British-born Craggy met Slovak Veronika in a bar in Brno, Czechia and soon realised they shared the same vision for an exciting and creative music project, mixing their love of various creative influences to create something that explores the boundaries of alternative rock and roll whilst always retaining an uncompromising and intense energy. After soon welcoming Tom on the bass guitar, the trio continued to flourish. Since their inception, Craggy Collyde have played shows and festivals right across central Europe, lining up alongside some of the region’s best bands.

The eclectic record kicks off in a sombre mood with the atmospheric and moody song where shimmering guitar meets vocals with its hypnotic intro before the floor tom joins the brooding intro ‘Do You Dream?’ It’s always good to dream.

In contrast, after the feedback floats away this uptempo buzzing rocker ‘Hold Your Head Up High’ indeed Holds Its Head up High. As the record settles down the title track drifts in in direct contrast to the last song. As this dark guitar pop song eases into life the listener is drawn in as the story unfolds.

I like the ebb and flow of the record its not all one paced and there is plenty of breathing space in the songs with some classy songwriting. I particularly like the haunting intro of ‘Buried At Sea’ where the feeling of the songs lyrics are captured by an excellently worked arrangment especially the feeling and warmth created by the addition of the strings. The influences are wide reaching from the ragged rock n roll and the more indie leanings but they work really nicely in a sound that totally owned by Craggy.

Theres something triumphant and really happy about ‘I Don’t Think About It’ from the melody and the delivery. ‘Where The Hope Lies’ is a smidge of Countrified Rock n Roll to add another feather to the bands cap whilst ‘Hanging On’ is a slice of Lemonheads meets prime Buffalo Tom collage alternative rock and fits in perfectly to the rich tapestry of this album.

Closing the album off with the dreamy ‘I Know Its Over’ is the perfect closer of what is a really impressive album of new songs from the European quality of Craggy Collyde. Take a bow you three because this is an album you should be totally proud of making its full of excellent songs that are warm and engaging and really well delivered – Buy it or ask them to move in next door and open the windows when they are writing and recording – music can and is such a beautiful thing.

Buy Here

Author: Dom Daley

Those Bosstown Garage Punk legends are still at it writing and recording brand new music and releases. The Dogmatics will have a proper full new release out in 2024 and to whet our fans appetites until then and to also provide new music while “The Dogmatics: A Dogumentary” continues being added to film festivals across the globe we will be dropping a brand new digital single release t coincide with A Dogumentary screening at the Orlando Film Festival:

Heres an audio visual exclusive for you from the good folks at Rum Bar Records.

Check out the trailer from their barking mad movie

Well, who saw this coming then, Butch Walker, Jayce Fincher and Mitch McLee getting the band back together? Nineties power pop sensations Marvelous 3 are back with a boom! The Atlanta, Georgia trio were one of those turn of the century bands that coulda-shoulda-woulda, but sadly it wasn’t meant to be for them. Sure, they had a radio hit with ‘Freak Of The Week’, but in hindsight they should’ve been household names. Sadly, some things just ain’t meant to be. Butch went on to greater things, producing some of the biggest stars in the music business and building a more than respectable solo career with a bunch of awesome albums that get better with every release.

But here we are in 2023 with a new Marvelous 3 album titled ‘IV’, their 4th long player, and it just happens to be not only the most unexpected release of the year, but quite possibly the best of the year. Yes, it’s that good.

I can safely say ‘IV’ is all killer and no filler. It’s one of those instant albums that connects on the very first listen. I gave it four plays on release day I was that hooked. And the opening two tracks are so strong you’ll need a muscle relaxant to wipe the smile off your face.

If you are a Butch fan, but maybe unaware of Marvelous 3, think back to those early solo albums before the Americana and Country influences became prevalent. ‘IV’ contains balls to the wall, power pop anthems that are steeped in nostalgia and euphoria. Always a great lyricist who places characters and scenes in his storytelling, Butch Walker has excelled himself here. The lyrical themes are full of retrospection and reflection, the melodies and song dynamics are memorable, interesting and exciting, the guitar riffs spikey and metallic.

Butch Walker has a way of rekindling old loves, (whether it be romantic or musical) like few songwriters can. Take album opener ‘Old School Metal Heart’ and its accompanying home movie video made up of footage of the trio from their hair metal SouthGang days. It’s a typical Butch melody with a killer hook and a story of teenage bands that namechecks Maiden and Slayer in respective choruses. It will give you goosebumps and maybe a yearning itch to form a band. Hook-laden and euphoric, it’s a strong start. Damn they’re good!!

I mentioned a killer one-two, well ‘Kill The Motherfucker That Breaks Your Heart’ is the second. A sonically seductive riff, and man, just that opening chord progression gives me goosebumps before the singer has even set the scene of a guy being protective over a girl. Did I mention the rousing chorus? Hand’s down, song of the year for me, ‘nuff said.

It makes you wonder how long Butch has had these songs on the backburner waiting for the right moment to unleash them on the world. His last few solo albums have been concept records in one form or another, full of retro vibes and countrified goodness and I was wondering where he was going to go after last year’s ‘Glenn’ opus.

From stadium-styled Springsteen rockers like ‘Jackie & Tina’, killer anthemic singles like ‘If We’re On Fire (Let It Burn)’ onto more acoustic radio hits like ‘Time To Let It Go’ and big ballad closer ‘Curtains’ everything just seems relatable, familiar and damn good. It seems a natural progression from their last album 25 years ago.

More than anything this album is a fun listen. It sounds like 3 school friends with not a care in the world playing their hearts out. At times you forget Marvelous 3 are in their 50’s because ‘IV’ sounds like a young and hungry band on their first record with everything to prove and nothing to lose, and they should be commended for pulling it off with such ease. For me, ‘IV’ is album of the year, no contest. Now the struggle continues to find the damn thing on vinyl in the UK, but for now stream it like it’s the last album you’ll ever hear because I certainly am.

Buy Here

Author: Ben Hughes

Saviors is an invitation into Green Day’s brain, their collective spirit as a band, and an understanding of friendship, culture and legacy of the last 30 plus years.
It’s raw and emotional. Funny and disturbing. It’s a laugh at the pain, weep in the happiness kind of record.
Honesty and vulnerability.
What is Saviors about, you ask?
Power pop, punk, rock, indie triumph. disease, war, inequality, influencers, yoga retreats, alt right, dating apps, masks, MENTAL HEALTH, climate change, oligarchs, social media division, free weed, fentanyl, fragility,,..
What would Andy Warhol do?
What would John Waters do?
What would Quentin Tarantino do?
What would GREEN DAY do?
Saviors, out January 19th, 2024

Pre Order Here


Tickets on sale Friday 27th @ 10am

Foo Fighters guitarist Chris Shiflett has just announced a full UK tour in March 2024, which concludes with a show at London’s Electric Ballroom on the 27th. Tickets go on sale Friday October 27th at 10am UK and will be available here.
Shiflett says, “I can’t wait to get back over to the UK and Ireland for another run of dates! The tour we did last spring was amazing, the best we’ve ever done. The crowds were wild so I can’t wait to see what it’ll be like touring now that the record is out.We’ll definitely mix in a few more new tunes in addition to the older stuff.”
The announcement follows the release of Shiflett’s stellar third album Lost At Sea, which is out now on Snakefarm in the UK and features the latest single ‘Weigh You Down’. Originally inspired by Shiflett’s wife’s birthday, the song turned into a baritone guitar-driven rocker; upbeat and sweet.
“We all get a little funny when those numbers start getting too big but this was me trying to remind her that the number doesn’t matter and we have so much to be grateful and happy for, which she of course already knew,” Shiflett laughs. “On the musical side, I loved putting the slide guitar solo together. I don’t play much slide and always have to think it through a lot and work it out, but I love the end results.”
Revered as a modern-day guitar hero, the new album sees Shiflett splice up alt-country rock and guitar-driven grit with sharp songwriting and Americana undertones. Most of the new album was recorded in Nashville, working with his producer and collaborator Jaren Johnston (frontman of The Cadillac Three and songwriter behind a dozen No.1 country hits) and features a stellar cast of Americana all-stars.
Among them were fellow guitar slingers Charlie Worsham, Tom Bukovac, and Nathan Keeterle, all three of whom laced the record with fiery fretwork. He also teamed up with a number of co-writers, partnering with Kendell Marvel, Cody Jinks, and others to fill Lost at Sea with storylines that pack as hefty a punch as the music itself.
Shiflett also recently launched a new video series called ‘Shred with Shifty’ where he interviews some of the guitar greats, delving into their most iconic solos and the art of playing guitar. Guests so far have included the likes of Nile RogersAlex Lifeson (Rush), 
Rivers Cuomo (Weezer), Brad Paisley and more. Head to for more info.
Although he’s used to playing big arenas globally, the punk veteran and Rock & Roll Hall of Fame inductee’s previous UK tour was hugely triumphant; his transition to more intimate venues was seamless, resulting in equal magic, showing that being a great frontman is just another part of his already impressive CV.
Weds 20th – Academy, Dublin
Thurs 21st – The Limelight 2, Belfast
Sat 23rd – Queen Margaret Union, Glasgow
Sun 24th – Academy 2, Manchester
Mon 25th – O2 Academy 2, Birmingham
Weds 27th – Electric Ballroom, London


Photo Credit: Joe Martinez

OK,So lets get this right. Fourteen songs by fourteen bands all swedish and all fucking banging and wait for it all on one 7″ single. Now thats a novel idea and a bloody good one too.

Limited to 300 copies. 150 blue and 150 black. Released by Compiled & orchestrated by Dr. Chuck Ransom. Artwork by the mighty STE. Official release date: October 31, 2023.

Here’s the tracklist! 1. Boatsmen ”I’m Not An Addict (I’m Just Bored)” 2. Chuck Norris Experiment ”High Times/Easy Livin’” 3. Doojiman & The Exploders ”No Hope For The Kids” 4. Drippers ”Anti-Cosmic Revolution” 5. Grande Royale ”V.I.P” 6. Liar Thief Bandit ”The Devil’s In The Details” 7. Märvel ”Bedlam At The Embassy” 8. Riptide Rats ”The Riptide Rats Theme” 9. Satanic Overdrive ”Electric Demons” 10. Sator ”Keep Walking (To Make A Long Story Short)” 11. Scumbag Millionaire ”Smash And Grab” 12. Space Cowboys ”Night Observer” 13. Åskväder ”Action Rock?” 14. ”Demons” ”Go Marco! (Ghost Highway Song)”

See I told you it was banging and pretty much bands we’ve reviewed many times on RPM Online and usually loved. Even those with audio duration challenges will love this because if theres a song you’re not keen on (unlikely I Know) but, it’ll soon be over and another will be in your ear dancing around your brain in no time at all. Without fucking about its crammed to bursting with Garage Rockers and hard-hitting tunes from the opening Boatsmen tune through the Full force machine that is Chuck Norris Experiment and their ‘High Times/Easy Living’ through the no-nonsense psychedelic boogie punk n roll of Doojiman & The Exploders with their blunt force ‘No Hope For The Kids’.

The Drippers aren’t fuckin about either with their turbocharged ‘Anti Cosmic Revolution’. Grande Royale are on a boogie mission whilst Marvel turns in a classic Rockin masterclass. Wait Riptide Rats have time for a shimmering spooktacular instrumental that’s classy baby.

Woo Hoo the Satanic Overdrive are bringing the handclaps whilst Sator adds a bit of 60s jive talking for their turn as they ‘Keep Walking’ Don’t get too comfy because those Scumbag Millionaires are going for a ‘Smash And Grab’ and the punk n roll is turned up to eleven as The Space Cowboys are getting high on ‘Nigth Observer’. Askvader turns in some classic scandi action rock before the mighty ‘Demons’ bring this whole shitstorm to a crashing half with ‘Go Marco’ a tribute to Ghost Highway proprietor and then you can exhale and breathe normally for what is an superb offering and one that should be supported and championed far and wide. Let’s Rock kids and this is how you do it properly just remember to play safe this is big boys’ shit and its Rockin! Buy It!

Order at

Author: Dom Daley

Bernie Tormé was one of my first ever guitar heroes. He in some way took the genres of punk and hard rock and made the songs he played on sound like something altogether different, then when it came to his image Bernie looked like no one else on the rock scene back in in the early eighties, in fact he looked more like a cast member of The Hitchhikers Guide To The Galaxy than a bullet belted jeans and t shirt rocker. And in my teenage mind this meant everything. Bernie Tormé (as some singer would later declare on live TV) really was a STAR.

When I caught up with Bernie for a chat at the very first Hard Rock Hell festival all the way back in 2007 that tired old adage of “never meet your heroes” never entered into my head, being introduced to the man by his then fellow GMT band mate John McCoy (yup THE John McCoy) with strict prior instructions to tell Bernie just how much his music and playing had meant to me growing up. I soon found that the cocksure Wild Irish six stringer I’d only ever previously seen flaunting his insane talent on stage was anything but that off it. Bernie was initially shy and oh so humble in my presence, but once he’d relaxed into our conversation he opened up about his time being the hippy on the punk scene and playing the Vortex, then becoming the punk in the hard rock band Gillan, before then regaling me with tales of his brief time with Ozzy, his (in my eyes at least) perhaps finest hour in Tormé (with Phil Lewis) and then his time with Dee Snider and Clive Burr in metal supergroup Desperado.

I’m, getting ahead of myself here though, because this four CD box set released via HNE Recordings/Cherry Red Records (the first in a series of such Bernie boxes I’m lead to believe) covers the years 1982 to 1983 and includes the two studio albums Bernie released during this time, initially solo whilst he was still a member of Gillan and then following his departure from that band alongside his bandmates as the Electric Gypsies. Together with these discs we also get two live albums from 1983. It was around that time I also saw Bernie live for the very first time and his ferocious playing that night saw him not only cut his hand but also bleed all over my Wrangler jacket, something that in 2007 Bernie not only apologised for but also offered to pay to get cleaned. A sincere gesture that still makes me smile to this very day.

Something that also makes me smile (a hell of a lot) is the album that kick starts this box set, 1982’s ‘Turn Out The Lights’. It’s a record that at the time confused quite a few of us hard rockers, not least because after the initial Gillan-esque bluster of the opening title track and the album’s only single, up next was a tune most of us had grown up knowing as being by Boney M. All these years on of course I now know ‘Painter Man’ was originally a ‘60s hit for The Creation, but there’s nothing quite like hearing your guitar hero in an all-new context to shake up the senses. Looking back now I can see it was really no different to what Gillan had been doing with their series of cover versions something that had provided them with UK chart hits and saw the band making several appearances on Top Of The Pops. Elsewhere, ‘Turn Out The Lights’ is an interesting mix of up-tempo hard rockers like ‘America’ and ‘Lies’ mixed up with the more elaborate songwriting of ‘Possession’ (which is still my favourite song on the record) and then there’s the brooding instrumental ‘Inda’. I do wonder what Gillan (the band) might have done with some of these songs and what Ian himself might have made of covering the Velvet Underground/Nico’s ‘Chelsea Girls’.

The version of ‘Turn Out The Lights’ included here not only contains the three bonus ‘Back With The Boys’ tracks that were included on Bernie’s very own Retrowrek Records’ version of the album but also adds a live rehearsal of ‘Chelsea Girls’ from 1982 alongside an also previously unreleased version of ‘Boney Maroney’ from 1979?, which I’m actually quite happy to turn a blind eye to timeline wise as it’s a top notch version.

Moving on to the box set’s second disc and 1983’s ‘Electric Gypsies’ album, and where ‘Turn Out The Lights’ had been an album recorded during Gillan downtime with the help of friends like Phil Spalding and Nigel Glockler, the nine tracks that make up this record were songs that the band had fully road tested before entering the studio. The Electric Gypsies at this point featuring one time Def Leppard and soon to be Waysted drummer Frank Noon alongside ex-Bethnal bassist Everton Williams, along with Bernie once again mashing up the musical genres to deliver his music vision. So, from the dive-bombing guitar histrionics of ‘Wild West’ through to pounding album closer ‘Go Go’ (which reminds me of something Gene Simmons would have written for KISS around the same time) ‘Electric Gypsies’ is much more a straight up hard rock record than its predecessor. With just the cover of The Troggs ‘I Can’t Control Myself’ and the acoustic ‘Presences’ proving to be the albums only musical curveballs this time around.

There’s a few nice surprises contained within this CD’s bonus tracks though, with this release adding two previously unreleased live cuts (a cover of the Stooges ‘Search & Destroy’ along with Bernie’s original version of the amazing ‘Star’) recorded in Paris back in 1982 to the already expanded Retrowrek Records’ version of the album that added five additional studio cuts to the running order, the pick of these for me being the much more poppy ‘New World’ which underlines the real depth of Bernie’s songwriting talents when he wasn’t just penning bluesy hard rockin’ anthems.

Just when things were really looking up for the Electric Gypsies a little thing called record company politics would soon rear its ugly head to put a stop to the band ultimately taking the next step up, something that would not only see the record delayed by a year before finally being released on a different label, but also see the band’s line up slowly disintegrate, something that saw the record also move from being promoted as a band record to being a Bernie Tormé solo album.    

With a series of live dates already booked Bernie urgently needed to find a new rhythm section to tour his new record so calling upon the talents of Stampede bassist Colin Bond and one time Iron Maiden drummer Ronnie Rebel this stop gap line up set off on a two week whirlwind trip around the UK and here on discs three and four we get to experience them in all their ragged glory.

CD three in this box set was originally released as ‘Bernie Tormé Live’ via Zebra Records back in 1984, but here it has its track listing expanded from seven to eleven tracks whilst CD four captures the same line up live at Sheffield Octagon, and this boasts the same thirteen song track listing as the version previously released digitally via Bernie’s Bandcamp page.

Both CDs are solid live accounts of the Bernie Tormé band back in 1983, and the bonus tracks tagged to the end of CD three are of particular interest to me, having never previously heard these versions before.

‘Lightning Strikes – Volume One (1982-1983)’ comes complete with the usual high-quality booklet/sleeve notes that you expect from HNE Recordings/Cherry Red Records releases, this one containing some stunning archive photography too.

This box set really set the bar high for any subsequent releases in this reappraisal of Bernie Tormé’s solo career go grab yourselves a copy when it hits the shelves on October 27th.      

Buy Here

Author: Johnny Hayward

Feeder announce new double album Black / Red

Listen to new double A-side single ‘Playing With Fire’ / ‘ELF’ HERE

Black / Red set for release on 5th April 2024 on Big Teeth Music via Townsend Music / Absolute Label Services

UK headline tour dates also announced for March 2024

pic: Steve Gullick

‘ELF’, which lead singer and guitarist Grant Nicholas describes as “a call to arms”, and ‘Playing With Fire’s “roller coaster ride of self-discovery”, reaffirm the band’s knack for sticky melodies and livewire riffs. Songs across Black / Red carry with them the same sense of wide-open space, freedom and possibility, aligned with an optimistic energy that first lit the fuse for Torpedo. Cohesive and connected rather than a concept, Black / Red is a continuation of Torpedo’s conversation but at the same time a full stop on a prolific songwriting period that encapsulates a very specific moment in time for the band. Feeder’s first ever double album became the perfect way for them to not only realise what these songs mean together in the present day, but also to show the breadth of a sound they’ve honed across the decades, taking in muscular riffs, sky-scraping melodies and heartfelt sentiment.

Vocalist, guitarist and writer Grant Nicholas expands on the new album:

“I really wanted the album to be split in two parts for the listener, CD1 and CD2, black and red rather than be one long player, almost like a musical production with an interval. Making it was a very creative time for me as a writer and a real labour of love. Making the Black / Red album for me personally was a musical pilgrimage and I feel the end result is undeniable Feeder.”

Black / Red is released on 5th April 2024 and will be available on digital, CD and vinyl. Pre-order here.

Feeder UK tour dates 2024

02 March – Junction, Cambridge, UK
03 March – De La Warr Pavilion, Bexhill, UK
05 March – Guildhall, Portsmouth, UK
06 March – The Foundry, Torquay, UK
08 March – O2 Academy, Bristol, UK
09 March – Great Hall, Cardiff, UK
11 March – O2 Academy, Oxford, UK
14 March – Engine Shed, Lincoln, UK
16 March – O2 Institute, Birmingham, UK
17 March – O2 Academy, Liverpool, UK
19 March – Barbican, York, UK
20 March – Albert Hall, Manchester, UK
22 March – Boiler Shop, Newcastle, UK
23 March – Barrowland, Glasgow, UK
25 March – Rock City, Nottingham, UK
26 March – Leadmill, Sheffield, UK
28 March – Roundhouse, London, UK

Feeder: Website | Spotify | Facebook | Twitter | Instagram | YouTube

Phil Campbell has seemingly come full circle since leaving both The Temperance Movement and The Byson Family, by continuing on the singer/songwriter solo journey he started before joining one of the UK’s new breed of bluesy classic rock artists back in 2011.

While it’s a shame The Temperance Movement never reached the dizzy heights their early material and magical live gigs promised, the singer seems comfortable and content with his current status, and the release of his first solo album under the name Philip Seth Campbell.

Playing more intimate venues than he has been used to for many years, Philip is promoting ‘City Lights’ with a series of low-key dates, just the man and his guitar, with just a bassist and a keyboard player backing him.

Taking to the stage of the smaller community room at The Brudenell Social club, on this the second date of a UK tour, you would be forgiven for thinking the Glaswegian singer had come straight from a do. Wearing an open dress shirt, trousers and trainers Philip Seth Campbell looks like the dishevelled, cool uncle at a family wedding. He and his band then proceed to run through a selection of choice cuts from the new album, older solo material and a couple of tracks each from his former bands.

Opener ‘Magical West’ was the euphoric first single released, and it loses none of its power in this stripped back format. The ever-animated Campbell may be restricted in his movements with a guitar strapped on, but his voice is on point, full of vigour and soul as he rasps his way through each high energy chorus. By the time the trio hit the gospel-tinged third track ‘Revelation’ his voice and the sound mix has certainly hit the sweet spot.

Yet there’s a sense that the singer must work for it tonight, he is certainly not going through the motions. Starting fresh, playing new songs to an audience who may be unfamiliar with the material can be a trial by fire, and while the meagre and polite audience need some well-spirited goading from the singer into breaking the unnerving silence between songs, the whole thing seems to go swimmingly well. He certainly has the stagecraft, the songs and the voice to carry them. But it is nice to see a performer who is nervous and doesn’t know what to expect, deliver in spades.

The anthemic Springsteen vibes of ‘Hasta Luego’ shine strong in a live environment, and the slower soulful moments such as the autobiographical ‘Sober Boy’ sound great. The new songs all fit well with the older material whether that be The Temperance Movement, The Byson Family or older solo stuff such as the sweet ‘Wrecking Ball Nights’, a song he introduces while strumming the opening chords

“Sometimes there’s nothing else for it but to get fucked up!” he declares. He may be a sober and happier boy these days, but he reminds us that things can easily change.

It was a bit of a surprise to hear him break into ‘Chinese Lanterns’. To be fair, I wasn’t really expecting that. It’s always been a favourite TM track since those early shows where Philip would sing it acapella, off-mic to a stunned crowd. Tonight, with an acoustic guitar as accompaniment it is just as special. Another TM classic ‘Lovers & Fighters’ closes a sweet set that satisfies fans both old and new.

I saw The Temperance Movement in this very same venue 10 years ago on their way up, and now it seems quite fitting to see their ex-singer continue his musical journey in fine form. A mesmerising and rewarding set from one of the best singer/songwriters we have to offer and one of the best gigs of the year for me. This could be the start of something special.

Author: Ben Hughes

First up this cold and wet UK morning is Autogramm, a synth-driven power-pop band from Seattle, Chicago and Vancouver. They have just announced their latest LP ‘Music That Humans Can Play’ with an advance single and video for the track “Plastic Punx”.

Their first album in over two years will be released on vinyl and digital formats world-wide on November 17th via Stomp Records and Beluga Records EU.

Autogramme – Bandcamp

New York City guitarist, singer-songwriter Steve Conte has released the music video for his latest single “Girl With No Name.”

The clip was shot on the streets of NYC & in studio by Natborn Productions’ Peter Perenyi & son Orion Perenyi, with motion graphics, lyrics & final touches by David Provan at 12 Inch Media.

The song follows the summer release of his single “Fourth Of July” (co-written with Andy Partridge of XTC).

Conte says, “This is a song of regret…about missed opportunity and lack of skills in meeting someone you’re attracted to.

When putting my new album together, I was looking for songs that would fit nicely alongside the songs that Andy Partridge and I had written for it and I kept thinking of this one. I wrote it back in 1984 and never forgot it – which was a good sign.

Because it came to me so long ago I can’t exactly remember my process for writing it, except that since I was young & single at that time I was probably experiencing these kinds of situations & feelings on a daily basis!

Musically, I can hear what was influencing me back then; mid 60s Beatles, mid 80s XTC, and that beloved Motown groove from a certain Diana Ross & The Supremes song…”

A follow-up LP to Conte’s acclaimed 2021 solo album Bronx Cheer, is expected in Spring 2024 via Steven Van Zandt’s Wicked Cool Records.