Little Steven’s sophomore album from 1984, featuring “Voice of America,” “Solidarity,” “Los Desaparecidos,” and “Among the Believers,” returns to CD in Bob Ludwig’s remaster previously available only on vinyl. The CD edition gets even sweeter with the addition of the full Live at Rockpalast 1984 concert. Voice of America was written, produced, and arranged by Little Steven who got support from The Disciples of Soul (including The Rascals’ Dino Danelli) and guest background vocalist Gary U.S. Bonds. (The edition currently streaming features bonus tracks only on CD as part of Little Steven’s Rock ‘n Roll Rebel box set).
Little Steven Van Zandt’s 1982 debut with his The Disciples of Soul, Men Without Women, remains a high watermark in the Jersey shore bar band sound with its fusion of classic rock and soul sounds. Van Zandt was joined by members of The E Street Band, The Asbury Jukes, and The Miami Horns as well as pals like The Rascals’ Dino Danelli and Felix Cavaliere, and Gary U.S. Bonds. This CD release, slightly delayed from last Friday, premieres Bob Ludwig’s remaster (previously available only on vinyl) on CD and adds a bonus DVD of Little Steven’s 1982 Rockpalast concert. The edition that’s currently streaming has a number of bonus tracks only available on CD as part of Little Steven’s Rock ‘n Roll Rebel box set.
Cold Blood is a long-standing R&B horn funk band founded by Larry Field in 1968 and was originally based in the East Bay region of the San Francisco Bay Area.
Lydia Pence was the the lead singer of the Bay Area Funk Band, Cold Blood, has been delighting audiences for over 50 years. The group formed in 1968 found a mentor in Rock impresario Bill Graham who signed the band to a recording contract with his San Francisco Records after an audition in 1969. Pence, a powerhouse singer, is known for her soul stirring vocals on such barnburners as the cover of Sam & Dave’s “Hold on I’m Comin,’“ , Muddy Waters’ nugget “I Just Want to Make Love to You,” both from Cold Blood’s debut self-titled album from 1969, and her take take on Stax vocalist Mable John’s “Your Good Thing (Is About to End)” from the bands sophomore effort “Sisyphus,” with the Pointer Sisters joining in with some gospel laced backup vocals.
The band’s heyday was 1969-1976 during which time they released six albums and built up a faithful following opening for headlining acts at Winterland and Fillmore West such as Albert King (1969), Crosby, Stills, Nash & Young (1969), Alice Cooper (1971) It’s a Beautiful Day (1973), and Montrose (1976). The combination of a horn heavy funk Band and Pence’s impassioned singing kept the band busy until it broke up in 1978. After a period of raising her daughter in the early 1980s, Pence and band members came together again in 1988 with some new personnel and have been funkin’ ever since. Pence may have been lost in Janis Joplin’s shadow because of similar styles and the fact that the Joplin reigned supreme in the late 1960s until her death in 1970.
No matter, Pence has continued to perform over the ensuing decades, earning nothing but raves from her loyal fans and new converts. Lydia Pence has stood the test of time and still does some mighty soul shouting in performance, Catch her and cold blood while you can. One of my favourite bands that featured an super horn section. Was totally taken in by the powerhouse vocals of Lydia Pense coupled with the great musicianship of the band. Their debut album was phenomenal and these two songs were a definite highlight.
The term “East Bay Grease” was been used to describe the San Francisco Bay Area’s brass horn heavy funk-rock sound of the 1960s, 1970s and 1980s, Cold Blood was one of the pioneer bands of this sound, Other bands include Tower of Power, Chicago, and Blood Sweat And Tears. The Tower of Power horn players have performed with Cold Blood on a regular basis since the early 1970s. Skip Mesquite and Mic Gillette have been members of both Tower of Power and Cold Blood.
Original band members were founder Larry Field (lead guitar), Lydia Pense (vocals), Danny Hull (tenor saxophone and songwriter), Larry Jonutz (trumpet; born Mar 15 1947), Pat O’Hara (trombone; born May 25, 1946 (?), died August 1977 of an overdose), Raul Matute (Hammond organ, piano, arranger and songwriter, born Feb 19 1946), Jerry Jonutz (baritone, alto and tenor saxophone; born Mar 15 1947), David Padron (trumpet; born May 4, 1946), Rod Ellicott (bass), and Frank Davis, who was replaced on drums by Sandy McKee (real name Cecil James Stoltie, born 12 July 1945, died 15 October 1995) during the “Sisyphus” sessions.
The Rolling Stones have unveiled plans to drop a previously unreleased concert film, “Steel Wheels Live”. The film documents the band’s 1989 show in Atlantic City, New Jersey.
Having not hit the road for most of the 80s, The Steel Wheels Tour was an astounding return for the Rolling Stones, not least as it was the longest tour they had by that point undertaken. It was also to be their last with Bill Wyman. “Steel Wheels Live” was recorded towards the end of the band’s 60-date run through the stadiums of North America, in the second half of 1989.
The Steel Wheels Tour (later rebranded the Urban Jungle Tour) kicked off in August 1989 was in support of the band’s 19th studio album (in the UK) which was released the same month. It lasted a whole year and the North American leg finished at the Convention Centre in Atlantic City, New Jersey in December 1989.
The gate-busting ticket sales were one thing, but the stage and lighting design of The Steel Wheels Tour set the pace for superstar tours as we know them today. Special guest appearances from Axl Rose, Izzy Stradlin, Eric Clapton and John Lee Hooker on this Atlantic City date make this an even more extraordinary document of the band’s return to touring. Guns N’ Roses’ Axl Rose and Izzy Stradlin, who joined the stalwart rockers on stage for a performance of ‘Salt Of the Earth’. Eric Clapton popped up for a performance of ‘Little Red Roster’, who was then joined by blues icon John Lee Hooker on ‘Boogie Chillen’.
This evening bore witness to The Rolling Stones infamous backstage run-in with president Donald Trump. So it goes, The Stones’ tour producer Michael Cohl found a way to earn the band more money by staging the concert as a pay-per-view event, like UFC but with riffs.
In order to pull the feat off, Cohl needed to find a promoter who was willing to front the cost for the band to play. That promoter ended up being no other than Donald Trump.
The band were initially reluctant to be involved with Trump in any capacity. To help sweeten the deal, Cohl wrote up a contract that barred Trump from promoting the concert in one of his press conferences, and attending the concert.
“The Stones had such power in those days that the 6:40 p.m. slot on the national evening news was going to be an interview with the Stones to talk about and promote the pay-per-view,” Cohl explained in an interview . “At about 5:50 p.m. I get word that I have to come to the press room in the next building. I run to the press room in the next building and what do you think is happening? There’s Donald Trump giving a press conference, in our room!. “I give him the [come here gesture]. ‘Come on, Donald, what are you doing? A) You promised us you wouldn’t even be here and, B) you promised you would never do this.’ He says, ‘But they begged me to go up, Michael! They begged me to go up!’ I say, ‘Stop it. Stop it. This could be crazy. Do what you said you would. Don’t make a liar of yourself.’”
Unfortunately for Trump, Cohl had left his walkie-talkie in the dressing room, and The Rolling Stones overheard the altercation between the two. Keith Richards, in his infinite, unhinged glory, simply had enough, and subsequently pulled a knife on Trump.
“They call me back [into the dressing room],” Cohl explained. “At which point Keith pulls out his knife and slams it on the table and says, ‘What the hell do I have you for? Do I have to go over there and fire him myself? One of us is leaving the building – either him, or us.’ I said, ‘No. I’ll go do it. Don’t you worry.’”
Psychedelic rock purveyors Death Valley Girls have anchored the Los Angeles scene for several years now – combining combustible, gazy proto-punk and desert-blasted metal with a witchy, occult-laced intensity. The Bonnie Bloomgarden-fronted band’s last album was 2018’s gloriously scuzzy and hyper-charged Darkness Rains. And now today, the group has shared the gazy and cosmic new track “The Universe,” the lead single off their newly-announced and highly-anticipated LP Under the Spell of Joy.
LA’s Death Valley Girls have made a name for themselves by churning out a desert-blasted blend of rowdy proto-punk and primitive heavy metal steeped in cosmic idealism and third-eye consciousness. Their first new offering since tearing a hole in the sky with their 2018 album “Darkness Rains”. Detouring slightly from their revved up, propulsive garage-psych stylings, “The Universe” is a slithery and marauding track full of experimental edges – trading in power chords for soaring saxophones and droning keyboards. It’s a spacey song that revels in every gritty sonic layer as Bloomgarden croons and serenades the cosmos in haunting, meditative fashion. It’s another hypnotizing track that demonstrates Death Valley Girls’ knack for pushing their sonic boundaries.
On the new LP, Bloomgarden shared: “The world is crazy right now and it feels like we should be doing more than just trying to perpetuate joy. I think music becomes a part of you. Like Black Sabbath’s first record is as much a part of me as my own music. I think you can listen to music or song to get lost in it, or you can listen to music to find something in your self or the world that either you never had or just went missing. I want people to sing to this record, make it their own, and focus on manifesting their dreams as much as they can!”
Under the Spell of Joy arrives on October 2nd via Suicide Squeeze.
Surfer Blood, one of the great lo-fi-tinged indie rock bands of the past decade, are gearing up to release their fifth LP “Carefree Theatre”. That arrives on September 25 via Kanine Records, and so far the John Paul Pitts-fronted group has teased us with the singles “Parkland (Into the Silence)” and “Karen.” Today they’re back with the latest taste of the album, a video for their breezy new single “Summer Trope.” The track ebbs and flows with lush reverb-soaked melodies and soaring choruses, another textbook Surfer Blood surf anthem. While the song recounts an Alcatraz prison escape gone wrong, its wondrous music video was crafted with rippling, sun-kissed visual aplomb by director David Hamzik. It follows Pitts as a castaway – dressed in a shaggy wig and beard – stranded and wandering a tropical coastline before being rescued and returned to land to finish up a live gig. It’s a weirdly giddy clip that’s got some pretty neat underwater camerawork on display.Carefree Theatre is the first album Surfer Blood recorded since Pitts moved back to South Florida, and it takes its name from the now-shuttered West PalmBeach DIY venue where he initially cut his teeth as a performer. According to Pitts, the record “is about coming full circle.”
“We’ve had our ups and downs as a band, plenty of changes through the years, but here we are back where we started. After a decade of touring and putting out records, we’re back with our first label just in time for the ten year anniversary of Astro Coast. For all the pushing ahead and not looking back, the past has caught up with us. I don’t mean that in a haunting way, but in the familiar way that warms you from the inside.”
Speaking of Astro Coast, that classic debut LP is getting a special 10th anniversary double vinyl reissue – dropping on August 29th via Kanine Records.
Limited edition of 500 made. We were planning to sell these on our summer tour… which is unfortunately cancelled. Includes guest vocalists Pip Blom, Winter and Surfer Blood’s Lindsey Mills. Three per order maximum. International shipping available.
Australian producer/songwriter Maurice Santiago, who performs under the alias Hearteyes, is heralding a more genreless future with his latest release, even headbangers get the blues. The project, which dropped last month, is deeply introspective and marks Hearteyes‘ second release. Previously, Santiago performed house music as George Michelle and was a member of the post-punk outfit, Death Bells.
On Hearteyes’ new album, which incorporates everything from acoustic fingerpicking to dark, electronic sounds and trap-inspired beats, Santiago is explicitly interested in challenging conventions of how music should be made. “Genre is no longer a boundary, but a malleable, cross-pollinating tool in helping to further articulate an artist’s story,” he says of wanting to make varied music. “Growing up I loved hardcore, nu-metal and punk. I got into so many different genres of music and artists. I wanted to make a project that was reflective of all my tastes.”
On his vulnerable third record “Rock Album” marks a turning point for Santiago where his transition from producer to artist is made clear. On tracks like the avant-garde opener ‘baby, i’m an angel’ to track six, ‘ny superstar’ where his rebellion against formulaic progressions is made clear, does away with genres and rails against norms – hence the ironic album title.
“Everything I write about is deeply personal; with the past two project I tried to dilute a lot of the storytelling with formulaic pop writing tropes, like repeating phrases and creating hooks, but I still felt so dissatisfied,” said Hearteyes. “Rock Album is where I have finally mustered the courage to put everything out there and felt comfortable doing so.”
Having previously served as a member of Death Bells, fans knew what Hearteyes was capable of when he shared his first mixtape last year. Now, with Rock Album serving as his latest record, it’s well within the realm of possibility to believe it might be his most accomplished work yet. Luscious melodies, intricate production, and heartfelt song writing combine to create this visceral document of music in the year 2020.
Rock Album breaks all the rules. Hearteyes’ record is a tour de force in unceasing, boundary-pushing creativity. The Sydney producer has transcended seamlessly to a bona-fide artist. Extreme, chaotic and heartbreaking in equal measures — it cements Hearteyes as one of the most gripping, uncompromising artists in Australia’s pop music canon.
Hearteyes has found a growing fanbase within the last year, though if Maurice Santiago wasn’t a household name beforehand, Rock Album might help achieve that. A dizzying fusion of genres, the record if often disorientating, but its self-awareness and powerful song writing show that this is an album that needs to be listened to a few times before you truly understand everything going on.
As the prospect of another lockdown looms, we’re all left desperate to find media to consume when our brains our too microwaved to sit through a movie and the idea of reading a book feels like an impossible task. R.E.M. have offered a cure to the pangs of boredom — the seminal band will rebroadcast their iconic 1999 Glastonbury Festival performance.
For the first time ever, the band will upload the concert to stream on their YouTube page 72 hours following its initial premiere at 3 p.m. EST on Thursday, August 6th.
The performance took place on June 25th, 1999 on Glastonbury’s Pyramid stage. The headlining set followed performances by Bush, Blondie and Hole.
“Hole did such a great set, I was like — I’ve got to ramp this up, I’ve got to be great,” Michael Stipe said in a statement. “I think it was maybe a moment for R.E.M. and the U.K. where we had kind of been forgotten or pushed aside by younger bands, and that was a particular moment at Glastonbury where I think we pulled ourselves back to the front of the line and actually proved, this is what we’re capable of. It was a great show for us!”
The set saw the band perform a trove of their most beloved hits including, ‘Everybody Hurts’, ‘Losing My Religion’, ‘The One I Love’, ‘Man on the Moon’, and ‘It’s the End of the World As We Know It (And I Feel Fine).’
Stipe mused that the band, “felt triumphant every time we played Glastonbury.” Acknowledging that, “The band really stepped up. It’s such a beloved and legendary event that, y’know, whatever stars are aligned for us personally and as a group; we managed to show the best of ourselves at each of the shows we played there.”
Alongside the Artist Rights Alliance, artists such as Mick Jagger, Keith Richards, Sia, Lorde, R.E.M., Green Day, Pearl Jam, Blondie, B-52’s, Steven Tyler, and Elvis Costello (many of whom have already expressed annoyance with President Trump using their music) are urging America’s major political party committees to “establish clear policies requiring campaigns to seek consent” of the desired tune-makers before hitting play on their songs.
Earlier this week, R.E.M. signed an open letter, alongside numerous music contemporaries, demanding that politicians seek clearance on the music they play at campaign rallies and other public events.
“As artists, activists and citizens, we ask you to pledge that all candidates you support will seek consent from featured recording artists and songwriters before using their music in campaign and political settings,” their statement, written in partnership with the Artist Rights Alliance reads. “This is the only way to effectively protect your candidates from legal risk, unnecessary public controversy and the moral quagmire that comes from falsely claiming or implying an artist’s support or distorting an artists’ expression in such a high stakes public way.”
Premiering at YouTube next Thursday, August 6th! Continuing the celebration of Glastonbury’s 50th anniversary, watch R.E.M.’s headlining 1999 Pyramid Stage set. Tune in with fans around the world at 8pm BST / 3pm EST. Subscribe here: https://found.ee/REM-Glastonbury99
Jordon Zadorozny has been releasing music as Blinker The Star since back in 1994. He has done almost everything an artist would want to do. He got a major label record deal. He’s written music with and for artists like Lindsey Buckingham, Chris Cornell, and Courtney Love. He’s played in some amazing venues and lived the rock and roll life.
You may think that over 25 years into his career, he might be satisfied with cranking out songs that sound like they were written in the mid-’90s. But that just isn’t the case. Jordon has been steadily writing and releasing fresh-sounding music for years. Case in point, Blinker’s new single “Cairo”,
The song has its influences in early ’80s Cure and New Order but with a grittier sound. That is partly Jordon’s writing, partly the people he collaborated with on the track. While Jordon does most of the heavy lifting, he gets some help from long time friends. Bob Wilcox plays the synths in the song, while Ken Stringfellow of The Posies sings backing vocals.
When Chrissie Hynde heard Bob Dylan’s “Murder Most Foul,” the 17-minute elegy he had recorded about John F. Kennedy and surprise-released in late March, she was caught by surprise. “It really knocked me sideways,” she says “It’s so magnificent.”
Like everyone, she was in what she describes as an “odd frame of mind” due to the pandemic-related lockdowns that had gone into effect a few weeks earlier. So with no outside distractions, the song teleported her back to her youth. “It brought back my whole childhood and my past,” she says. “I remembered exactly where I was sitting in the sixth grade at my desk when the news [of JFK’s assassination] came over the Tannoy [P.A.] system. Then I was thinking about Bob and how significant he’s been throughout my lifetime — and everyone’s lives. I’ve gone to see shows of his and there are grown men, older than me, standing up, like, in tears just because he’s there.”
I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. The First one is off the “Shot of Love” album, “In The Summertime”. We did it from home on our phones. I did the rhythm – sent it to James, he added guitar , sent it back to me, I then put on the vocal , sent it back to him, he put on some back up vocals and organ, then we sent it to Tchad Blake to tidy up. I know you don’t need the behind the scenes details so I won’t repeat myself on the next one. xch
Hynde had planned on hitting the road this spring with the Pretenders, in support of their hard-hitting new album, Hate for Sale, but now she had an empty diary. She’d seen Dylan live a few times with the band’s lead guitarist, James Walbourne, and had remarked to him she would love to cover some Dylan songs.
Hynde and Walbourne released the first installment of what they dubbed their “Dylan Lockdown Series,” “In the Summertime.” Dylan’s version of the track, which appeared on his 1981 LP Shot of Love, was a mid-tempo, harmonica-soaked nostalgia piece. Hynde and Walbourne toughened it up a little with some forceful acoustic guitar, a lusher chorus, and an organ replacing some of the harmonica, as she hung onto his words to fit them to her voice. “I sent James a rhythm track on my phone, he added to it, and I put a vocal to it,” she says, explaining their quarantine-era methodology. “Then we sent it to [engineer] Tchad Blake, who is out in the wilds of Wales, to mix it. I love working with him.”
I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. – chx
The third in the Dylan Lockdown Series: James & Chrissie’s reading of ‘Standing In The Doorway’ taken from the “Time Out Of Mind”, great album. After she was pleased with the finished product, she started picking more songs. They made Blood on the Tracks’ “You’re a Big Girl Now”sound a little more country and contemplative. They took the gospel-tingedTime Out of Mind number“Standing in the Doorway” and opened the windows on it, making it into something more uplifting. And they interpreted the gentle“Sweetheart Like You,”from Infidels— the album Dylan was touring on when Hynde joined him at Wembley — and made it sound sparse, with just guitar, piano, and Hynde’s voice.
The fourth in the Dylan lockdown series: Chrissie and James’ tender cover of Bob Dylan’s “Sweetheart Like You”
Number 5 of the Dylan Lockdown series: Chrissie and James’ cover of Bob Dylan’s Blind Willie McTell “Blind Willie McTell” is a song titled after the Piedmont blues and ragtime singer / guitarist Blind Willie McTell. It was recorded in the spring of 1983, during the sessions for Dylan’s album Infidels, but was left off the album and officially released only in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. “I just love always discovering new Dylan stuff and discovering old albums,” Walbourne says, on a break from learning the chords to the Infidels-era outtake “Blind Willie McTell” on the piano. “When I saw Martin Scorsese’s Rolling Thunder doc on Netflix, I had no idea [Dylan] was that crazy during that time.”
CHRISSIE HYNDE & JAMES WALBOUNE – DYLAN LOCKDOWN SERIES NO.6: LOVE MINUS ZERO
Hynde and Walbourne uploaded the final entry in their Dylan Lockdown Series, their rendition of “Tomorrow Is a Long Time,” a quiet acoustic folk number that debuted on Bob Dylan’s Greatest Hits, Vol. 2. Hynde and Walbourne kept it acoustic but made it more upbeat with organ and plinking cymbals, even when she sings, “If tomorrow wasn’t such a long time, then lonesome would mean nothing to you at all.” You can hear both her deference to Dylan and how the song is personal enough that she feels comfortable making it her own.
“Everyone goes back a long way with him because everyone has their own personal history [with his songs],” she says. “In his case, it’s very personal, because his songs are so personal. People who are fans of his really are fans. He’s not a lightweight; he’s a heavyweight. He’s been there for a longtime with us, so he’s seen us through many things, and we’ve seen him through.”
She pauses and considers just what it has meant to her to sing these songs. “It sounds like it’d be so easy, but first of all, you’re trying not to sing them the way you’ve heard them over the years because you get locked into that,” she says. “You can’t consciously sing them differently, so you just have to find your own thing. So it’s been an interesting and a fun thing to do. I’m very grateful to have the time to do this, because otherwise I’d be on a tour bus right now.”
she realized that now was the perfect time to pay tribute to a man who had inspired her for most of her life. She had grown up with Dylan’s music and has had the opportunity to pay tribute to him in the past — she joined him at Wembley Stadium for renditions of “Leopard-Skin Pill-Box Hat” and “It’s All Over Now, Baby Blue” in 1984, and she sang a stunning rendition of “I Shall Be Released” to him at his 1992 30th anniversary concert — but she has long wanted to do more. “Any singer-songwriter would like to do every Bob Dylan song they can get their hands on, and there’s thousands to choose from,” she says.
With a catalogue like Dylan’s, there’s so much there,” Hynde says. “I mean, I’m not one of these Dylan … … what do they call them … ‘Dylanologists’ to get on chat lines and discuss every lyric and everything. Although why not? But you know, I’m not into it from an academic, intellectual point of view. I wouldn’t take it in a college course. But if there’s songs I’ve lived through, such as when ‘Like A Rollin’ Stone’ and [similar songs] came on the radio back in the Sixties, they really changed the way songwriting was across the board. Probably even James Brown was affected by him; he started writing songs like ‘The Big Payback.’ And, I mean, Hendrix. Anyway, and so there’s this huge catalogue and you can dip in if you want.” She waits a beat. “And I want.”
That said, she admits that Dylanologists have been keeping her on her toes. “You don’t want to fuck up a Dylan song and have thousands of Dylanologists gunning for you,” she says. When she covered “Sweetheart Like You,” she struggled a little with how she wanted to sing some of Dylan’s words.
“These days, you don’t have to change the gender of a lyric because it doesn’t matter anymore,” Hynde says. “That was always a problem in the past, since sometimes it kind of compromises the song. Like if it didn’t sound right to change, ‘She loves me’ to ‘He loves me,’ let’s say. These days, you can do anything.
“But there was one second verse in ‘What’s a Sweetheart Like You’ that said, ‘She used to call me sweet daddy when I was only a child,’ and I thought ‘That’s gonna be really awkward,’” she continues. “I couldn’t figure out how to make that mine. So I went through the archives of different versions he’s done and found a Spanish translation that had a different verse, so I just used that one. I mean, he sang it in English, maybe it wasn’t the official, and then I thought, ‘Oh, these guys are gonna come after me now and say, “That’s not what he wrote.”‘ But it is what he wrote.”
The “Resurrected” version of New York Dolls guitarist Johnny Thunders’ final solo LP “Que Sera Sera” — released as part a Record Store Day exclusive — will be reissued once again with additional outtakes and live tracks.
The first disc in the 35th-anniversary three-CD box set boasts the “remixed” version of Thunders’ album, plus two songs left off the album and six outtakes from the album’s studio sessions. The second disc collects 18 live recordings from the era, taken from Thunders’ European tour stops in Geneva, Amsterdam and Lyon, France. The third disc contains the original LP plus single mixes.
Originally released in 1985, Que Sera Sera featured guest appearances by Michael Monroe, Dead Boys’ Stiv Bators, Only Ones guitarist John Perry and New York Dolls drummer Jerry Nolan.
The two-LP version of Que Sera Sera: Resurrected arrived on Record Store Day 2019; the three-CD format, out via MVD, is available to preorder now ahead of its September 11th release date.
