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희자매 - Hee Sisters

The Hee Sisters 희자매: DisKo Girls: The Anta Records Years Anthology 1978​~​1980

디스코 걸스: 안타 레코드 이어즈 앤쏠로지 1978​~​1980 2011.비트볼 3CD

CD1 1. 실버들 / Weeping Willow 03:39

* 2. 우리는 사랑해요 / We Love Each Other 03:06

3. 이제는 모두 잊어요 / Let's Forget Everything 03:50

4. 앵두 / Cherry 02:38

5. 말도 안돼 / That Doesn't Make Sense 03:17

* 6. 아리랑 내님아 / Arirang My Love 03:21

7. 어찌합니까 / What Can I Do? 03:48

8. 사랑만은 않겠어요 / I'll Never Love Again 02:33

9. 오동잎 / Paulownia Leaves 03:25

10. 칸나의 뜰 / The Garden of Canna 02:34

11. 그 사람 / The Guy 02:49

12. 가을밤의 이야기 / (Carmelita-Linda Rondstadt) 02:24

13. 한 마리 새가 되어 / Becoming a Bird 03:09

14. 님 찾아가는 길 / (Too Much Heaven-Bee Gees) 04:11

15. 나그네 길 / (You're The One That I Want from <Grease>) 02:14

16. 내 마음 / My Heart 02:36

* 17. 말해주세요 / Tell Me 03:49

18. 돌아와요 / Comeback (Brandy-O’Jay) 03:17

19. 첫사랑 / First Love 03:19

Tracks with * I consider essential listens or classics, or tracks to check out for sure because for some reason they seem to stand out as rather unique moments, which makes them also very suitable for western radio show airplay. Tracks that are only underlined can be considered fine tracks you might better check out as well, but I am not sure how essential they are.

I had to reconsider a couple of times before ordering this album, because in a way, the kind of tripled and sometimes harmony feminine vocals, coming from an earlier Korean feminine vocal trio tradition, now mixed with what we generally know as a rather male style of funk in effect could easily become a forced commercial decision of style, but in fact, when dealing completely with all the musical evolutions since the 50s in Korea this idea could as easily be the most logical next step to explore. It is of course true that there was a production house and management behind this, exploiting the idea of bringing such a trio step by step into the new and by more and more disco dominated era. Pop music by the late 70s seemed to have become once more a bit more about launching a product that would sell, where the musician and singers were considered to be useful, as session musicians, with a good act to perform these purposes. The creative quality in that way was dependent on a lot more aspects to deal with than for instance with what was a common good some 10 years earlier.

The funk/disco idea perhaps wasn’t too easily fitting so exactly with Korean mainstream pop influenced material and extremely tempered by styles like Trot, also in a creative sense this was worth a try. And of course, the same musicians that delivered fine rock riffs before now were used for a different style of music, and, like in previous pop singer exploitations, also here their explorative minds still come through, and instead of turning immediately towards cheaper synths conclusions, there was still the use of the sounds of joystick-based ? and a few times more analogue-sounding synthesisers here and there. And while being marketed as disco very quickly the Hee Sisters continued into and started in fact from the mainstream pop/rock territory that was already there.

The first 10 tracks I assume come from their first album (1978) and hang well together. Many tracks here are led by the lead singer and are responsive to the full trio, drum and bass play in a relaxed way. Fat sax solos, some electric guitar and stick synths or electric piano solos are added. The songs can be sing-a-long, sad songs/ballads or attractive, poppy songs, at times the band shows more power in their approach and this is a fuse with a funky edge, which gives a feeling this makes the music better indeed. Some of these songs are Korean flavoured in melody.

On the second album the choice for a funky bass, the use of disco brass and the light triple-voice singing becomes more dominant, and now congas are part of the percussion too. This is a step further into funky girl group pop music era. Also here, the album hangs well together. The music, even though infused with a bit more of a funky edge, can be soulful music songs. There's not much dominant creative musical elements presented, the music just works fine very well, tight, light, somewhat catchy. On this second album we also have various covers like Bee Gees “too much heaven”, O’Jays “Brandy”, Linda Rondstadt’s “Camelita” and one song from the musical “Grease”.

CD2-1 20. 망향 / Homesickness 03:21

CD2-2 21. 약속 / Promise 02:32

CD2-3 22. 연안부두 / Coastal Pier 02:44

CD2-4 23. 내 마음 그곳에 / My Heart Is There 04:20

CD2-5 24. 희망 속에 살자 / Let's Live in Hope 03:50

CD2-6 25. 가을비 우산 속 / Autumn Rain, Under the Umbrella 03:50

CD2-7 26. 뜬소문 / Rumors 02:41

CD2-8 27. 구름 나그네 / Wandering Cloud 02:02

CD2-9 28. 순아 / Hey, Soon 02:44

CD2-10 29. 그 사람 바보 / He's a Fool 02:19

CD2-11 30. 그대 먼저 / You First 04:25

CD2-12 31. 행복하세요 / Wish You to Be Happy 02:45

CD2-13 32. 연인 / Lover 03:56

CD2-14 33. 아무도 몰라요 / Nobody Knows 02:49

CD2-15 34. 시인의 독백 / Poet's Monologue 02:48

CD2-16 35. 마음의 별 / The Star in My Heart 03:37

CD2-17 36. 달무리 / The Halo of the Moon 03:33

CD2-18 37. 비야 내려라 / Let It Rain 03:43

CD2-19 38. 사랑의 화살 / (Cupid-Sam Cooke?) 03:20

The third album more often goes to the more up tempo version of the style they have created so far with disco-typed drum and bass rhythms, brass arrangements, disco-string imitating synthesizers combined with some melodic synthesizers, with use of funky breaks, a few electric solos, and also a more constant tripled harmony singing for the songs, with only here and there a lead voice responding to the still more dominating group vocals which are leading the melodies. The style is consistant, like a successful formula with a rather swinging entertaining element. There are of course slower ballads too. especially “My Heart” (242), is most attractive because of its melodic power. A few other tracks have more dominating high keys of keyboards pushing the melodic swing. We also hear some electric piano.

The fourth album tries a few different arrangements and variations of arrangements too, like a full string orchestra with relaxed drums combined with the girl band, and more electric piano and a few sax improvisations, and also Trot becoming is becoming a more dominant part of the songs again.

The hard cover 45” book format with 3 CDs has lots of photographs, a discography related with this compilation with translated titles and a biography in English too. The booklet says that none of the band members who were contacted for it wanted to cooperate in delivering more info for the compilation or deliver the label the right contacts for it, in the end we still have a well crafted art document and well prepared compilation.

Explained in the booklet is how the marihuana scandal referring to Shin Jung-Hyun meant the end of the psychedelic area, making disco perhaps a much safer area to work in, turning also the go-go sound more towards the disco era. The main example for the Korean disco era was the movie and music of “Saturday Night Fever”. Like in the Philippines, it was not so much the American Motown disco era that influenced their scene, but much more the type of Italo-disco pop (like Giorgio Morroder typed arrangements). Italian bassist Salvatore Cantone (aka Sarvo) had joined Sarang-gwa Pyeonghwa or Love & Peace with his disco flavoured slap bass. Also important were the ELKA synthesizers, from Italian origin, which were also more frequently used in Disco.

CD3-1 39. DJ YTst - DJ YTst Mix inspired by 아리랑 내님아(Arirang My Love) 02:54

CD3-2 40. JINBO - JINBO Mix inspired by 우리는 사랑해요/꿈속에서(We Love Each Other) 03:33

CD3-4 41. MOOD SCHULA - MOOD SCHULA Mix inspired by 희망 속에 살자(Let's Live in Hope) 02:47

CD3-5 42. PEEJAY - PEEJAY Mix inspired by 님 찾아가는 길(Too Much Heaven) 03:40

CD3-6 43. SIMO - SIMO Mix inspired by 그대 먼저(You First) 02:52

CD3-7 44. DJ SOULSCAPE - DJ SOULSCAPE Mix inspired by 뜬소문(Rumors) 02:33

The third CD are so called interpretations by new Korean musiciand and DJs. These tracks have nothing really to add and for its lack of historical, musical or other vision are all forgetable.

우리의 예전 음악에 대한 재조명 사업들은 2000년대에 들어서며 의식 있는 소규모 레이블의 노력에 의해서 조금씩 가시적인 성과로 드러났다. 신중현 사단이 발표했던 많은 명반군에서부터 히 식스의 묻혀있던 걸작들과 같은 초창기 록이나, 김민기, 한대수, 양병집과 그 주변 뮤지션들이 발표한 국내 포크 태동기의 많은 앨범들이 깨끗한 음질로 재발매되며 국내 록과 포크의 진보성을 새롭게 일깨워주었다. 하지만 2000년대 중반부터 기형적으로 유행한 소위 ‘7080음악’에 대한 기형적인 관심은 우리의 예전 음악에 대해 힘들게 만들어왔던 지형도를 다시 바꿔놓았다.

오랜만에 공연장이나 브라운관에 등장한 뮤지션들은 재발매된 음반에 수록된 진보적 음악보다는 청자들의 추억이나 향수에 기대는 선곡과 편곡으로 함께 출연한 다른 가수들보다 돋보이려 애썼으며, 어려웠던 예전 이야기를 늘어놓으며 청중들의 눈물샘을 자극했다. 물론 이러한 흐름 역시도 너무나 많은 것을 잊고 살았던 지금이라는 현실에서 엄청나게 중요한 부분이라는 점을 부인하고 싶은 것은 아니다. 하지만 이런 식으로 활동하고 있는 많은 가수들을 미끼로 한 다양한 종류의 컴필레이션 음반들이 어렵사리 발굴되고 있는 초기 우리나라 음악의 명반들이 형성하고 있던 파이를 잠식하고 있다는 점을 간과하지 말자는 것이다. 다행인 부분은 어려운 현실 가운데도 소규모 레이블들에서는 꾸준하게 재조명 사업들이 진행되고 있다는 점이다. 이러한 재조명 사업이 이제는 비단 1960년대 말에서 1970년대 초에 이르는 록과 포크라는 한정된 시간과 장르에 구속되지 않고, 보다 폭넓게 이루어지고 있다는 점은 무척 고무적이다. 오랜 작업을 마치고 발매를 서둘고 있는 희자매의 안타기획시절 음원을 모은 《희자매 - 디스코 걸스: 안타 레코드 이어즈 앤쏠로지 1978~1980》는 이러한 점에서 특히 주목할 만 하다.

흑인 혼혈 여성싱어 김인순(인순이)을 얼굴로 내세운 희자매는 육감적이라는 표현이 어울릴만한 섹시하고 글래머러스한 여성 트리오였다. 억지로 끼워 맞추자면 요즘 활발하게 활동하고 있는 수많은 소위 ‘걸 그룹’들의 원조 격이라고 할까. 물론 그때까지 국내에 여성 중창팀이 없었던 것은 아니었지만, ‘스튜디오 54’에서 갓 나온 듯한 희자매의 비주얼과는 그 근본부터 달랐다. 그리고 그러한 비주얼에 당시 인기의 고공비행을 하던 안타기획의 탁월한 작, 편곡과 연주력이 더해지며 독특한 음악적 성과를 만들어냈다. 김인순은 희자매의 매니저였던 한백희에 의해 가장 늦게 희자매에 합류했다. 한백희는 1970년대 미8군 클럽 무대에서 팝과 라틴 음악으로 활동하던 여자가수로, 후일 김인순이 솔로로 독립하여 결성한 백댄서 집단이던 리듬 터치 출신 김완선의 이모다. 김인순 역시 한백희의 백댄서로 활동하다가 픽업되었다. 안타기획은 ‘등불’, ‘달무리’와 같은 히트곡을 발표했던 영 사운드의 안치행이 대표로 있던 기획사다. 여기에 10대 시절 신중현과 더 멘에서 기타와 키보드를 담당할 만큼 그 천재성을 인정받았던 김기표가 작곡과 편곡을 맡았고, 역시 신중현과 더 멘 출신 베이시스트 이태현이 실무를 맡는 등 국내 록 1세대 뮤지션을 주축으로 하는 집단이었다.

희자매의 데뷔앨범이 발표된 것은 안타기획이 최헌, 윤수일 등 밴드 1세대 출신 보컬리스트들을 간판으로 내세우며 명실공히 국내 최고의 히트메이커로 군림할 당시인 1978년이다. 그리고 희자매는 소월의 시에 멜로디를 붙인 ‘실버들’을 방송을 통해 꾸준하게 에어 플레이시키며, 이듬해 MBC 10대 가요제에서 여자 중창부문을 거머쥔다. 안타기획의 탁월한 선구안을 다시 한번 증명해 보인 것이다.

하지만 ‘실버들’의 빅 히트에도 불구하고 나머지 트랙의 대부분은 마치 희자매가 부르는 안타기획 베스트 음반 듣는 듯 소속 뮤지션들인 최헌(앵두, 어찌합니까, 오동잎), 윤수일(사랑만은 않겠어요)에서 영 사운드(달무리)까지의 기 발표 히트곡이다. 때문에 오롯이 희자매를 위한 음반이 아니라 급조된 음반이 아닌가 하는 아쉬움이 남기도 한다. 물론 그 편곡과 연주에서 당시 해외의 트렌드를 발 빠르게 수입한 본격적인 훵크/디스코를 선보이는 등 기존 히트곡과는 커다란 차이를 보이고 있긴 하지만, 어쨌거나 기존 히트곡들은 그 제목만으로도 청자들에게 주는 무게는 대단한 것이었다.

이에 반해 이듬해인 1979년 발매된 2집 《Disco》는 비록 네 곡의 번안곡이 포함되긴 했지만, 어쨌거나 온전히 희자매를 위한 음반이란 점에는 이의가 없을 것이다. 또 ‘록뽕’, 혹은 ‘트로트 고고’로 대변되는 안타기획의 히트 메이커였던 안치행의 곡이 하나도 삽입되지 않고 창작곡들은 모두 김기표의 곡으로 이루어져, 음반의 타이틀이자 희자매가 추구하는 음악인 ‘Disco’에 완벽히 일치하는 음반을 의도했음을 짐작할 수 있다. 그리고 이러한 의도는 실제 결과로 이어져, 데뷔앨범처럼 눈에 띄는 대표곡이 담겨있지 않음에도 불구하고 희자매 최고의 음반으로 꼽기에 부족함이 없다. 전작에서 다소 아쉬움으로 남았던 곡과 가창자간의 이질감은 희자매에 맞춤형으로 제작된 듯한 ‘한 마리 새가 되어’, ‘내 마음’과 같은 곡에서 완전한 합일점을 만든다. 소울풀한 김인순의 뛰어난 가창력을 중심으로 횡적으로 확장되는 코러스파트의 다채로움은 적절하게 삽입되는 퍼커션 연주와 함께 곡에 입체감을 부여한다. ‘한 마리 새가 되어’는 한해 뒤 숙자매도 같은 반주에 노래만 더빙하여 발표해 히트시켰을 만큼 1970년대 한국 디스코를 대표하는 곡이라고 할 만하지만, 그 음악적 성과에 있어서는 희자매 쪽에 손을 들어줄 만 하다.

희자매는 이 음반 발매에 즈음하여 사랑과 평화를 대동해 ‘리사이틀’을 벌인다. 당시 주간지 에는 데뷔 10개월이라는 짧은 기간을 활동한 뮤지션이 이러한 대규모 공연을 펼치는 것은 전례 없는 신기록이라는 기사가 나오는데, 그만큼 희자매의 인기가 상종가를 기록하고 있었다는 이야기에 대한 증명이 될 것이다. 물론 이러한 인기의 상종가는 아쉽게도 후속작 이후 김인순의 탈퇴와 함께 급격하게 하향곡선을 그리게 된다. 음악적 성과가 부족했다기보다는 추진력을 잃은 까닭일 것이다. 어쨌거나 이번에 화려하게 재발매되는 《희자매 - 디스코 걸스: 안타 레코드 이어즈 앤쏠로지 1978~1980》는 활동 당시 시각적인 부분에 많은 초점이 맞춰진 까닭에 정당한 평가가 유보될 수밖에 없었던 희자매의 윤기나는 검은색 음악적 매력을 다시 살펴볼 수 있는 좋은 기회다. 이 모든 이야기에도 불구하고 예전 것은 아직 ‘고리타분한 것일 뿐’이라는 선입견이 드는 이들에겐 DJ 소울스케이프를 비롯한 다섯 명의 DJ들이 희자매의 사운드에 대한 오마쥬를 담은 세번째 CD를 먼저 권한다. 희자매의 매력이 청자들의 추억에만 호소하며 인기를 구걸하는 소위 7080 음악들처럼 과거에 대한 나약한 집착이 아니라, 현재까지도 꾸준하게 이어오는 진취적인 에너지임을 분명 함께 공감할 수 있을 것이다.

글 송명하 (20110909)


Automated Translation:

Our re-lighting businesses on the old music have been a little visible in the 2000s, with the effort of small, conscious labels. Many of the albums released by Shin Shin-Hyun's divisions from early Alumni, such as His Six's buried masterpieces, or Korean Folk Taedonggi's many albums released by Kim Min-gi, Han Dae-soo, Yang Byeong-soo and the musicians around him are re-released with clean sound quality. A new reminder of the progressiveness of However, the malformed interest in so-called “7080 music,” which has been deformed since the mid-2000s, has changed the topographic map that has been hard on our old music.

Musicians who appeared in concert halls and CRTs for a long time tried to stand out from other singers who appeared together in the selection and arrangement of the listeners' memories and nostalgia, rather than the progressive music of the re-released album, and shed tears of the audience in the past Stimulated. Of course, I do not want to deny that such a flow is also a very important part of the reality of living forgotten too much. However, let's not overlook the fact that various kinds of compilation albums based on many singers acting in this way are encroaching on pies formed by alums of early Korean music, which are being hard to find. The good news is that amidst the difficult realities, small-scale labels are constantly working on relighting projects. It is encouraging that this re-lighting project is now more extensive and unconstrained by the limited time and genre of rock and fork from the late 1960s to early 1970s. Hee Sister-Disco Girls: Hit Records Years and Soulology 1978 ~ 1980, which gathered sound recordings of the hit sisters' planning for hits after a long work, is especially noteworthy in this regard.

Hee-sister, who had a black mixed race singer Kim In-soon (Insoon) as a face, was a sexy and glamorous trio with a sense of sensuality. To put it forcibly, is it the origin of many so-called “girl groups” that are active nowadays? Of course, it wasn't until then that there was no female mid-team team in Korea, but it was different from the visuals of the rare sisters who seemed to be fresh out of 'Studio 54'. In addition, the visuals were combined with the outstanding composition, arrangement, and performance of the hit project, which was a popular high flight at the time, creating a unique musical achievement. Kim In-soon was the last to join White Sister by Han Baek-hee, the manager of White Sister. Han Baek-hee is a female singer who played pop and Latin music on the stage of the Eighth Army club in the 1970s. Kim In-soon was also picked up as a back dancer. Anta Planning is the representative company of Ahn Chi-hang of Young Sound who released hit songs such as 'Lantern' and 'Daloon'. In addition, Kim Ki-pyo, who was recognized as genius enough to play guitar and keyboard in Shin Ji-hyun and The Men in his teens, was composed and arranged, and also performed by Shin Ji-hyun and The Men bassist Lee Tae-hyun. It was a group.

Hee's debut album was released in 1978, when Anta planned to reign as the nation's top hit maker, featuring vocalists from the first generation of bands such as Choi Heon and Yoon Su Il as their signboards. Hee-sister steadily air-plays “Silveres” with melodies in Sowol's poems. It proved once again the excellent plan of hit planning.

However, despite the big hits of 'Silver', most of the rest of the tracks are as if they were listening to the best record of hits by white sisters. This is a hit hit song to Young Sound. As a result, it is a pity that Orot is not a record for a white sister, but an urgent record. Of course, the arrangement and performance show a big difference from the existing hits, such as the introduction of a full-fledged Shank / Disco that quickly imported overseas trends at the time, but anyway, the original hits were great for listeners with the title alone. .

On the other hand, the second album, "Disco", released in 1979 the following year, although it included four altered songs, anyway, there would be no objection that the album was totally for white sisters. In addition, none of Ahn's hits, the hit maker represented by 'Rokpon' or 'Trot Gogo', was inserted. You may have guessed that you intended a perfect match. And this intention leads to the actual result, and even though it does not contain a prominent representative song like the debut album, there is no shortage of the best albums of white sisters. The dissatisfaction between the song and the singer, which remained somewhat disappointed in the previous work, creates a perfect unity in songs such as 'Being a bird' and 'My heart' that seem to be tailored to the white sister. The colorfulness of the chorus part, which is laterally expanded around the soulful Kim In-soon's excellent singing power, adds to the song with percussion performance that is properly inserted. 'Being a bird' is a representative song of Korean disco in the 1970s, so that the sisters dubbed and released the song in the same accompaniment a year later. Do.

Hee-sister holds a recital with love and peace on the release of this album. At the time, a weekly magazine debuted with a short period of 10 months, a musician who performed such a large-scale performance is an unprecedented new record, which proves that the popularity of rare sisters recorded the commercial price. Of course, this popular trading house unfortunately draws a sharp downward curve with Kim In-sun's withdrawal after the sequel. Perhaps it is because of the loss of momentum rather than the lack of musical performance. Anyway, `` Sister Sisters-Disco Girls: Hit Records Earn's Enthology 1978 ~ 1980 '', which was re-released splendidly this time, was focused on the visual part at the time of activity, so that the fair evaluation was forced to be reserved. This is a good chance to revisit the color and musical appeal. Despite all of these stories, those who are preoccupied with the old-fashioned `` only rituals '', DJ Soulscape and five other DJs recommend the third CD containing homage to the sound of rare sisters. It is clear that the charm of the rare sisters is not a weak obsession with the past, like the so-called 7080 music that appeals to the memories of the listeners, but is a progressive energy that continues to this day.

Written by Song Myung-ha (20110909) :

Korean disco group from the late 70’s, Hee Sisters (희자매) has an anthology CD box set out by Beatball Music. The box contains hardcover book with notes and photos and three CDs, two CDs of the greatest songs by Hee Sisters and the third one with new remixes by Korean artists and DJs. Definitely worth checking out for all who love the tunes from this era and a great chance to start exploring the Korean scene of soulful disco music for those who are not yet familiar with it. You will be surprised to see how much Korea had to offer for the golden times of disco music.

Beatball Records THE HEE SISTERS 희자매 :

DisKo Girls: The Anta Records Years Anthology 1978​~​1980

디스코 걸스: 안타 레코드 이어즈 앤쏠로지 1978​~​1980

안타레코드 시절 희자매 5개 전 앨범의 음원을 총망라한 완벽한 앤쏠로지! 매들립, 제이딜라 등을 작업한 데이브 쿨리(Dave Cooley/ Elysian Masters)의 오리지널 테잎을 이용한 리마스터링 40페이지 올 컬러 책자와 5매의 오리지널 앨범 커버를 7인치 바이닐 사이즈로 구성한 양장 책자형 패키지 전 곡 가사와 DJ Soulscape의 자세한 한국/영문 해설 수록 희자매 사운드에 대한 오마쥬를 담아낸 DJ Soulscape 외 다섯 DJ들의 리믹스 디스크 포함 3CD 구성 앤쏠로지를 기념하여 특별 추가된 대형 포스터 <남산의 희자매>(박열, oil on canvas) 포함

released October 27, 2011

ⓟ 1978, 1979, 1980, 2011 ANTA RECORDS ((주)앤트) ⓒ 2011 BEATBALL MUSIC GROUP, INC.

[Original Recording Production] ∙ Executive Producer: Ahn Chi-haeng ∙ Producer: Ahn Chi-haeng ∙ Arrangement: Kim Ki-pyo ∙ Recording Studio: Seoul Studio ∙ Management: Han Baek-hee

[Reissue Production]

Released by COBRAROSE Records, a division of BEATBALL MUSIC GROUP, INC. Made under the license from ANTA RECORDS ((주)앤트)

Executive Producer: Beatball Music ∙ Reissue Producer: Lee Bong-soo(for Pops Koreana) ∙ Reissue Supervisor: Baek Ji-hoonm Hong So-hee ∙ Reissue Art Direction: Lee Bong-soo ∙ Reissue Design: Baek Ji-hoon(for Beatball Design Lab.) ∙ Liner-notes: DJ Soulscape(360 Sounds) ∙ Editorial Design: Baek Ji-hoon ∙ Photo & Article Research: Song Myoung-ha, Ahn Chi-haeng ∙ English Translation: Bae Ki-joon ∙ Poster Painting: Park Yeol [Seoul Tower & Hee Sisters] 2011 (Oil on Canvas, 90cm x 65cm) ∙ Source Research: Lee Bong-soo ∙ 8track-tape Transfer: Lee Jae-hong ∙ Remastering: Dave Cooley (Elysian Masters, California)


#KoreanPop #harmonyvoices #disco #funk #BeeGees #H #sisterbands

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