (the hostess of “Stampij” – the very first Dutch Metal show on radio), for whom you wrote “Haneka”? Did you like her?
"I met Hanneke Kappen two or three times and wanted to be her boyfriend, but she was already seeing someone. I really liked her and her show."
I wonder, how you handled negative criticism in that period? First you get a lot of support and then, when you finally release your debut album, they put you down just like that. Did you care about this negative criticism or did you put it all aside?
"The criticism was justified and was good for us, because it made us try harder. I think we more than put it right with “Invaders”."
Some critics say, the only positive thing about “Predator” was the nice sleeve. Who designed this beautiful sleeve and how did you get in touch with him? (I believe he also did the artwork for PRAYING MANTIS “Time Tells No Lies”)
"Rodney Mattews in 1982. I read that review!! Heavy Metal Records recruited the artist."
Bill Knowles (drums), Mike Frazer (bass) and Frank Quegan (vocals) joined the band after the release of “Predator”. Maybe it’s a stupid observation, but I think that a lot of people agree, that the musicians in the band weren’t bad, but it was more that you came up with weak songs on “Predator”. Wouldn’t it have been better to concentrate yourself on writing new, good songs together than to search for a whole new band again?
"Because of the conflict that had taken place and the pace the band was developing, there was an impact on our usual high standards."
Did Mike Frazer and Frank Quegan had any experience, when they joined BITCHES SIN and how did you get in touch with them?
"Mike was a well respected bass player and Frank was unknown but a good friend of the band. Frank became the definitive voice of BITCHES SIN."
Why did you ask Bill Knowles to return to the band at that time?
"Stability and we knew we could trust him."
With this line up you recorded a new demo called “Out Of My Mind”. How were the reactions to this tape and how many copies were sold of it?
"We got very good reactions, but restricted the number of copies."
Your next (independent) release on vinyl was the three track EP “No More Chances”. Had Neat and Heavy Metal Records lost interest in the band at that time?
"No. We wanted to control the whole process and did not approach either label with this EP."
There was also no interest in your second album, so it seems. The only thing, we heard from the band after this release was, that “Ain’t Life A Bitch” was put on a compilation LP, called “12 Commandments In Metal” by Roadrunner. Wasn’t it possible to let Roadrunner put out your second album, or were they only interested in this one song?
" “Invaders” was very well received by the cult fans but without label support, it’s always a struggle. The USA fans loved it and it got great reviews."
In the meantime, Pete released a solo tape which contained songs like “Nightlife”, “Out Of My Mind”, “Round-A-Bout”, “Lawman” and “Abduhl’s Boogie”. How many copies of this tape were sold?
"None copies were sent to fans, who asked for them."
Pete once said, that “Abduhl’s Boogie” would possibly be used on one of the future releases of BITCHES SIN. On “Invaders” we find back “Roundabout” and “Out Of My Mind”, but no “Abduhl’s Boogie”, although fans called this a killer song. What happened with Pete’s earlier vision about this song, or were parts of “Abduhl’s Boogie” used in other songs on your second album?
"The earlier version is on a demo tape with me. No parts of “Abduhl’s Boogie” was used in other songs on “Invaders”."
Were these songs on this solo tape so different from the BITCHES SIN stuff, that Pete was unable to use them for this band or what?
"Yes. Though they’re still good rock songs, especially “Lawman”, they weren’t BITCHES SIN material."
In 1986 you released “Invaders” on an American label, called King Classic Records. How did you get in touch with them?
"They wrote to us expressing an interest and we wanted to get in to the USA."
How were the reactions to this great album, which contains one of my all time favorite BITCHES SIN tracks “Ain’t Life A Bitch”, by the way!
"We never had a bad review and we got only excellent reactions! Unfortunately, a song called “Slaughterhouse” never made it to the album."
How come the originally single for this album, “Invader” b/w “Ain’t Life A Bitch” was never released?
"Lack of money."
You never used many band pictures on your albums. Who are the Arabs on “Invaders”?
"The Arabs are Pete and Frank!!"
On the insert sleeve, there are pictures of a couple of very beautiful ladies in front of a wall covered with signed BITCHES SIN posters. Why did you use these pictures instead of pictures of the band members?
"BITCHES SIN is our name, so why would you want to look at us ??? hahaha"
After the release of “Invaders”, Frank Quegan leaves the band to form the Christian rock band REACH. What happened to the rest of the band? Were you guys tired of searching for another frontman?
"Frank worked with both bands after a short break and I played live as Franks guitarist with REACH. The tape is very good I think and includes some quite good guitar work for that kind of music. I did this because Frank is a good friend."
Shortly afterwards, “Invaders” was also released in Great Britain (on G.I. Records), but the songs are different than the songs on the American release. And the line up of the band was different, too. Paul Smith played the drums now, and Dave Osbeldiston played keyboards. Wasn’t this a reason for the band to give the album another name or something like that?
"We had lost the master tape, so had to re-record it. Just bad luck, I am afraid."
When the English version of “Invaders” was released, did BITCHES SIN still exist at that time, or did you call your new band FLASHPOINT already?
"Somewhere between the two."
I have heard an advance tape from the third, unreleased BITCHES SIN album. It sounds really amazing. Why was this album never released? After all, you had released some independent stuff already, and it would be a shame these songs never see the light of day, in my opinion.
"The direction Pete and I was going in was not shared by some of the band and so essentially without all the guys agreement we wouldn't release it."
Did you have a name for this album already?
"The title of the album was to have been “Slaughterhouse” after the track, that should be on the tape, you have just acquired. “Slaughterhouse” is a personal favourite of Pete and myself."
Which line up did record these songs?
"Pete, Ian, Mike, Billy (Knowles), Frank."
BITCHES SIN has always been well known for the fast guitar work in their songs. Is there some way, that you can tell the difference in a guitar solo from either Ian or Pete, or did you both have the same style? Maybe one plays more melodic than the other or something like that?? Maybe you can give one or two examples by means of a song. Let’s take “Strangers On The Shore” for example. Who plays which solo in this song??
"Thank you for asking. Sometimes we sound very similar, but there are little ways you can tell. On “Strangers On The Shore”, I play the intro and exit solos and Pete plays the central solo. I tend to use more vibrato on long notes. Pete will on occasion use a ‘stuttering’ style like on “Out Of My Mind”. Again, if you hear a really wild wailing type solo, it will be me. On the fast guitar work, it is difficult to tell but Pete will use short fast runs, where as I tend to use more of the ‘neck’. I hope this helps.
Why did you change your name to FLASHPOINT, by the way? Was it mainly because of the change of musical direction or were there other reasons for this name change?
"After BITCHES SIN, I wanted my own band with very simple straight forward rock music. FLASHPOINT was not a new name for BITCHES SIN, it was a new band and originally a three piece."
FLASHPOINT was formed in January 1987. Your first demo tape, which was only used for media, contained three songs (“Grand Prix”, “Rock And Roll Heart” and “No More Love, No More Lies”). These three songs were also on your debut album “No Point Of Reference”. Are these the same versions or were they slightly different from each other?
"Slightly different. The album was all mixed at the same time and re-recorded for continuity. The demo was recorded as a three piece."
How did you guys get in touch with the other band members, Kev Graham on lead vocals and bass guitar and Steve Turton on drums and keyboards?
"The word was put out by me and Kev and Steve wanted to do it. They are both excellent musicians."
We also see that Frank Quegan does some harmony and backing vocals (next to Dave Rosingana). So you were still friends with Frank, after he left the band?
"Very much so. Dave is a good guy too, so it was a bit of fun between friends, you might say."
“No Point Of Reference” was put out on your own independent record label. Did you try to get signed by a bigger label, or did you insist on bringing this album out by yourself?
"It was our choice, because I didn’t think a label would be interested. I might have been wrong judging by the reviews and the letters."
How many copies were sold of this album?
"I really don’t know. Probably a thousand, but I still have the master tapes."
When you released the record, the ads placed in several magazines, made a connection to BITCHES SIN. But the music was definitely a lot more melodic than the typical NWOBHM sound of BITCHES SIN. Was this only a marketing strategy? You can imagine that some fans were rather disappointed by the melodic music of this band, while they were used to the raw, powerful NWOBHM sound of BITCHES SIN."
"It was referred to, because we knew our fans liked the guitar work just like say Ritchie Blackmore’s RAINBOW. We didn’t say it was a new name for BITCHES SIN."
Is there something you want to tell us about the artwork of this album? It looks very beautiful, but were you also trying to tell us something here?
"A very good question! “No Point Of Reference” was my title for the album. Firstly, because there was no reference to BITCHES SIN and secondly, the artwork shows a series of picture frames, but no pictures so the person looking at the cover has no point of reference.
Have you ever thought about putting your albums out on CD for the die-hard BITCHES SIN/FLASHPOINT fans? Especially the FLASHPOINT LP is a very rare item, and you won’t find “Invaders” very often in your local record store, too.
"It could be done, if there was interest and support from a record company for example."
Did FLASHPOINT play live gigs too, and did you play any BITCHES SIN tunes at that time? Or was BITCHE SIN a closed chapter?
"Yes, FLASHPOINT played many live gigs, but not to large audiences probably two hundred was average. No BITCHES SIN music was played."
Is there any video footage available of BITCHES SIN and/or FLASHPOINT?
"A fan gave me a bootleg tape, but as far as I know no official tapes exist."
Did you have a BITCHES SIN fanclub and did you do all the promotion for the band yourself?
"I did it all with Pete. It was very hard work!!!"
A few years later, Pete teamed up again with Frank Quegan. They formed a studio band, called THE PATRIOTS, playing music inspired by the Gulf War. The band also released some tapes. How would you describe the music on these tapes?
"Very cooool and inventive, but also rock in its focus."
THE PATRIOTS never released a CD, did they? Why was that?
"Both Pete and I like the mystery that surrounds us, and the occasional interest like this interview. If a reputable record label was to show genuine interest, we would respect that and offer this material for more general release, like the second FLASHPOINT album."
Was Frank still into religion at that time? It must be rather strange to sing about the Gulf War then, in my opinion?
"No, Frank was more settled by then."
Did you guys also share this interest in religious matters or not?
"No, however Frank and I wrote “Laser Love” together about Jaques de Molay, the Second Messiah at this time."
Pete also played in a band, called BEARDED CLAMS. What kind of music did he play with this band, that has this remarkable name. How did they get their name?
"A bearded clam is a pussy!! I said, he should have called themselves the Fur Burgers for the same reason. hahaha. Never listened to the music."
He also set up a company called GREEN MAN. Can you tell us a bit more about this company please?
"I’m sorry, I don’t know any details."
We see, that Pete did a lot of side or solo projects. But what about you, Ian? Did you also release any solo stuff and maybe you can tell our readers a bit more about your side projects here?
"FLASHPOINT was my only side project, but I did also record the track “Laser Love”."
The BEARDED CLAMS project and the GREEN MAN company are the last things that we know from the Toomey Brothers. Could you please update us on what you guys are presently doing? Are you still making music?
"Obviously, we still have ideas and note them down, but nothing seriously. We would, if we had a record company backing us."
What’s your favorite BITCHES SIN song and why? (Mine is “Ain’t Life A Bitch”, by the way, because of the guitar orgasm of course!!)
"Thank you, that is one of my favourites, too. Pete plays central lead and I play the exit lead solo on that track. I’m sorry, but “Invaders”, “Ice Angels”, “Aardschok”, “Haneka”, etc.etc. are all favourites. It's hard to choose just one, because each brings back unique memories."
When will the reunion of BITCHES SIN take place?
"When you secure us a record contract of course!! hahaha"
There’s an enormous revival going on with NWOBHM bands. A lot of bands are making records again. Think about SAVAGE, HOLOCAUST, WITCHFYNDE, DEMON, JAGUAR, TYGERS OF PAN TANG, etc.etc. What do you think about this revival and do you still listen to this music sometimes?
"BITCHES SIN would record again, if there was the interest. I don’t listen to this type of music, because life is about change. I like to look to the future because that is exciting, but good luck to the guys, if they are enjoying it."
Who are your favorite bands today, or to which music do you listen to nowadays?
"BITCHES SIN and FLASHPOINT."
Are you still in touch with collegues from other bands in the NWOBHM scene, or have you lost contact with them all?
"Lost contact, apart from Ian Beck of COBRA."
If you would start BITCHES SIN today, what would you do differently?
"Get a decent record deal to allow more time to work on the album and get a manager."
And if you would come back as a band, which line up would you choose from all the people, that you played with once, and why?
"Frank, Mike, Bill, Pete and myself. Very solid line-up and honest creative people."
Do you still have contact with former band members or not?
Do you have any hobbies, other than playing guitar?
"Judo and kick boxing."
What was your reaction, when you received my letter on your doormat after a few negative tries to different addresses? Weren’t you surprised that someone asked you to do an interview about BITCHES SIN after so many years, or do you still get a lot of letters and reactions from fans all over the world?
"I was flattered you had gone to such trouble to contact me. When you told me of the interest especially with FLASHPOINT, I decided I had to help you with this interview. Yes, I was very pleasantly surprised!!"
Why is BITCHES SIN not online yet, while the internet is a great source to show the fans what you guys have accomplished over the years, or didn’t I look well enough to find you? You are one of a very few NWOBHM bands, that actually don’t have a website!
"We do not have a website, but after this interview I can see we must get one for our fans."
BITCHES SIN’s past has always been kinda mysterious. Not too much was known about the two Toomey brothers. It was almost as if you planned it this way from the beginning. Why didn’t BITCHES SIN never get the attention, that they deserved so much?
"You’re right, it is kinda strange. We always intended to be mainstream, but ultimately we did end up being a mystery, which in a way is cool. BITCHES SIN were never with a major record company to support and promote the band at the necessary level to achieve this."
Is there anything you’d like to add to this interview?
"Thank you for asking. Both Pete and myself are very impressed with your questions and the depth of knowledge of BITCHES SIN and FLASHPOINT. It has been a pleasure responding to your questions and obviously, we would be interested in the feedback."
Do you have any personal messages for our readers?
"First, thank you for generating enough interest for the interview to be worthwhile. To Metal Mike (Aardschok) and Hanneke Kappen (Stampij): I hope you are both well and I have good memories of our meetings. To all our fans: enjoy the music!!"
Interview by: Toine van Poorten