The Sharp Notes with Evan Toth

As Bruce Springsteen once sang, “two hearts are better than one” and that certainly is the case with The Heavy Heavy. Not only does the name of the band have a second helping of Heavy, but the group is fronted by two musicians who, you’ll soon find out, act as a team when it comes to decisions about the group’s sound and direction.

About a decade ago, Georgie Fuller and Will Turner met under musical circumstances and haven’t looked back since. While their first musical collaboration leaned toward an acoustic Laurel Canyon sound, this new iteration is different. Will works hard to find the initial spark for his tunes, rummaging through his mental database of vintage rock, pop, soul, and Motown. He brings the composition and riff-laden guitar chops and everything is great, but then there’s Georgie. Georgie packs with her a commanding voice and knows how to employ those vocal dynamics correctly for full effect. But she also knows how to nudge her partner along when it comes to his compositional creations and she is an integral part of shaping the group’s sound in the studio.

The band has found critical success and also have landed plum gig after plum gig. These elements combined allow the group to find an audience for their retro modern sound. In this episode, we discuss their genesis and working relationship and also how they are riding the roller coaster that they’ve recently been on. Luckily for us, I’m able to speak with both Will and Georgie because as Bruce Springsteen sang. Well, you remember what he said.

Sometimes, the only way to find yourself is by getting a little bit lost. Israel Nebeker - lead singer of the band Blind Pilot - experienced this first hand. The band came strongly upon the music scene in 2008, gaining particular media attention for their “bike tour” which brought them from Bellingham, Washington all the way to San Diego, California with nothing but their instruments and bicycles in tow.

Noteworthy activities like these - and two well-received albums - placed them in front of viewers of Last Call With Carson Daly, before audience members at Lollapalooza, and even all the way to Late Night with David Letterman where Dave mistakenly referred to the group as “Blind Spot”. It was a good time to be in an indie-folk band from Portland.

However, after the release of their last album in 2016: radio silence. The band went on hiatus as they reconfigured their relationships, struggled with writing, and - of course - made it through that pesky pandemic where no one did much of anything.

However, after a trip to Scandinavia, Nebeker tapped into a well of creativity and inspiration leading him to write enough material for his first solo album and a brand new Blind Pilot record which has just been recently released, In the Shadow of the Holy Mountain. As they say, when it rains, it pours.

So, join Israel and me as we dig into the long spiritual and creative journey he’s been on and how Blind Pilot regained their vision.

Imagine hearing a style of music that has become very popular; a genre you might hear on a TV commercial, or maybe on your favorite streaming program, or perhaps coming from a car window as it passes you by the street. Now, try to pretend that the style of music you’re hearing was popularized by your dad.

Seun Kuti goes through this process often and - along with his siblings - have become the next wave of afrobeat music makers who have followed in the footsteps of their famous father, Fela Kuti. Fela was the architect of the afrobeat sound. Its infectious rhythms lifted African sounds to another level, but also redirected those influences as heard in American music back to the homeland.

Seun - with Egypt 80 - have released a brand new album titled, Heavier Yet. The project finds Lenny Kravitz acting as executive producer and also features Fela’s original engineer Sodi Marciszewer; he is behind the board on this album in the role of artistic producer. But, wait, there’s more: the son of an Afrobeat pioneer joins together with the son of a reggae pioneer. Damian Marley and Seun collaborate on one of the album’s penultimate tracks: “Dey”.

Seun and I were both a little excited to be having our international chat between New Jersey and Lagos, Nigeria. We both hope you’ll find the technology as enthralling as we did. We discussed his new album, of course, but as you’ll find, Seun is up for talking about anything. Settle in to hear about some history, a few surprises, and some really exciting music. 

You don’t need to be using your vocal cords to sing. There are other ways to do it, you don’t even need to be a human being! Birds sing, the wind sings while you’re standing on the beach watching the surf, and maybe you could even say that an air conditioner sings in the background as it cools your room on a hot Summer day. Just because something is singing doesn’t mean it has to come from vox humana. In the case of Delicate Steve, it’s his guitar that does the singing, and it’s a distinctive voice that his instrument has.

On his recently released new album Delicate Steve Sings, Steve Marion takes the voice of his guitar and applies it to mostly an original cadre of songs, however, he throws in a few covers for good measure, some you’ll definitely know, and a few that may be new to you. But no matter what song he’s playing, he’s working hard on this album to make sure that those songs have the unique singing voice that his guitar has exhibited over the last 8 albums that he’s released.

On this episode, we of course talk about his new record, and about how some critics may have misunderstood what he was trying to do on this album, but how it only goes to prove to himself that he’s on the right track. Do you know what your voice sounds like? You don’t have to use your vocal cords, or a guitar. What is it that you use when you really sing?

It’s amusing how certain traits and talents seem to run in families—like an unbreakable thread woven through generations. Perhaps you hail from a long line of carpenters or artists, each passing down their skills. Music, in particular, has a remarkable way of flowing through bloodlines. While styles may evolve, the gift of rhythm and melody remains timeless, transcending the boundaries of space and time.

Nikka Costa understands this instinctively. Drawing on the rich legacy of her father, renowned arranger and producer Don Costa, she has infused his best qualities into her own vibrant blend of funky, soulful rock and roll. Though she was young when her father passed away, she carries with her a treasure trove of musical memories—most notably, a hit recording from 1981, “(Out Here) On My Own,” and an unforgettable duet with her father’s longtime collaborator, Frank Sinatra, performed on the White House lawn, no less!

Throughout her extensive career, Nikka has explored various musical styles, but on her latest album, Dirty Disco, she takes a deep dive into the propulsive sounds of the dancefloor. In this episode, she joins me to discuss her new record and how those familial musical influences continue to resonate in her work today.

It’s easy to overlook, but for some, music isn’t just a passion—it’s a livelihood. While many might juggle music as a side gig or serious hobby, others dive headfirst into a full-fledged career as a musician. As with any pursuit intertwined with money, the path ahead is rarely smooth. Yet, artists like Brian Ray not only navigate this complex terrain but they truly thrive there.

We could delve into his collaborations with Smokey Robinson, retrace the dedication he poured into his years with Etta James, or explore his legendary - and current - stint as Paul McCartney’s guitarist. Today, however, we focus on his latest solo endeavor, My Town, released under Little Stevie Van Zandt's Wicked Cool Records label.

Brian has generously shared his musical prowess with others, but a listen to My Town reveals that he still has plenty of expertise left over for himself. Brian and I chatted about the creation of this album, the invaluable lessons he's gleaned from working with industry icons, and some of the realities of life on the road.

It’s not exactly a comeback. Instead, the dB’s are reconnecting with their loyal audience, who have always valued their brief but impactful body of work. The New York City band (by way of North Carolina), crafted a distinctive sound by blending edgy late-'70s NYC new wave and punk with the Southern indie-rock essence of Big Star. This fusion produced a unique mix of jagged rock and roll, complemented by thoughtful lyrics and intricate songcraft.

During their peak, the dB’s released just two albums with their original lineup—Chris Stamey, Peter Holsapple, Will Rigby, and Gene Holder. Both Stands for Decibels and its quick successor Repercussion came out in 1981. Although the band’s original run was brief, they released a well-received reunion album in 2012. Meanwhile, each member has continued to pursue music outside of the dB’s.

This year, the dB’s have partnered with Propeller Sound Recordings to reconnect with long-time fans and attract new ones. Notably, their first two albums were initially available in the U.S. only as imports. While the albums have been reissued in various formats over the years, this is the first time they will be released on vinyl in America. Both records have been remastered and are available in different color variants.

In this episode, band members Peter Holsapple and Will Rigby join me to discuss their upcoming live performances with the original lineup and their excitement about introducing and reintroducing their music to fans who cherish the sound they created that has captivated so many “in the know” music lovers over the years and how these fresh releases might find new ears, too.

There’s nothing like the sound of an old Motown record. Whether you hear it in your hometown of Detroit, or turn it up in Kathmandu; it doesn’t matter, the music is great regardless of location and - truth be told - those recordings are inimitable. One could say they encapsulate a certain time and place, but that wouldn’t be fair to the level of sorcery that was achieved in Motown’s studios during their hey-day. It wasn’t just music they were creating, instead it was an almost existential sound; sure, go ahead: they made magic.

Motown’s catalog is vast and while much of it has been grafted onto the American experience of the 60s and 70s, there are many recordings that still wait to be re-discovered by music lovers and record collectors. Elemental Music was founded by Jordi Soley in Barcelona in 2012 and is best known as a jazz reissue label. Recently, however, they’ve been given the opportunity to reissue a significant chunk of the Motown catalog. Achieving this keeps these important Motown milestones in print, but the label is also committed to doing it right so these releases proudly represent the timeless grooves located within their cardboard sleeves.

Joining me on this episode from Elemental is Kevin Keeley. Together, we discuss the process that Elemental is undertaking to bring these eternal tunes to a new generation of vinyl lovers. In a nutshell, this show is a guy from Ireland who works for a record company in Barcelona talking to a fella in New Jersey about music made in Detroit more than half a century ago. If that doesn’t show the worldwide, timeless appeal of Motown’s music, then I don’t know what to tell you.   

Becoming who we are takes years. Our personality develops long before we're aware of it. Some of us are more comfortable with ourselves than others, but generally, we understand our own identity and hope that we grasp how others perceive us - that part can be a challenge. Given the chance to be someone else, who would you choose? How would you be different? What rules would you break if you weren’t yourself?

In music, alter egos are common. Bowie’s Ziggy and The Beatles’ Sgt. Pepper Band are famous examples. Today, newer artists, like Aiden Berglund, explore their art without the name they were ascribed at birth. Aiden, under the pseudonym Grimson, has recently released his debut album, Climbing Up the Chimney. The record blends rock and roll with a touch of the baroque.

Join me and Aiden in Germany as we delve into his past and how it shapes his present. It’s a chance for him to reveal the person behind the performer, to shed light on his new album's songs and his creative journey. Perhaps you will be inspired to consider who you would become if you were someone—or something—else. That other you might be a more significant part of you than you realize.

Multitasking is a popular trend in musicianship today, but, like in other aspects of life, it has its critics. Those against multitasking argue that the human brain performs best when focused on one task at a time. Just because we can multitask doesn’t mean it’s the most effective approach. What if we devoted all our time and energy to a single pursuit instead?

Molly Miller embodies this principle through her lifelong dedication to the guitar. Proficient in its complexities, she not only creates music with the instrument but also shares her expertise with others. Her latest album, The Ballad of Hotspur, created with her trio, showcases her deep connection with 20th-century guitar music. With a jazzy, meticulously composed finesse, the album also highlights her role as a guitar instructor at USC’s Thornton School of Music.

Also explored is Molly’s upcoming tour with Jason Mraz, with whom she serves as guitarist, and her experiences managing her various guitar-related endeavors. The release party for her album is set for Sunday, June 16, at the Jazz Lounge in San Diego, CA.

Instead of trying to do everything at once, let’s give Molly the same focused attention she gives to her guitar.

It’s no secret that marriage is hard work. It requires heavy lifting by both partners to keep the boat afloat. It’s labor, but of course, it’s a labor of love; that’s what it’s all about. However, if you take the marriage and relationship deal and split it with a job in the entertainment business for both parties involved, well, now you’ve really got a challenging situation with which to build a successful marriage.

Larry Campell and his wife Teresa Williams are no strangers to the road with plenty of frequent flier miles between them. Teresa has a long-time career as an actress, vocalist and musician which led her to meeting Larry, a long-time session musician who’s resume includes a seven-year stint in Bob Dylan’s Never Ending Tour and being the musical director at Levon Helm’s popular Midnight Rambles in Woodstock, NY. Larry and Teresa were also both key parts of Levon Helm’s fantastic final albums, Dirt Farmer and Electric Dirt. Married in 1988, they’ve become a musical powerhouse over the years, so much so that their relationship and musical work was evidenced in a 10 part docuseries which can be found at some of your favorite streaming outlets.

Separately and together,  they’ve both worked with many high-profile artists, but there’s always something special in store when they work with each other. Larry and Teresa have just released their fourth album as a duo, it’s titled All This Time and features music and concepts that were born out of the pandemic era and Larry’s personal battle with Covid. On this episode, I’m lucky to have both Larry Campbell and Teresa Williams join me to discuss the new record, highlights from their storied careers, and - of course - how two musicians make the music of marriage. 

Maybe I’m a little guilty of nostalgia on this one, but aren’t we all from time-to-time? When I look into the past with my rose-colored glasses on, they take me to that time of life when most people find themselves experiencing glowy memories of the past: high school. In my case, it was high school in the early to mid 1990s. As is true of every generation, there were certain songs that were inescapable during that time, some music that was simply a part of the cultural wallpaper.

Music that is ingrained to that extent into society’s psyche can face both pros and cons. On one hand, the song is at risk of being overplayed and over consumed and of course, we all know what familiarity breeds. On the other hand, it's extraordinarily rare for a certain music to be considered definitive and infinitely attached to a particular place in time in human history. In 1997, Paula Cole released two iconic songs that had a significant generational impact. "I Don't Want to Wait" became a radio staple and gained immense popularity as the theme song for the popular TV show Dawson's Creek. "Where Have All the Cowboys Gone" became Cole's only top-ten hit in the US, reaching number eight on the Billboard Hot 100. The song also earned Cole three Grammy Award nominations for Record of the Year, Song of the Year, and Best Female Pop Vocal Performance.

Paula joins me on this episode to discuss her brand new album Lo, it’s her first batch of originals in a decade and it is a strong work that makes an occasional nod to her sound in the 90s, but showcases Cole as the forward-facing performer that she is. We discuss the new record, and learn about a few recording secrets from the 1990s and how some of those tricks of the trade worked their way into her recent production. We also explore the latest reissue of This Fire which was released last year in celebration of the album’s 25th anniversary and talk about how - in many ways - those songs are as relevant as ever having been discovered by a new generation of listeners because - as you’ll find out - good art may represent a certain generation, but it isn’t anchored to it. That’s the feeling you’ll get digging through the past, present and future of Paula Cole’s catalog.

What does it take to be epic? Many filmmakers and creators struggle to construct breathtaking spectacles for audiences that will allow them to escape into a transformative world that depicts events that would not normally be seen with human eyes. But what about the music? Once they’ve created the visual component, how do they find the right music to both compliment and even elevate the towering images that appear on your local IMAX theater’s screens?

For many years, the industry has called upon Sam Nelson Harris and his band - X Ambassadors - to provide music for the soundtracks that are as compelling as your favorite comic book character’s powers. Most recently, the band featured a song in the new Aquaman and the Lost Kingdom film, but they have also placed music in Transformers: The Last Knight, The Call of the Wild, Sonic the Hedgehog and Suicide Squad. It’s the band’s prodigious sound and production that make them the perfect choice for an enthralling cinematic display.

The voice you hear on these tracks belongs to the band’s frontman Sam Nelson Harris who is also an actor, producer, and songwriter. On this episode Sam and I discuss how he and the band traverse the intersection between the music and film industries. We also discuss the band’s forthcoming newest record, Townie which is slated to be released on April 5. It’s easy to hear how Sam and I are both excited for this release to hit the shelves.

So, think big! Get into a larger-than-life mood and prepare to explore the process by which the huge sounds you hear on your favorite viewing screen usually just come from one person with an idea. The magic is in how that acorn is transformed into a towering Oak. Sam Nelson Harris shares his secrets about taking good ideas and molding them into something epic.

How do you feel about karma? Do you think what goes around comes around? Is that really the way of the world, or does it just seem that way? Perhaps we’re getting a start that’s a bit too deep, but the natural order of things has a way of following a mysterious pattern. You might see some of these things in your day-to-day activities, but sometimes a story invites you to consider how the design of our lives can be investigated, every so often, it arrives musically.

Avram Brown is the key composer and performer in a project titled the Wheel which focuses on his musical and personal journey and how he’s come - yes, you guessed it - “full circle” with many aspects of his life. You can call it a psychedelic project, but it’s more than that: it’s introspective, but also makes some attempts at looking outward, somewhere into the great beyond. If that’s too much for you, then just know that the music is darned good! We’ll also explore the friends who helped Avi complete this project which include Blitzen Trapper’s Eric Earley, violist/arranger Kyleen King (Brandi Carlile, The Decemberists), and recording engineer Larry Crane (Elliott Smith). 

So, sit down with Avram and me and take the interdimensional journey, if you choose, or just go along for the ride. You’ll find that there’s a lot of preparation - productionwise, and personally - that goes into growing a body of work that explores our existential complexities. How does the wheel spin in your life, does it move forward, or backward? If you had to set it to music, how would it sound? Avram Brown’s wheel sounds like this.

It’s one thing to love vinyl records and to enjoy listening to them, most people stop there. But, you might even go a step further and truly embrace vinyl culture and become a serious collector, there are plenty of those folks, too. But it’s a whole other ball of wax to learn the ins and outs of actually creating discs and becoming involved in the manufacturing process. That’s just what Dustin Blocker has done.

Originally, Dustin was a musician who soon turned his attention to the record label industry by founding North Texas-based artist-centric record label Hand Drawn Records in 2011. A few years later, in 2014, he started Hand Drawn Pressing as the vinyl record manufacturing arm for the company. Dustin is Chief Creative Officer of Hand Drawn Records and Hand Drawn Pressing.

Just before the pandemic hit, Dustin became interested in what other vinyl manufacturers were doing to make their businesses run at their peak levels. Instead of being suspicious of his competition, Dustin - with a few other manufacturers - created a vinyl manufacturing collective known as The Vinyl Record Manufacturers Association (the VRMA) which is a professional trade association of independent businesses committed to the craft of vinyl record manufacturing through collaboration, advocacy, standardization, and education. Blocker currently serves as the group's president.

So, if you’d like a glimpse into the behind-the-scenes workings of the vinyl industry, keep listening as Dustin and I talk about the viability of vinyl as a long-term audio product, how manufacturing of vinyl has - and hasn’t - changed over the last century and how the industry works together to ensure that the polyvinyl chloride discs that we love of are of a sustainably high-quality for years to come.

What happened to that 1960s optimism, the peace, the love and the understanding? Unfortunately, the sentiment hasn’t endured socially in the mainstream dialogue over the last few decades. But - as Nick Lowe and Elvis Costello are aware - there’s nothing funny about those ideas. It may not be fashionable, but a focus on spreading peace and love and trying to understand those who are different from you are incredibly important tasks; ones that must be seriously explored if we hope to keep this world spinning for a few thousand more years.

It was Jesse Colin Young’s voice in the summer of 1967 that implored everyone to “Get Together” in a song that wasn’t just a big hit of the psychedelic 60s, it was a clarion call that epitomized the best ideals of that summer of love. While Young didn’t write the song, it was his version with the Youngbloods that became the touchstone of the concept, transfering a feeling that so many strongly felt into a song. The message has endured as well - albeit through different generational lenses - Nirvana even lifted the introductory lyrics to use in a song from their Nevermind album in 1992.

After the breakup of the Youngbloods in 1972, Jesse continued a solo career and 2023 saw the 50th  anniversary and remastered reissue of Young’s most important solo work, Song For Juli. The album was recorded at a home studio that Young built upon a ridge in Inverness, California, about 30 miles north of San Francisco. It’s a dynamic group of songs that explore a wide-range of genres and styles. Jesse joins me on this episode to discuss the reissue, but also walks us through many of the high points and pivotal moments of his long career.

Young’s ridgetop home burned down during a massive forest fire in the 1990s, but - by some miracle - the studio that he built survived. If you walk through those woods today, and the wind from Drake’s Bay whistles just right through the pine trees, you might still be able to hear echoes of the romantic and idealistic sentiment from all of those years ago: come on, people now. Smile on your brother. Everybody get together, try and love one another right now. What’s so funny about that?

It’s Grammy season which is a perfect time for a reminder that the entertainment industry is - after all - a business that operates behind velvet curtains and closed dressing room doors. All of the biopics, books and exposes still won’t quite be able to communicate the industry’s mysteries to media consumers. The business’ financial side is one such curious corner ripe for exploration. Often we are wowed by numbers in the millions and billions when it comes to superstars of the decade; but what about the day to day ups and downs of the music market? And what if we wanted to invest in a piece of it? Where would one even start?

David Schulhof is a music industry veteran who has seen all sides of the biz. In fact, David’s father was even a chief executive at Sony. He’s been in the publishing world, worked in musical segments of the film industry, and now he turns his attention to the stock market, the musical side of it, of course. Specifically, David is the founder and CEO of an ETF fund (an exchange traded fund) with a focus on stocks related to music: featuring mainstays and new names that cover all parts of the industry including music streaming, content and distribution, live music events and ticketing, satellite and broadcast radio and equipment and technology. The ETF is called the MUSQ Global Music Industry ETF (NYSE: MUSQ).

You may love music, but it might require a bit of patience to truly learn about the industry’s financial side. Money and music have always been connected and now during a time when listeners want a more intimate connection with their idols, Schulhof’s ETF might offer them the opportunity to change their relationship from fan to investor.

So, pop a large bowl of popcorn before this year’s Grammy awards and enjoy the show, but consider taking a moment during the production to focus on the sound, the video, the technology, all of the things that help to support the magic of the music we love. Someone’s got to pay for all of the stuff and - hopefully - be rewarded with the profits. Maybe that someone is you.

Some musicians just can’t help but be inspired by everything! Everywhere they look, they see a little something that triggers musical thoughts, every song they hear pushes them to pick up a guitar or sit down at that piano and craft something of their own. Steve Lewis is one of those guys and - a few times during this interview - you’ll hear me compare his latest release, Exit to Mystery, with the experience of going through an old forgotten box of records, or maybe flipping around the car radio in search of something to tap the steering wheel to.

The new record features a little bit of everything: there’s chunky rock and roll, a few country-tinged tracks, some threads of gospel and even a tip of the cap to modern pop. Through it all, however, it’s all Steve Lewis; whoever Steve Lewis chooses to be on that song, at least.

Our conversation explores how the pandemic gave him the time he finally needed to get the album he’d been hoping to produce done. We also discuss a few key tracks and look at the future. If you’re a musical maverick, someone who doesn’t mind going through that proverbial box of records and throwing what looks good on the turntable, then stay tuned and consider exploring Steve Lewis’, Exit to Mystery. 

There is a subgenre of jazz that remains a bit of a mystery. On one hand, it’s incredibly popular as a sound that you’ve heard throughout film, television, and marketing for many years. On the other, there might not be many records in your collection that represent this style. It is, however, endlessly exciting and features musicians who play at a breathtaking level. If you love jazz, and you’d like to hear something new, get yourself into a genre commonly referred to as Gypsy Jazz, or jazz Manouche.

Popularized - and more, or less invented by - Django Reinhardt on guitar with Stéphane Grappelli on violin at his side, the style came to prominence in France during the early part of the 20th century, through their performances with the Quintette du Hot Club de France, or in American terms: the Hot Club of France. Much of the sound’s mystery comes from the fact that it was born of a nomadic group of people traversing Europe. That multi-cultural influence, however, is what gives jazz Manouche its uniquely full-flavored sound.

Though Reinhardt died in 1953, the style that he popularized has become a permanent part of the landscape and there are several groups and musicians still carrying the torch that they lit. But how has the genre developed nearly a century later? One place to discover - or rediscover - the sound, is by hearing the newest release from the Hot Club of Los Angeles, Nova.

On Nova the quintet shares a collection of 15 tracks ranging from classic and contemporary gypsy jazz, bossa nova, French chanson and traditional Roma fare to film soundtrack, jazz standards and originals composed by the group’s members in a few different languages.

To discuss the current state of Gypsy Jazz in sunny California, we are joined tody by the group’s drummer, Jim Doyle. He’ll discuss Jackson Browne’s fandom of the group, the band’s decade long, Monday-night residency at The Cinema Bar in Culver City, and explore the lineage of the sound and the HCLA. Gypsy jazz takes on its nomadic heritage through its sound, borrowing and blending unique contributions from different customs and cultures. If you want to hear how 100 years and nearly 6,000 miles have altered the genre, listen to some Django, then switch on the Hot Club of Los Angeles.

How many different sides of you are there? Who are you when you’re alone, and how is that person different from who you are in front of others? We all have different sides to us and the world rarely sees the whole version of ourselves. But music and art can help to peel back the layers and provide a glimpse of the threads that make us who we are.

Stacey Kent has a long musical career under her belt, she is a longtime and critically acclaimed jazz vocalist and a Grammy nominee with a brand new album out now titled, Summer Me, Winter Me which is a compilation of the songs that she enjoys performing on stage, but that haven’t yet made it to an album. It’s that “little bit of everything” that lets us in on the secret of what Stacey enjoys performing for her audiences around the world, but also gives us a sneak peek into who she is through the eclectic blend of music that was chosen for this release.

Of course, like any great artist, she doesn’t do it alone. While many of the selections on the album may be familiar to you, several songs were written by Kent’s saxophonist, arranger, producer and husband Jim Tomlinson. One of which was co-written with their longtime collaborator and Nobel Prize winner, Kazuo Ishiguro.

Stacey has album sales in excess of two million, Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions and over half a billion Spotify streams and she joins us on Radar to kick off a new year of conversations with style, grace, and plenty of panache. Happy New Year to Stacey...and Happy New Year to you, dear listener...

It’s the end of another calendar year at The Vinyl District’s Radar podcast and to all of our listeners - and readers - we wish you the happiest of holidays and a very wonderful new year in 2024. Thank you - also - to all of the fabulous guests who took time out of their busy schedules to join us here for a chat.

Frank Sinatra was born on December 12th, 1915 in Hoboken, NJ and his voice is often heard during this season, so what better time to delve into a newly released box set that highlights some of Frank’s prime cuts for Capitol Records in celebration of his signing to the label 70 years ago. The set is simply titled, Platinum.

Featuring 44-tracks on 4LPs (for the vinyl box, at least) the records are housed in a hardback, large format package including rare photos, an introductory essay and quotes from Sinatra and his arrangers. The man behind the project is Charles Pignone who was curator of the set and who also serves as President of Frank Sinatra Enterprises.

So, we end the year with a toast and a cheer taking a moment out of the hustle and bustle to celebrate the man who had one of the greatest voices any of us has had the fortune to hear: Frank Sinatra. Join Charlie and me as we discuss the process of putting together this beautiful new box set, how he became a part of the Sinatra team, and listen as I try to find out what Sinatra fans might expect in the near future.

So, cheers to everyone and - while you’re enjoying yourself this season - you might want to make sure that Francis Albert’s voice is coming through the speakers wherever you are. I mean, really. When Frank comes on, it’s hard to turn him off. Happy Birthday to the Chairman of the Board.

The arts have always served as an effective way to tackle difficult feelings. Mental health has become a very hot topic in the last few years for two reasons: the first is that mental health challenges have continued to become destigmatized, and the second is the continued realization that - believe it, or not - someone that you know, most likely several of the people you know, grapple with a mental health challenge of their own.

The arts serve as a conduit through expressing feelings that aren’t so easy to communicate with mere words. Non-profit record label Future Youth Records knows this well and offers young performers a way for them to express their feelings about complicated social issues in musical terms. Ontario’s, Tausha Hanna connected with the label and together they have completed two significant projects. On the fhe first, Tausha was one of the featured performers on Julian Lennon’s, “Saltwater”  which supported Lennon’s White Feather Foundation.

Recently, Tausha has completed her second project with the label. This time, shifting the focus away from environmental concerns and toward mental health initiatives. Tausha was connected with Billy Bob Thorton and his stalwart musical partner from the Boxmasters, J.D. Andrew. They were both impressed by a song of Tausha’s titled, “As I Ever Was” and invited her to Billy Bob’s studio to produce and record the song together.

What you’ll hear on this episode is Billy Bob Thorton, J.D. Andrew, Tausha and I have a frank discussion regarding the state of mental health support in our current society and examples of ways that the arts serve as a valuable tool in combating the challenges that so many people face. It’s also a refreshing portrait of new and experienced performers joining forces for a common goal. 

There was an exciting time during the early 1980s where there was a true fusion of a few different musical styles which led to a hybrid of rock and reggae in a radio-friendly pop-package that was especially popular in the UK. The English Beat and General Public were two bands at the forefront who captured the ears of that generation. Coincidentally, both groups had two band members in common: Dave Wakeling and Ranking Roger.

Earlier this year, BMG reissued General Public’s debut album All the Rage and their second studio album Hand to Mouth which feature a few of the group’s hits including “Tenderness” which - at the time - showed up in not one, but two John Huges films, Sixteen Candles and Weird Science: you can’t get much more 80s than that.

Sadly, Ranking Roger passed away in 2019, but Dave Wakeling continues to tour and perform his catalog of music from both the English Beat and General Public for audiences around the world. He’s also having a high-water mark vinyl year as well, in addition to BMG’s General Public reissues, Rhino will reissue an expanded version of the English Beat’s I Just Can’t Stop It for Record Store Day: Black Friday in November of 2023.

Dave joins me this week to discuss these reissues and to take us on a detailed journey through their intricate production process. He’s got a great memory of the old days and a witty and nuanced perspective on the music he made during those years. You won’t want to miss his description of how John Hughes organized his record collection. It may be a trip down memory lane, but it’s also an exploration of how much of the music that was made all of those years ago has found its way back to the future. 

We all make boo boos. Usually, however, when the boo boos happen, we more or less move on, apologize if necessary, and try to watch out for similar situations in the future. Sometimes, however, as we’re bobbling that thing that we’re about to break, we manage to tap-dance our way into some sort of a solution; even if it doesn’t look pretty.

I’d been hoping to interview Graham Parker for many years and when the opportunity came up in the past, it just didn’t work out. So, when the chance came up in connection with his latest release, Last Chance to Learn the Twist, I jumped and wanted to make everything run as smoothly as possible. Graham and I had a great, fun chat. Except, as Murphy and his law might have predicted, I messed it up and was unable to use any of the footage that we created together.

Instead of running away with my tail in between my legs, I bravely stood up, raised my hand, and said out loud, “I goofed!” to which Graham and his team kindly responded in the positive: “don’t worry, mate. We’ll do it again.” 

So, enjoy take-two of a double-take of my interview with Graham Parker. He’s as fun of a chat as you might imagine and his wealth of experiences and strong and solid body of work make him a character who anyone would enjoy speaking with. He’s smart, he’s funny, and he’s not above giving a bloke a break when that bloke has made a boo boo. Thanks, Graham.

There’s something to be said about longevity, especially in an industry as cruel and fickle as music and entertainment. But there are those who have been able to maintain a career through all of the ups, downs, ins and outs; those who have stood the test of time no matter what curveballs have been thrown at them.

Originally hailed by the Village Voice as “the new Dylan'', Steve Forbert now enters what will be his fiftieth year of performing. After a hot breakout with Alive on Arrival it was his 1979 second album - Jackrabbit Slim - which featured his first shot at radio success, “Romeo’s Tune”. His output and touring continued during the early eighties and he even found himself playing the bouquet wielding boyfriend in Cyndi Lauper’s “Girls Just Want to Have Fun” video. Watch out for Captain Lou, Steve.

Over the years, he’s continually released albums (some 23 studio records) and toured for much of the time. Recent days find him in a simultaneously retrospective and forward-looking mode! Late last year, he released his most recent package of originals, Moving Through America. But this year, he has taken the opportunity to revisit one of his favorite albums, 1988’s Streets of This Town, even remixing and moving some sonic furniture around to fit his idea of how it should to contemporary ears.

So, join me and Steve Forbert as we discuss his lengthy musical journey, his latest record, and what it’s like to look back at his own work as a man with a few more miles on the touring odometer and many more experiences to share with those who have stayed loyal to him over the course of his notable musical journey. . 

On this program, we usually focus on folks who create the music that we love listening to, but what about paying homage to those who are in charge of sharing the music with us? We don’t all have a friend who can hip us to the latest and greatest, so we all must subscribe to a trusted voice we can rely on that is equipped with careful curation skills and discriminating taste.


Colleen “Cosmo” Murphy is certainly one of those people for me. Not only do I learn about plenty of great music on her weekly online program “Balearic Breakfast”, but I also regularly take a deep dive into her world-renowned podcast and live series, “Classic Album Sundays” which features a scholarly dive into your favorite albums showcasing someone who worked closely on it and brings valuable first-hand information to the conversation. Of course, when she’s not doing those two things, she can be found DJing different major events all across the globe.


She’s a woman in constant motion which is why I had to travel all the way to the Netherlands to catch her for this program which makes this our first “on location” episode of Radar. Colleen and I were both attending the Haarlem Vinyl Festival and they were kind enough to create a fabulous podcast area for us to conduct our interview in the main lobby of the Haarlem PHIL. For that reason, you’ll hear plenty of ambiance as folks ambled by watch us chat; some even snapped a few pictures! So, relax and enjoy a quick-fire conversation with a true musical tastemaker.

We grapple a lot with genre here on Radar, and this week’s episode is no different. Genre is a funny thing when it’s applied to nearly any field. On one hand, there’s nothing wrong with an artist being aligned with - or, being seen as representative of a certain genre - even if it’s a point of frustration for the artist. On the other hand, music listeners should allow artists the latitude to adjust their compass to explore other styles of music without untoward rebuke, but sometimes it’s not easy to persuade an audience to follow an artist's whims and dalliances. It is what it is.

While much of Danny Lee Blackwell’s output can be tidily summarized as living in the psychedelic world, there’s a lot more to him, and to his numerous musical projects. Today, we’re here to talk about Danny’s group Night Beats and his new album, Rajan (Suicide Squeeze / Fuzz Club), but he’s got other irons in the fire, as well. This year, Danny also released an album with another project he’s working with, the name of that group is Abraxas and the album was titled, Monte Carlo. Danny’s involved in many other musical productions as well. 

On Rajan, Danny explores garage rock, soul, and R&B. Of course, one can also find some funk, jazz and elements of hip-hop in his work as well. We discuss all of that, plus more: the familial ties that are connected to this album and life on the road. No matter what genre Danny is exploring, he’s got one simple rule for determining if what he’s created makes it to the final cut: whatever it is, it’s got to give him goosebumps. Hopefully, you get the same feeling listening to our chat. 

We all know that crime doesn’t pay, but that doesn’t stop the world’s fascination with it. What is it about the seedy underbelly of our social structures that makes it such an intriguing topic? And there are no shortage of types of criminal activities to explore: white-collar crime, violent crimes, crimes of passion,cyber crime, and even crimes of the heart. How can we think about these things without glorifying them? It’s also a study of our individual morals: what you think is a crime, might be fine with me.

Harper Simon has chosen to explore these topics in a brand-new, wide-ranging, multimedia project titled, Meditations on Crime. What began as a music project eventually morphed into a book containing essays, artwork, a short film, and an album. It’s a thought provoking thesis that examines the unfortunately, ever-present entity of crime in our lives.  

While we’ve all had criminal activities touch us in different ways, it’s those uncomfortable experiences that might bring us together in an exploration of crime - and in a more complicated way - it invites us to ask the question of what do we do about it?

If you love vinyl, there’s only one place to be this weekend (9/26-10/1) and that is Haarlem, Netherlands. There won’t be just one gathering dedicated to vinyl either: the town will host a conference and a festival who have made the wise decision to co-locate in the capital of North Holland. A few months ago on this program we spoke with Larry Jaffee and Bryan Ekus about the Making Vinyl conference that took place last spring in Minneapolis, Minnesota. During that conversation, they gave us a sneak peek at what to expect this week in the Netherlands as they set up shop to hold a European conference there. 

But, they won’t be alone. Following the conclusion of the Making Vinyl conference will be the beginning of the Haarlem Vinyl Festival which takes place during the second half of the weekend and which is billed as, “the world’s first multi-day festival entirely dedicated to vinyl culture.” One of the architects of the event is Anouk Rijnders (RHINEJERS) who is the sales manager at the Netherlands record pressing plant, Record Industry. 

After working as a producer and director in the television and advertising industry, Anouk joined the Record Industry vinyl pressing plant in 2000. In addition to her role as a Sales Manager for the company, she has produced two books, Passion For Vinyl and it’s sequel, Passion For Vinyl Part II and will debut Part III this weekend. Anouk is also the Project Manager of Artone Studio which is Record Industries’ brand new mastering room and studio, offering direct-to-disc recording amongst other services.

Anouk was kind enough to join me for this episode to discuss her expectations for this week’s vinyl festival and also to talk about her two decades in the record pressing industry. Yours truly will also be in the Netherlands next week appearing at both events! So, if you love records, and you’re in the vicinity: stop by Haarlem this week and say, “hi” at what’s sure to be an unforgettable vinyl experience. 

Music is best when taken internationally. It’s easy to get looped into all of the wonderful North American offerings that are available to we listeners, but sometimes you’ve got to take the night flight to locations unknown. To close your eyes and wake up in a new culture with unfamiliar languages and customs. Our relationship with music should be an adventurous journey, it should be the tonic that brings people of all nationalities together, it’s a universal language; maybe I’m getting too romantic, but in times like these we could certainly benefit from sharing some favorite records and engaging in some moonlight dancing with strangers.

Who else to take us on this multicultural, international trip but Sabina Sciubba. It doesn’t get more international than her. Sabina was born in Rome, however, she was raised in Germany and France before ending up - of course - in the Big Apple where she connected with a group of other adventurously like-minded musicians who eventually formed what would become known as the Grammy-nominated group, Brazilian Girls. While the group is on hiatus, Sabina has released three excellent solo albums, the latest is titled, Sleeping Dragon which features her unique blend of language (she speaks six of them) and an eclectic array of music to interest any music lover's senses. 

We talk about the new record, her collaboration with Dhani Harrison, and she gives us a glimpse into her artistic process. We also discuss her upcoming American shows - her first ones in the states in four years. She’ll be in New York City at Nublu on September 23 and those of you on the west coast can catch her at Zebulon in Los Angeles, CA on September 27. At both shows, she’ll be performing her solo music, tunes from the new album, and - for the first time - some of your Brazilian Girls favorites. So, check to see how many miles you’ve got on your credit card, and dust off your passport; let’s join Sabina in Italia and let her take us on a musical adventure. 

Some musicians get lucky enough to find a career, once; maybe even twice. But if a musician is able to have several different careers in the brutal music business over the course of their lives, it’s not about luck; it’s about talent.

Peter Case has plenty of talent: he’s made his name as a great songwriter and vocalist and was also a part of the primordial punk/new wave band, The Nerves as well as The Plimsouls. Over the course of his half-century career, he’s released fifteen solo albums, and just released number 16. It’s called Doctor Moan and it finds Case leaning his usual acoustic guitar against the wall in favor of the piano he spent an inordinate amount of time with during the pandemic. Go ahead, he won’t mind if you call it Peter Case’s piano record. 

Case and I - of course - talk about the new record and the process of recording it, but we also comb through his career and touch upon some of the thumbnails that he’s left behind on the map of his travels around the world he’s taken over the past 50 years. We also discuss the recent documentary that was produced about his life and his work called, Peter Case: A Million Miles Away. So tune in to learn how Peter Case crafted his Zelig-like persona in the music industry with a whole lot of hard work and time and - well - maybe just a little bit of luck.

Supporting a leader isn’t an easy job. The list of responsibilities is long: it’s necessary to pivot with that person, and go with the flow. One must have the ability to look a few yards ahead and anticipate what’s coming just around the corner. If you’ve ever watched a late night television show, watch - or, maybe more appropriately, listen -  to the bandleader: the way the music punctuates special moments, how the occasional comments from the host can be countered by a bandleader who is connected and paying attention to the unexpected ebbs and flows that are an integral part of late night television.

Louis Cato may be only beginning his second year as bandleader on The Late Show with Stepehen Colbert, but he’s ready to find the spotlight on center-stage, musically, at least. In addition to his work on the Late Show, Cato is a Grammy-nominated and internationally acclaimed multi-instrumentalist, producer, and songwriter. He has worked with an array of artists including Bobby McFerrin, Snarky Puppy, Jon Batiste, Q-Tip, A Tribe Called Quest and more. This year he released his newest album titled, Reflections.

So, make a cup of coffee because Louis and I are going to stay up late discussing his new album, the road that led him to late night and the tricks of the trade involved in supporting an acclaimed talk-show host with one of the most important parts of any late-night program: the music. 

So what if it’s a nickname? When people refer to you by the name Vinyl, there’s a reason why. Of course, it also happens to rhyme with this week’s guest's legal name - which is Lionel - and you’ll find out the origin of this nomenclature by just staying tuned in. 

Lionel (Vinyl) Williams is a California based musician who has created an impressive body of psychedelic work and he has just released his seventh album, Aeterna. Like his other albums, this one explores the inner (or, maybe outer) reaches of his auditorily psychedelic vision which stretches quite far, and that shouldn’t be surprising, because he’s got some excellent familial genes to rely on: his parents were both musicians and his grandfather also happens to be John Williams. Yes, that John Williams. 

So, join me and Vinyl as we talk about musical subgenres, the influence he’s received from his musical family, how he approaches the recording process and his lifelong trip of musical exploration and experimentation. 

As large as it seems, the entertainment world is really pretty small. While many folks make the joke about Kevin Bacon and his six degrees of separation from anyone else in the industry, it’s quite possible because everyone in the performing arts world is really only a few steps away from anybody else. I had my own experience with this phenomenon just a few months ago when I hosted bassist Marty Isenberg on this program to discuss his recently released album featuring jazz covers of music from Wes Anderson films. As I enjoyed his record, I noticed the vocalist who was featured on many of the tracks and whose voice served to tie the project together: Sami Stevens. 

So, imagine my delight when I learned that she was releasing her first full-length album - Morning - and that she would be available to speak with me on this very podcast! Coincidence, or six degrees of entertainment separation? Whatever it was that led us here, it doesn’t matter. What does matter is that you accept the invite to learn more about this talented performer and her new work. 

Morning is an ambitious first album from any performer, and on this episode you’ll hear Sami explain the process of putting it together, but you’ll also learn more about where she’s come from and - of course - where she’s planning to go. While you’re listening, you might check your social media feeds to learn just how many degrees separate you from Sami Stevens. It’s probably fewer than you think. 

There are some musical groups and performers whose music is as ubiquitous as having the lights on in a dark room, or water streaming from a kitchen faucet. Some music is more than just songs, it’s as though the words, phrases and messages are ingrained into our psyche. This might not even have anything to do with whether we like the music, or not! It’s just always there: on the radio, of course, but also in echoing hotel lobbies, in the backseat of cramped taxi cabs, in sprawling, neverending mall hallways, and yes - even the occasional elevator ride. Wherever music is, certain songs can be found.

Since 1995, no matter where you’ve gone in the world, at some point, the music of the Goo Goo Dolls has followed you around. You know the choruses and those acoustic guitar riffs almost as intimately as some of their hardcore fans do! To-date, the band has sold over 15 million records worldwide, garnered four GRAMMY® Award nominations and they have produced nearly a dozen platinum & gold singles combined, and seized a page in the history books by achieving 16 number one and Top 10 hits. It doesn’t matter if it’s “Name”, “Long Way Down,” “Iris”, “Slide”, or “Black Balloon” those songs are our companions, and the lyrics of John Rzeznik are inspiring, especially in the right set of circumstances. The themes of resilience in the face of love, loss, and being lost strike a familiar chord with anyone who stops to listen and soak up the deeper notions that are inside of each song.

Rzeznik joins me on this episode to talk about the band’s new song, “Run All Night,” the band’s recent collaboration with O.A.R on Tom Petty’s “Won’t Back Down.” and the nationwide tour that they are currently on that will see them performing career-spanning sets at major amphitheaters across the country. So, maybe the next time you’re feeling a little low, a little bit lost, I’ll bet that - wherever you may find yourself -if you bend your ear in the right direction, you might hear John Rzeznik singing a song about staying brave and believing in yourself in the midst of life’s inevitable changes, and that’s a comfort that is much more than just listening to a good song.

The Cold War was a time that those of a certain age will remember living through quite vividly and it included a terrifyingly tangible fear of global nuclear warfare. The Soviet Union was simply seen as an evil empire and the media surrounding America during those years had no problem perpetuating that narrative. In my case, during the 1980s, it was films like Rocky IV, Red Dawn or even Spies Like Us that set the diplomatic tone of the time. However, by the early 1990’s, I’d acquired an unusual record titled, Red Wave: 4 Underground Bands from the Soviet Union. I certainly didn’t know what to expect, but I was surprised to discover that the music contained in the album’s grooves was edgy, exciting, and surprisingly contemporary and timeless; it was cool. The Russian bands featured on the album were Aquarium, Kino, Strannye Igry (Strange Games), and Alisa. 

Through glasnost and perestroika reforms this record remained in my collection. With the fall of the Soviet Union our Russian relations thawed through the years as they embraced a type of capitalistic culture that seemed somewhat familiar to us Americans. Cold War paranoia, the KGB, wiretaps and global nuclear warfare gradually faded away. Recently, however, our collective relationship with Russia has again changed and not for the better. But what an interesting time to learn that the catalyst for the Red Wave album that had been in my collection for so many years has recently released a book - Red Wave: An American in the Soviet Music Underground - detailing her story of how - right in the thick of the Cold War - she fell in love with the underground music and culture of the Soviet Union and how she was determined to bring their sounds to the United States and beyond. 

Joanna Stingray joins me this week to discuss her adventures in Russia and her tireless determination to share that country’s brand of rock and roll with the rest of the world within the real Spy vs. Spy climate of the days. She debriefs us on what’s been happening with many of the key musical figures that she befriended and worked with in those days and we talk about how modern times remind us very much of the bad old Cold War days. Ultimately, Stingray’s story is about the spiritual freedom of rock and roll no matter what country you were born in. We talk about all of these things, but we also have to wonder a few times, might there be anyone else listening in to our conversation? That is, anyone other than you, dear listener.

Once one delves far enough into a hobby or an interest, they become curious about its inner workings. When it comes to records, you might enjoy those discs on a certain level before you start wondering how music comes from those grooves at all. Who is responsible for producing this material? How are the pressing machines maintained? How does the industry make all of this stuff?

Enter Larry Jaffee and Bryan Ekus - both of whom wear many hats - but who oversee - and co-created -  the “Making Vinyl” conference which is an event bringing together industry professionals, enthusiasts, and experts from the vinyl record manufacturing and music industries. The popular conference serves as a platform for sharing knowledge, networking, and discussing the resurgence and future of vinyl records. The "Making Vinyl" conference continues to be a must-attend event for anyone with an interest in learning more about the nitty gritty of the vinyl trade. 

Additionally, Larry is an author and professor who literally wrote the book on Record Store Day, Record Store Day: The Most Improbable Comeback of the 21st Century. So, of course we discuss the current happenings at RSD. 

If you love records, then there is plenty of information to enjoy in this episode. It’s an opportunity to not just enjoy records from afar, but to begin to scratch the surface in appreciating the hard work and back-end of an industry that grows bigger each day. It’s a chance to investigate and uncover some of the intangibles that make vinyl so darn fun.

Artificial Intelligence is a hot button topic of the day. Everyone wonders where the A.I. rabbit hole will lead us  and one of those areas of conversation involves music and media production. For years now, computers have been helping musicians to create their music and also to improve upon whatever it is that they’ve made. From autotune to sampled electronic versions of analog sounds, the digital recording landscape has gone too far to completely turn its back on music production in the 21st century. But, how can this relationship grow without us humans relying too much upon the tools available to us in our digital sheds?

Darren Burgos is doing his part to explore and demonstrate the synergistic connection between digital production and us old fashioned human beings. His recently released album, Connections focuses on electronic pop composition and synthesizers, but his work also ponders the complicated human relationships that live amongst the 0s and 1s. In addition to his work as a musician, Darren is also considered one of the world's leading experts in Apple’s Logic Pro digital production software; because of this, Darren has taught thousands of new and established musicians how to produce music in the digital realm.

Darren and I discuss his latest release, but also the sometimes perplexing relationship that human beings have with technology; how even with all of our Luddite tendencies, humans have always had an innate and organic need to create and connect with technology. How this relates to music has yet to be fully envisioned, but Darren might be one of the more qualified folks on the planet to imagine what that future looks like. The digital music of the future might sound good, but will it sound human?

Are there records in your collection that you love so much you might consider the possibility of never hearing them again? Such a concept is counterintuitive to a lover of music or sound. Records are made to be played, not hidden away like the dusty storage unit relics in the concluding scene of Raiders of the Lost Ark! However, I’m sure that by scanning the items on our shelves, there are a few things - perhaps more than a few - that are only there for nostalgic reasons: that copy of our first Beatles 45 that is now scratched and written on; maybe the hastily scribbled Nick Lowe autograph from the early 80s on an album jacket that’s seen much better days; or, perhaps when a special release hit the market, you had the foresight and clever collecting acumen to purchase a spare. You know, just in case.

Coins, comic books, and baseball cards have long inhabited the world of collectible grading and encapsulation, and - if Rob Martinez - from Audio Media Grading has his way so will all physical media associated with sound production. Rob has recently partnered with DJ Steve Aoki to create a process to grade and encapsulate all types of different sound media: vinyl, cassette, CD, and - yes - even 8-track. 

The other collectibles mentioned above all feature items that can be extremely lucrative and - of course - their value is reliant upon the condition the thing is in. But who is the ultimate judge of that? For those who aren’t familiar with the collectible grading and encapsulation world, it’s summed up in this way: a customer has an item they believe is of some value, they pay to send that item to a company that will then ascribe a grade to the item, and then the item is encapsulated in some form of thick, nearly impenetrable acrylic holder which is suitable for display. This is done to ensure that the collectible inside retains that grade, so long as the thing stays locked securely within the case. 

The point of physical sound media - of course - is that those items are capable of creating the sounds that music lovers live to hear (unlike coins and baseball cards which just look cool). However, records “look cool” too, and many album covers would warrant the encapsulation that a company like AMG might provide. But, listening to Rob Martinez explain it, this concept can be expanded to include master tapes, rare cassettes used in archival sets, or other “one of a kind” items that would benefit from being safely stored away in an aesthetically pleasing, permanent containment unit. 

So, join Rob and I as we explore the pioneering work he’s doing in the sound media grading and encapsulation industry. It might cause you to pause the next time you are perusing your collection. You might ponder, “I know I’ll never get rid of this, but will I ever play it again?”

It’s a real luxury to sit for a while and chat with musicians who have been a part of your life for - well - all of your life. To actually speak with the people who made the sounds that have served as your life’s soundtrack, to ask those things you’ve always wondered about. Who gets to do that? For better, or worse, I’m one of the lucky son of a guns who is allowed to engage directly with many musicians whose work has impacted my life in one way or another for many years. I’m sure you all have some Police records in your collections; what would you ask those fellas if you had a moment of their time?

I asked Stewart Copeland about his newest musical endeavor, it’s called Police Deranged for Orchestra and it features a fresh take on many of the Police classics that you know and love, but they are infused with a new and exciting energy by this musically restless, 7 time Grammy award winning rock star and drumming great. He’s taking the show on the road and wants this new album to serve as a representation of what you might expect in the audience. He’s also completed a new coffee table book titled, Stewart Copeland’s Police Diaries which looks at the lean early years of the Police where Stewart was their drummer, but also their manager. 

So, what would you ask Stewart Copeland if you had the chance to chat with him? Well, you’d probably ask questions that are different from mine, but that’s only because his work and music has impacted so many different people in so many different ways that we’d each have our own unique list of comments and questions to bring to him. The best part of speaking with Stewart, however, is listening to him respond! If you’ve ever caught a moment of his interviews, he is funny, candid, intellectual and straightforward. So, pull up a drum throne; let’s savor the opportunity to  speak with one of the greats!

One never knows what might end up in a songwriter’s sketchpad. It could be random musings about the state of the world, hazy memories about family members, or maybe even inspired creations from the works of other masters. A songwriter’s sketchpad is a diary of sorts for an artist, but can also serve to shed light upon the unconscious interests and influences of the artist themself. 

Sam Blasucci recently released his first solo album titled, Off My Stars on Innovative Leisure Records. Listeners will discover a laid-back musical affair featuring Sam as he displays the pages of his metaphorical sketchbook. It’s an organic album featuring the opportunity for an intimate dialogue between listener and artist. Sam is good enough to take us through the journey of the newest album and explain what he had in mind. 

We explore the influence that his Italian-American upbringing had and the familial roots that create a certain artistic security. We also discuss the work he’s creating in his other group, Mapache and talk about that most elusive musical instrument, the melodica. It’s one thing to turn the pages of an artist’s sketchbook with the hopes of catching a peek at what the creator was thinking, but it’s even better to have a guided tour from the artist himself. Luckily, Sam doesn’t mind narrating his creations.

Artists need to be inspired to create their best works, and it’s not always easy to have the wherewithal to clearly see the inspiration around us. In fact, for a musician, the insight to this inspiration is often more important than musical or production ability. Listeners love sounds that touch them on an emotional level, but how do you search out that spark? How does the musician find the muse?

This is the journey that Charlie Bruber finds himself traversing on his latest album, Finding the Muse and as you’ll learn, Charlie is open to the idea that there are many sources of inspiration to explore. It may be a famous musician, a vintage keyboard, or something else. In any case, Charlie has created a far-reaching album that delves into all facets of his talents and skills as a multi-instrumentalist and composer. While you’re listening, you may wonder if you’re hearing the same performer, but you’re just seeing all the many different  sides of Charlie Bruber.

Charlie joins us directly from his recording studio in Minneapolis, Minnesota and we end up digging through our respective  record collections in real-time for a fun back-and-forth about albums we both appreciate. We also discuss Charlie’s other important musical projects, specifically, Black Market Brass on Colemine Records. It’s entirely possible, by joining in on our search for Charlie’s muse, you might be given some direction in finding your own. 

One of my old film professors used to say that one had never really seen a film unless they had watched it at least once with the sound off. Audio - be it music, or sound - adds so much detail to a moving picture that sometimes the viewer misses a few visual nuances because they’re also busy listening. While my professor’s approach might be an extreme way to evaluate a movie,  there’s no denying that music and film have long had a strong cooperative association. Long before film even had sound, there was always an attempt to fill the auditory gap.

While the days of the chart-topping soundtrack albums are long gone, there are still some directors who lean heavily on the mix-tape concept to source sound for their films and Wes Anderson is one of them. Marty Isenberg is a bassist and composer based in New York City and on July 7th, he’ll release his newest collection of songs pulled from - and inspired by - the films of Wes Anderson. The album will be titled, The Way I Feel Inside and it will be released on the Truth Revolution Recording Collective label. The music is stellar, of course, but the icing on the cake is the album cover which was illustrated by Renan Campus who tapped into the wonder of Anderson’s aesthetic palette.  

Marty and I delve not only into the music that Wes Anderson has employed in his films, but we talk a bit about the films themselves. We also discuss the players that Isenberg employed on his auditorily filmic adventure including the outstanding work of Sami Stevens who added vocals to many of the album’s tracks adding a crucial layer of dynamism and lyrical context to Isenberg’s vision. So, the lights are going down, join me and Marty as we take our seats and listen to the movies of Wes Anderson. Maybe my old film professor should add another layer to his approach: perhaps one should listen to a film at least once without watching it. 

Musical genre can be a very limiting place; it can put fences around the aspirations and creations of musicians, but it can also cause the listener to stay in their own little world without branching out to explore things that they might also enjoy. It takes a strong group of musicians to move beyond those confines and a loyal and dedicated horde of fans and followers who are ready, willing and able to go wherever their favorite artist chooses to lead them. 

For all intents and purposes, Nickel Creek is a bluegrass band and features Chris Thile (mandolin), and siblings Sara Watkins (fiddle) and Sean Watkins (guitar), but they stretch the barriers of the genre and bring their fans along for the ride. Believe it, or not, even though the band members are all in their early to mid-40s they have been performing together since the late 80s and so they can read each other's thoughts musically - and probably otherwise. They have a brand new album on the shelves this year (Their first release since 2014) called Celebrants and while it may be a bluegrass record it is unbound by the confines of any genre: it’s an exciting musical exploration by three excellent musicians with a potent mixture of artistic symmetry and collegiality.

One of those three excellent musicians - Chris Thile - joins me on this episode to discuss the new Nickel Creek album, of course, but to also engage me in a free-flowing conversation about sound, music, composition, working with others, creation and his own personal musical restlessness and a lifetime of discovery. This talk is a chance to look into the mind of a musician who is always looking out. 

Life is full of twists and turns; unexpected chapters. Sometimes, we recall certain times and experiences and they bear resemblance to vivid dreams, so much so, we might even ask ourselves, did that really happen? We evolve, we move on, but - no matter where we go - we carry those adventures with us, even if we’re not always aware of the influences.

The life of May Pang took an unexpected detour in her early twenties when she became romantically involved with one of the most famous people on planet Earth, John Lennon. While this period of Lennon’s life is often described as a debaucherous tangent, Pang - who was there at his side through it all - explains it with a bit more context in the new, recently released film she is involved in, The Lost Weekend: A Love Story.

The film tells the tale of how Pang and Lennon met and Yoko Ono’s unique role in their relationship. It also explores Pang’s association with many of the ancillary characters in Lennon’s life. Even though the Beatle’s biography has been exhaustively documented, Pang’s film offers a few surprises that only a true insider would be able to share. May Pang allows me the luxury of asking about some things I always wanted to know. Perhaps I ask a few questions that you’ve always wanted to know about this somewhat mysterious episode. Let’s learn about the ballad of John and May.

Longevity in the entertainment business is an attribute worth celebrating. While the industry is often focused on brand-new, younger artists, it’s the performers who have been out there for decades that are really the cornerstone of the touring industry. Of course, it’s also helpful if the music that they’ve created has become popular standards.

Gene Cornish - along with Felix Cavaliere, Eddie Brigati and Dino Danelli, created The Young Rascals in 1964 and became a smash-hit single recording and touring act. What Gene brought to the table was a unique spin and approach on the guitar and - of course - harmonica! Imagine “Groovin’” without a harmonica, it’s impossible. Thanks, Gene.

Gene joins me for a chat about the string of shows he is currently performing with Felix Cavaliere & Gene Cornish's Rascals. We also discuss the recent loss of his good friend and musical compatriot, Dino Danelli, what fans can expect seeing when  he and Felix perform together and he shares some insight on the industry after 60 years in showbusiness.

The arrival of each season brings with it some balance. When one element is taken away, another quality takes its place. It’s the old adage of one door closing and another one opening. No matter how hard we want the long, warm days of sunny summer to last forever, the fall brings its own snug serenity (depending on where you live on planet Earth, of course). 

Alexz Johnson is a Canadian singer-songwriter and actress who first gained recognition in the early 2000s by playing the role of the lead character in the Canadian CTV series Instant Star, where she also contributed to the show's soundtrack. She also appeared in the Disney Channel series So Weird, and in the 2006 horror film Final Destination 3. Throughout it all, Johnson has released several critically acclaimed albums and singles, showcasing her talent in various genres, including pop, rock, and folk. Johnson has built a loyal fan base and established herself as a promising and dynamic artist in the Canadian music scene. On her latest LP, Seasons, Alexz explores nature’s natural patterns.


Join Alexz and I as we discuss the ups and downs of the Gregorian Calendar to which we all subscribe. On this episode, you’ll hear Alexz describe her songwriting process, detail the challenges of simultaneously balancing a show business career with raising a family, and how she crafted her latest record which is contemporary and soulful. The skies outside might be warm and beautiful, or perhaps they are overcast and nefarious, nevertheless, Alexz takes it all in and details the highs and lows that each season brings.

To surrender does not always mean to give up. Sometimes, it takes an incredibly strong person to recognize that the flow of life is trying to tell them something. Often, one’s real power can be found by letting go and allowing the natural direction of things to take their course.

Jann Klose’s new album, titled Surrender (Honey Rose Records), is an exploration of many things, but notably that concept as well. His seventh studio album finds this pop/rock singer-songwriter honing his already sharp songwriting chops. There are some notable guests on this album, as well: singer, Alicia Madison duets on a song she co-wrote with Klose titled, “Love You the Most”, fellow songwriter and friend Alex Forbes also co-writes some songs and you’ll hear some beautiful choral embellishments courtesy of a 15-member choir from PS 171 in New York City. 

If you like a pop hook, an earworm that won’t escape your brain no matter how hard you try, you’re in the right place. Join Jann and I as we discuss his newest work, his upcoming world tour, and how it doesn’t always make sense to fight against the forces around you, about how sometimes real strength can be built from learning how to surrender. 

It’s a major concept for a short podcast, but when was the last time you thought about your place - not only in the universe - but within the multiverse? “What is a multiverse,” you may ask. We can thank the Ancient Greek Atomists - namely Leucippus and Democritus - for presenting us with the concept of multiple worlds or universes that construct everything in existence: space, time, matter, information, and all of the physical laws and constants that support them. However, where does music live in this multiverse?

About 25 years ago, multi-Grammy nominated Bobby Sanabria - a Nuyorican drummer, radio show host, educator, and band leader - decided to consider the interconnectedness of all things musical with the formulation of his Latin Jazz group, the Multiverse big band. On May 12th, Sanabria’s group will release their latest album titled, Vox Humana. That album - and much of Sanabria’s work - is an opportunity to not only explore the myriad possibilities within the musical realm, but to also explore the social significance that impacts any group of humans when they join forces to create music. 

Musicians are fortunate to be able to communicate and develop works of beauty without speaking the same language, or even being in the same room. They are able to bring their own backgrounds and experiences to the performances and compositions in a way that complements one another, rather than focusing on ways that divide us. In this discussion, Sanabria and I examine this anthropological element in his music. Just when you were getting used to the idea of being a speck of dust in the universe, we go and throw the concept of multi-universality at you. Don’t be intimidated, especially since you have Bobby Sanabria serving as your tour guide. Even if the concepts are a bit daunting, the music is guaranteed to be out of this world!

Music can have several purposes. Often, its job is to get the body moving, dancing, or working out. The right music at a suitable tempo has a drastic effect on one’s ability to work, exercise, or hone in on the task at hand. Sometimes, however, the goal is to relax, slow down, lower the heart rate, and slowly slip into the moment.

Emiliano Melis is a composer and visual artist originally from Turin, Italy. Several years ago he moved to Brooklyn to meet up with like-minded musicians and artists. His main interest is in electronic and ambient music and his latest album is titled, Outside the Box (Mother West). What’s unique about Emiliano’s approach is his use of the cassette tape as a tool used for composition and production which also includes digital and analog synths, droning tape loops, melodic piano, and downtempo lo-fi beats. If you’re a fan of chillwave, ambient electronica, and cinematic soundscapes, then Emiliano’s latest release is for you. He also has a large following on social media where he creates imaginative posts illustrating the hardware he employs to create his sonic landscapes. 

So, join Emiliano and me as we deconstruct his artistic process, discuss how sound affects space, and how effective music can be during many activities, including no activity at all.

Music releases can be fleeting. Artists work on projects with great skill and care. They might get the right players, use the best studios, and tirelessly craft their compositions. But when the project is released, sometimes it's lost in the shuffle. Obviously, such an event is disappointing, but every so often, a deserving project gets a second chance. 

Kendra Morris is a soul singer-songwriter who has had her music featured in an episode of Ray Donovan and her version of Pink Floyd’s “Shine On You Crazy Diamond” was used in the trailer for the film, Dead Man Down (2013). However, in 2016, Kendra self-released an EP titled Babble and the response didn’t quite meet her expectations. However, the material on the EP was rich and the first 50 vinyl releases even featured handmade album jackets from Kendra as she is also a talented visual artist. 

Her last full-length album - Nine Lives, released in 2022 - came out on the Karma Chief Record label (a division of Colemine Records). Kendra and the label have recently re-released Babbel - including three new tracks - in an effort to give the material another chance to be heard by a wider audience. 

Kendra and I have a fun conversation about songwriting, her inimitable style, what she’s watching, and how she is preparing for her upcoming tour. She also explains why Babble is so important to her and why you shouldn’t miss the opportunity to love it, the second time around.

Thank you for reading or watching or listening to our 100th episode of Radar! At the risk of sounding like an awards acceptee while the band begins to signal my necessary move from the stage, I’d like to thank all of the wonderful guests who have given generously of their time to share their insights about projects that they are involved in. Thank you as well to the publicists behind the scenes who serve as liaisons and ensure that these interviews actually happen! And of course, thanks to The Vinyl District for providing a weekly platform to share my chats with you, dear readers and listeners. Of course, thank you - too - to WFDU, 89.1 FM for giving me the opportunity to transmit these interviews over the FM airwaves throughout the greater New York City metropolitan area. We hope you’ll stick around for the next 100 episodes. If you enjoy this podcast, please make sure to tell your friends about it.

This week, our guest is Robin Taylor Zander, better known as RTZ. As you might have guessed by his unique moniker, RTZ is the son of Cheap Trick’s Robin Zander. Not only is Zander a fabulous musician who has filled in for each member of Cheap Trick at some point prompting Rolling Stone to refer to RTZ as, “Cheap Trick’s secret weapon.” However, he’s also a talented writer and producer who will be releasing his first album in April titled, The Distance. The album was also mixed by the rock and roll dream duo of Jack Douglas (John Lennon, Aerosmith) and Jay Messina (Aerosmith, Kiss, Lou Reed) who have worked together for 40 years: that is another story all unto itself.  

RTZ joins me - ezt - this week as we discuss his excellent new release, the production and composition which went into it, how he navigates inhabiting Cheap Trick’s world, and where he’s going next.  

Think about the “what if” scenarios in your life. Not really regrets. Not things you wished had gone differently, but situations in which - because of circumstances beyond your control - you’ll never truly know what could have been or where the road might have led. However, every so often, we get lucky. We get the opportunity to remove the detour from the pathway and we are offered a second chance at taking the road that we didn’t take.

Nearly 30 years ago, way back in the mid-90s, Vanessa Downing was in a Pennsylvania based rock and roll band called Samuel. They were good, they played a lot of gigs, and then things started to get serious. The band was courted by A&R reps and were slated to record their debut with indie/punk engineer & musician Bob Weston (Mission of Burma, Volcano Suns, Shellac). However, as you’ll learn in this interview, decisions were made and the band’s momentum was halted.

While they released a few 7 inches and a EP during their day, recently, the thought  was floated among the band members who had continued to keep in touch. What if we revisited some of those old songs? What if we added a few new ones? What if we engaged the flux capacitor and recorded the album that we would have recorded back then? 

So, here they are - slightly rebranded as Samuel S.C. with a new album called, High Places (ORG/Art Monk Construction). Vanessa joins me on this episode to explain the rise - and fall - and rise again - of the band and point out some of the sights along the road not taken.

Even minimalists have a few knick-knacks tucked away, small objects that aren’t particularly useful, but which remind us of a warm memory, time, or place. When purging or decluttering, a lazy gaze at this brac-a-brac makes us wonder if we’re being too hasty considering parting with the item. But before we harshly “Marie Kondo” these objects, it’s essential that we check to see if they “spark joy”, for if they do, we can be certain that it will always have a place in our heart and our home. We all have tchotchkes.

But is Tchotchke - the band - on your shelf yet? If you collect music with girl group vibes or female fronted bands of the 60s and 70s, then New York’s Tchotchke is sure to make it to your library. The band has a brand-new self-titled album out now (Tchotchke Records/ORG Music) which was produced by the D’Addario Brothers from The Lemon Twigs and was mixed at the famed Electric Lady Studios in New York City. Musically, however, the group stretches themselves beyond guitar rock’s confines and even flirts with some proggy influences along the way. This first album is familiar enough to assure quick assimilation, but repeated listenings reveal a band equipped with the tools and talent to grow into something extraordinary.

Anastasia (drums, vocals), Eva (bass, vocals), and Emily (guitar, vocals) join me on this episode to discuss the ghosts who may have visited them during the recording process, the assembly of the album, preparing for an upcoming tour with King Tuff, and what songs are on their shared band playlist. You might declutter your record collection in years to come, but when you arrive at Tchotchke’s latest record, you’ll find it hard to part with. It did, after all, provide you with fun, warm sun-drenched memories. It’s a memento of that experience. How could you let it go? It’s sure to become a part of your permanent collection of tchotchkes.

There is an intrinsic grandeur to the Great American Songbook that we can all appreciate. When the first few bars of those classics begin they can boost our spirit, provide us with a moment of quiet contemplation, or even make us a little bit misty. For those reasons, the compositions are timeless. However, they do indeed emanate from a specific time and place, one that is far away from the one in which we now live. The classic standards will always remain eternal and most people can enjoy them; after all, that is the whole idea behind being a “standard” in the first place. However, listeners also yearn to hear music from their own eras. While grandma and grandpa - or, great-grandma and great-grandpa - might remember when those songs were new, we often digest that music through their lens, not ours. 

Rachael and Vilray have crafted for us a new catalog of music that belongs to the 21st century, but it’s also music that our ancestors - those who remember the release of the original standards - would also appreciate. Rachael Price - vocalist from Lake Street Dive - and Vilray met one another while attending the New England Conservatory and reconnected years later when Rachael caught one of Vilray’s sets where he was performing his own compositions that hearkened back to those great old standards but were completely new. When Rachael heard his treasure trove of tunes, she knew she wanted to be a part of sharing them with a wider audience. 

The duo has just released their second album on Nonesuch Records titled, I Love a Love Song, featuring a collection of songs written by Vilray (with one cover song). Vilray plays guitar and Rachael brings her vocal perfection, but it is the compositions - the music - that truly elevate the project. So, enjoy the existing American standards from the last 100 years; the music contained therein is not broke and doesn’t need fixing. However, the Great American Songbook must always be accepting new entries and if we had to suggest some additions from our time, from this year; Rachael and Vilray should be at the top of our list. 

Modern music listeners enjoy creating personalized playlists containing their preferred musicians and genres, but there’s one thing lacking: the expertly guiding hand of a radio station’s program director - or, even better - a tasteful DJ behind the microphone who loves to share favorite tunes, but also introduces listeners to new music that is worthy of addition to your personal faves. But, current culture has sacrificed the serendipitous nature of the radio in favor of complete control over musical choices, or - even worse - the choices of a faceless corporate AI bot. 

Bassist and composer, Esperanza Spalding understands the mystery and magic that a spin of your local radio dial can provide and in 2012 she released an album paying homage to the spirit of radio. Produced by Esperanza and co-produced by A Tribe Called Quest’s Q-Tip, Radio Music Society showcased the breadth of Spalding’s musical aptitude and inhabited the rare musical landscape of being challenging, yet also a lot of fun to listen to. 

It’s been 10 years and the Grammy award-winning album finds itself eligible for reissue by Craft Recordings and is given the full anniversary treatment featuring 2 LPs pressed on 180-gram vinyl at RTI, the title will also be reissued in hi-res digital audio. Esperanza and I discuss the continuing role of radio in her current life and she offers a unique and descriptive behind-the-scenes peek into her production and composing process. We also explore her complimentary role as an educator and - of course - delve into what makes vinyl special to her. So, let’s turn the radio dial and search for some serendipity. 

Myths are funny things, especially in the 21st century where we find ourselves constantly reevaluating standards that were accepted as gospel only a few years ago. And who knows? It’s feasible to posit that society’s reevaluations will be reevaluated somewhere else down the long road of time. Telling the story of early rock and roll is an interesting exercise at this point in history as many of the music makers are still with us. It’s so important to get the story right, so that future generations can grapple with both the facts and the myths.

David Leaf is a Peabody and Writers Guild of America West award-winning writer, director and producer and has long been regarded as a scholar of rock and pop music, specifically of the Beach Boys and Brian Wilson. He’s spent his career sorting through rumors and myths and facts and - of course, music - and he’s written a book about the Beach Boys history that most rock and rock academics regard as the pinnacle, God Only Knows: The Story of Brian Wilson, the Beach Boys & the California Myth.

Originally published in 1978, Leaf hasn’t altered the text of the original manuscript, but - rather - has added additional segments and information to create a body of work that will stand the test of time. Leaf joins me on this episode to discuss his updated book, sort through some records with me, and also to provide us all with learned theories about what was singularly unique and enduring about the music created by Brian Wilson and the Beach Boys. 

Frank LoCrasto joins us on this episode to discuss the latest release from his Kolombo project. The new album is titled, Gung Ho and features Frank’s signature blend of jazz and exotica. You’ll hear us discuss vintage synths, the beauty of analog and how Frank pieced this album together during a global pandemic. 

In the 1980s, the mall was the place to be and there is a reason why modern society is nostalgic for that insulated wonderland of days gone by. Before the internet and our endless stream of information, there was less to process, and fewer things to worry about. Blissfully ignorant innocence was on full display amid indoor atriums, food courts, and all the shopping one could hope for. Most significantly, the mall gave American youth their first taste of adult-level freedom. 

When the Muzak wasn’t playing, one might have heard a cavernous echo of sound floating down the corridors and followed the noise to discover its origin. If you were lucky enough, you’d find teen-icon, pop princess, Tiffany performing her inescapable hits in front of adolescent multitudes. These performances were innovative in that they were engineered to bring the music to where the fans already were, rather than the other way around. 

A lot has happened since those days: America is different, the malls aren’t the same and neither is Tiffany. Like the rest of us, she has grown and matured and recently released a brand-new album titled, Shadows, which is a hard-hitting rock record looking toward the future with one or two winks at those past golden days. Sure, the mall still exists now, and as you’ll learn, Tiffany might even be found walking the halls, but - for those of us who remember the old days - it’s different, the world isn’t the same. But, Tiffany’s optimism and dedication to her craft invites us to inject a little of that much-needed 1980s buoyancy into our modern world.

It’s the time of the year when holiday music sounds as fresh as the stacks of Christmas trees being sold at your local firehouse. With some melancholy, however, we know that in another month or so we’ll be dragging those trees down the driveway and onto the curb while searching for music without so much comfort and joy to keep us busy until the birds of spring begin to chirp.

But, we’re not there yet! The days are short, and the novelty of a cozy, warm evening by the fire with a softly murmuring hi-fi in the background has not yet worn off. And what better music to hear than some traditional and popular Christmas tunes. But what to choose? There’s no shortage of places to find the stuff, but it’s not so simple to find enduring holiday classics crafted with care, skill, and class.  

Acclaimed jazz and pop singer, Jane Monheit knows her way around a Christmas song, or two and she’s here to prove it with her newest release, The Merriest. The celebrated vocalist has released many albums, several of which have appeared on the Billboard Jazz Charts, and of course, she’s entertained audiences all over the world. Here, however, Jane hand-picks some of her favorite Christmas tunes with a crack band backing her up. John Pizzarelli even comes by with his guitar to join her on a rendition of “That Holiday Feeling.”

Jane and I discuss her relationship with the holidays, the lush production behind the album, some dates she’ll be performing in support of the new album, and much more. If you’re searching for something familiar, yet fresh, to accompany you through the holiday season this year, consider giving Jane Monheit’s new album a spin.

Change isn’t easy for anyone; it’s a risk. When something works, even if it doesn’t work perfectly, the simplest approach is to stay the course, to avoid rocking the boat. However, for an artist, change is often necessary, but - again - doing so can be a frightening prospect both for the artist and for their audience. 

Marlon Rabenreither has fronted the group Gold Star for over a decade now. While his previous approach was somewhat more folk and acoustic guitar oriented, the pandemic nudged Marlon to try something new; distorted vocals, aggressive guitars, spacy synths, and propulsive drumming. Produced mostly on computers with his bandmates, Rabenreither created two EPs which are now available as a full-length album, Headlights USA, Parts 1 and 2. 

As an artist, Rabenreither knows that in order to grow and create, one must evolve. We also discuss his creation of the album’s cover art, producing the album during the thick of the pandemic, the retro influences on his modern sound, and where his life’s headlights will lead him next.

The destination is not always the most important place, sometimes it’s the journey that is most impactful. A life’s odyssey really makes us who we are: the roads we’ve traveled, the mistakes we’ve made, and the lessons that we have learned along the way shape and mold us, these passages give us more tools and experiences to simply be better people, or at least better at whatever it is we do. 

Ron Sexsmith knows this well. In fact, his latest record - coming your way in February 2023 - is titled The Vivian Line, the title is taken from a Canadian road leading from one part of Sexsmith’s life to another. His past is full of excellent work and great success, he’s had Rod Stewart, Michael Buble, Feist, and many others perform his music, he’s won several Juno awards and this newest album will be his 17th.

I’m grateful to have Sexsmith join me to discuss the beautiful songs he’s written for the new record, but we also talk about the unique experiences he’s had since coming onto the scene in the early 90s, the producers who helped craft his albums along the way, and his loving admirers on Twitter. But perhaps, most importantly, we capture a very gifted musician in a stage of transmigration. He is talented enough to appreciate the journey he’s been on - the many roads he’s traveled throughout his career - and look at it through a musical perspective and we’re lucky enough to have the opportunity to hear it. Hop in, Ron Sexsmith has the car gassed up and he’s ready to take us on a journey down The Vivian Line.  

Meet one of the most celebrated session guitarists of all time - a man who was also once a full member of both Steely Dan and The Doobie Brothers: Jeff “Skunk” Baxter. Goodness knows that the previous sentence gives he and I plenty to talk about, but we’re here to discuss the fact that Jeff has released his first solo album after being in the music industry for over half a century; the album is titled, Speed of Heat which clues us into another one of Jeff’s interests: missile technology!

Music and the arts are driven by passion and creativity, but there is also a science that can propel the mediocre into the extraordinary. When those two traits combine, well, hold on to your socks! Baxter is a master at doing just that, and he is more than happy to explain the commonalities between those two disparate chosen career paths.

Of course, we go over all of the territories that you’re hoping we do: we discuss his time slinging a six-string (and more) in the Doobies and the Dan, the music off of his energetic first solo record, where exactly the “Chuck Berry Portal” is and how to get through it, the many heavyweight legends he’s worked with and - since you never know where a conversation with Jeff Baxter might end up - you can also expect to learn about the latest in missile defense systems. He’s intellectually voracious, never boring, and has the coolest nickname you’d ever want. Let’s spend some time with Skunk.

The Afrobeat sound has become a very popular genre in the last few years. Many bands - from all over the world - have embraced this exciting, funky sound that combines elements of West African music and couples it with American funk, jazz, and soul. While these recent creators make some wonderfully exciting music, the Super Yamba Band has a secret weapon that the others don’t have and his name is Kaleta.

Born in the West African country of Benin Republic and raised in Lagos, Nigeria, Kaleta is a longtime veteran of the Afrobeat scene. He has toured with none other than the godfather of Afrobeat music, Fela Kuti, but - over the years - has also lent his guitar chops to Lauryn HIll and others. Kaleta finds himself teaming up with the Super Yamba Band, a group of young American musicians who have a supreme devotion and dedication to the music of West Africa and Afrobeat in particular. 

Kaleta & Super Yamba Band find themselves back on the road still supporting their last release, Mèdaho. However, they reveal that they do have a completed follow-up album on the shelf and promise to get to that right after their tour ends. But first, it’s what some might see as a pinnacle of their performing schedule, The Kennedy Center on November 13.

Also joining us in the conversation is the band’s drummer, Daniel Yount; he and Kaleta explore and describe how much they value the authenticity that Kaleta brings to their group, but also how Kaleta appreciates the youth and exploratory nature of the band that he has connected with. On all accounts, it seems as though this symbiotic union was a match made in heaven. You’ll also hear us discuss how Kaleta found his favorite records in Lagos, and the experience of being fined by Fela Kuti. You can hear a lot of Afrobeat out there nowadays, but only the Super Yamba Band has someone who was there during its formation; only they have Kaleta.

The Hammond organ - specifically the Hammond B-3, or C-3 - has a long musical history. But it’s not for everyone; it’s a heavy machine that often finds itself in need of some regular repair and constant maintenance. However - when coupled with a Leslie speaker - the sound of a Hammond organ is difficult to match; its sonorous quality and authoritative heft make it unmistakable in many of what are probably some of your favorite recordings. 

Adam Scone is a Hammond organ devotee, he’s made the commitment necessary to become one of the 21st century’s notable users. He’s long been associated with the instrument and has played in jazz and boogaloo legend Lou Donaldson’s band at the Village Vanguard and the Blue Note in New York City. Scone has also shared the stage and recorded with countless others, performing on over 50 albums and was selected as a Jazz Ambassador by Lincoln Center & the Kennedy Center for the Arts; an honor which took him to perform in over 35 different countries.

When he’s not working with his other band, the Sugarman Three, he’s branched out to form The Scone Cash Players; a group with a slightly more experimental and thoughtful range than the boogaloo and funk he’s often associated with. Their latest album on Daptone - Brooklyn to Brooklin - features a blend of the usual grooves, but also includes intriguing group vocal treatments that add a truly unique character to this release. 

Join Adam and I as we discuss his life’s musical journey, the many musical masters he’s met along the way, the details behind his latest album and - of course - the good people who help him load out his 400 pound Hammond organ at the end of his gigs.

You don’t have to be a musician to make great music. Sounds like a conundrum, right? Well, throughout history, there have been a number of producers behind the control room glass who have coordinated and instructed musicians to produce the music they hear in their heads; the musicians themselves become the producer’s instruments. 

Meet Robert Waite. He’s not a musician, but he does love music and knows what he wants to hear. The project he has created is called Daylight Robbery! (exclamation point included) and while it’s not a band per se, by definition, it still sort of is. Robert connected with some musicians in Brooklyn, had them record parts of music, and then combined and arranged  those recorded parts after the fact into the music you’ll hear when you listen to his latest release, Moons of Jupiter. 

The project is a rich mix of jazz, hip-hop and maybe a few elements of vaporwave mixed in for good measure. At first listen, it’s enjoyable music - that is, after all, what drew me in when I first discovered it on Bandcamp - but, as one learns about the unique method behind creation of the record, it becomes something completely different. 

Robert joins me from South London to uncover the secrets behind Daylight Robbery! He’s also very eager to share some of his favorite recordings to give us a more accurate peek into what moves him as a music lover and creator. But, for goodness sake, whatever you do, don’t call him a musician. He’s a producer, goshdarnit.

Since 1989, Sundazed Music, founded by Bob Irwin and his wife Mary, has been the label to go to for hard-to-find reissues of rare surf, psych and garage band rock and roll discs that have been lost over the years and were in dire need of a second life. In fact, in today’s crazy reissue world, it’s interesting to note that Sundazed was a pioneer in bringing long, lost recordings back to turntables all across the world.

However, the label is not only just focusing on those few genres anymore. There’s a big world full of different styles of music, and - with a fresh approach featuring Jay Millar at the helm - Sundazed is ready to explore them all. The label houses several imprints to organize the varied releases, with Modern Harmonic being the location for many of the more adventurous and exploratory titles.

Anyone who’s taken a peek at the label’s release schedule will note that they are as busy as ever. Millar stops by to not only walk us through the label’s recent catalog additions, but - almost more interestingly and importantly - he gives us the backstories behind how these releases came to be. As we discuss, it’s refreshing for a reissue label to resist resurrecting the tried and true classics in favor of lesser known forgotten gems that deserve a wider audience. You’ll hear Millar explain how serendipity impacts Sundazed’s choices, and how casual conversations can sometimes lead to major discoveries. 

Millar was generous with his time and has plenty of anecdotes and experiences to share; our conversation isn’t just browsing the aisles of Sundazed, it’s a master class in the behind-the-scenes adventures involved in managing a major record label.  

The great alt-country band Whiskeytown had only two permanent members during its tenure: one of them was Ryan Adams and the other was Caitlin Cary. While Caitlin’s name will always be intertwined with that band’s history, she’s also got a history all her own. After the group disbanded, Caitlin decided it was time for her to share the songs that may not have gotten the attention they deserved in her previous group. So, after connecting with Chris Stamey and Yep Roc Records, in 2002 she released her first solo album titled, While You Weren’t Looking.

Well, while we weren’t looking, the album has now turned 20 years old and Yep Roc is giving the album a remaster, a reissue, and is finally putting Caitlin’s music on vinyl where her compositions seem yearning to belong.

Caitlin joins me to discuss her transition from those wild and wooly Whiskeytown days to her own solo career. We also explore how her songs may be ripe for a new audience in the 21st century. Nowadays, Caitlin enjoys her time as a noted visual artist creating needleprint designs and running her own art gallery - The Pocket - in Raleigh, North Carolina. 

But, as she traverses through her latest life’s incarnation, every once in a while, she must get flashes of those heady Whiskeytown days and the creation of her own music. Even though she’s more or less left the music world behind, she’s still pleasantly amused that the music she released those two decades ago still reverberates today.

Madison Cunningham has only just begun. At 25 years old, Cunningham has recently released her third record and it is definitely a well-crafted work. She’s a born-and-bred Californian songwriter, but that’s only a part of her biography, there’s so much more going on. Madison is also an excellent guitarist with a penchant for funky chords and musical phrases. Even though internet sources lazily categorize her music as “Americana” or “folk,” any listener with open ears will hear that Madison’s influences and creations challenge and oftentimes transcend those niches.

Her latest album is titled Revealer, and Madison and I discuss just what’s being revealed and who’s doing the revealing. You’ll find that this young lady is comfortable digging into some of her more uncomfortable experiences if it means she’ll be rewarded with a new song. We also discuss her longtime producing and studio partnership with Tyler Chester, some studio tricks that led to some unique sounds, and where she hopes this musical road might lead her next.

There is a reason that - at her young age - Madison Cunningham has already been nominated for two Grammy awards and you’re about to hear why. 

Nobody likes to be pigeonholed; we all have different aspects to us that we’d like to be appreciated for. Life is short, and even though it takes a long time to become a master at something, there’s still time to become recognized for something else.

Juna Molina comes from a family of artists and entertainers and was one of the most widely recognized comediennes in her home country of Argentina. Even with that success, she still yearned to explore her musical interests. As is often the case with entertainers who switch tracks during their careers, the public who adored her for her comedy skills was not so sure about following her on this musical journey. However, Juana persisted and soon enough - after discovering her excellent second album Segundo - David Byrne invited her to be the opening act on one of his North American tours and the rest was history. Juana is now an internationally respected musician specializing in experimental electronic indipop music.

While she and I talk about all of these things, we’re really here to discuss her label’s efforts in reissuing an album that was important to a young Juana. Originally released in 1971, Musicasión 4 1/2 is a rare LP which was released in Uruguay and it features recordings of a series of performances by a group of artists who mixed theatrics, poetry, and improvised stage effects with rock and Latin American rhythms. During the pandemic, Juana reconnected with an old friend who had recently been given access to unreleased and rare recordings of the same musicians on the original album. Juana knew that the time was right for her new record label Sonamos to reissue the album and give it the 50th anniversary it rightly deserved.

So, join me and Juana - who joins me from Argentina - to discuss her career, Musicasión 4 1/2 and how it’s never too late to change the trajectory of your life, as long as you allow yourself to follow your heart’s true passions.

The process of creating pre-recorded music has always been shrouded in a fair amount of mystery; one of the most curious figures in the production chain is the role of the mastering engineer. Once a recorded album is completely finished, it is sent to that person who uses their magical and mystically unique skills to tweak the overall sound of the music and inject that otherworldly quality that most professionally recorded materials contain.

To help us demystify this enigmatic process is Grammy award winning mastering engineer Michael Graves. Mr. Graves has recently remastered the entire Blondie catalog for a sprawling box set highlighting Blondie’s complete recorded output, including many rare tracks that have never seen the light of day. Graves discusses not only his work on the Blondie project, but also his lauded output for Analog Africa, Omnivore Records, Dust to Digital and other highly respected labels. He also mastered my most recent album, The Show. 

Michael Graves isn’t just any mastering engineer, he’s also an audio restoration expert. While many listeners love hearing their favorite professionally recorded albums, remastered to sound even better than the originals - if that’s possible - just remember that there is much wonderful music that has been forgotten. Oftentimes, those tapes, records, cassettes and CDs are not in the best physical condition. So, it takes an audio restoration expert like Graves to resurrect those recordings so that they sound the best that they can. 

Show Business is an industry of sleight of hand, a world of illusion where everything is not always what it appears to be. There are a few insiders who are adept at using the tools necessary to create that final sheen of professionalism. Join us as Michael Graves gives us a quick peek behind the curtain to understand a few tricks of the mastering trade. 

Michael Rault embraces the skill that all great musicians are good at: listening. All of his life, Michael has been carefully listening to his influences, and filtering those sounds through his own lens. It seems he’s finally completed the album that he’s been destined to make, his - self-titled - second solo release.

Musically, he’s a sponge picking up some of the greatest sounds of the latter half of the 20th century. If your record collection is eclectic, then what Michael creates will fit right in next to the tried and true, well-traveled grooves sitting on your shelf. Completing this musical journey is the production and flavor that Daptone Records’ subsidiary - Wick Records - brings to the formula: a warmly textured, funky, organic and earthy feel, but applied to a rock and roll singer-songwriter instead of to the soul, funk, and R&B projects that the label is often known for. 

This Canadian - like many famous songwriting Canadians in the 1970s - has made his current home beneath the sunny skies of Los Angeles, California. While there, he has connected with a like-minded group of other musicians who support each other musically and otherwise which is perfect for Michael, because he seems to always be looking for inspiration, always looking for something new to listen to.

The first time I played Wilder Maker’s new album titled, Male Models, I thought someone sent me the wrong link; I assumed that instead of the actual record, I was listening to a mixtape from the record label. The wide-reach and scope of the record seemed to be too much to accomplish from one group of musicians. But, as I listened, I began to piece together similar voices and instrumentation and - maybe, most interestingly - the style of musical composition. Finally, it dawned on me that this was the same band all along; this was Wilder Maker.

Gabriel Birnbaum has a history in jazz, but loves his rock and roll, too. With Wilder Maker, he’s taken those free-form chops, and a healthy respect for clever composition, and juxtaposed it with rock and pop and folk and whatever else he deems necessary to share his vision with you, dear listener. He’s erudite: he doesn’t shy away from overarching themes and references; this Wilder Maker album is just like graduate school: scholarly, but fun and - most importantly - rewarding.

Birnbaum joins me from a farmhouse in Vermont to explain how the album was constructed during the pandemic, the players who currently make up the band, and his musical influences and goals. Birnbaum is at Wilder Maker’s helm, but the contributions of all of the talented musicians who helped create Male Models demonstrates that - like a good mixtape, or playlist - the best musical ensembles are greater than the sum of their parts. 

Between the British Invasion and the Summer of Love, there was a time when American music was trying to figure out just exactly what it was, what made it unique from the rest of the world. Many might answer - that in that slim window of time - one of the most important American bands on the scene were the Rascals, they were certainly unique: they were soul and R&B oriented, they knew how to rock a house party and they were one of the first rock bands to proudly feature the mighty Hammond B3 as its signature instrument. 

The main voice of the group - and the captain piloting that massive B3 - was Felix Cavaliere.  Originally a pre-med student, Felix was bitten by the rock and roll bug and found himself working with Joey Dee and the Starlighters. Following this, Cavaliere met the three other musicians with whom he would form The Young Rascals: Eddie Brigati, Dino Dinelli, and Gene Cornish. 

Between 1966 and 1968, the band reached the Top 20 nine times (hitting #1 three times) with timeless blue-eyed soul classics such as, “Good Lovin’”, “Groovin’”, “People Got to Be Free” and many others. 1971 saw the release of the final Rascals album to feature all of the original members, Search and Nearness. The band did, however, reunite in 2012 for a run on Broadway and a national tour which was produced by Steven and a Maureen Van Zandt. Of course, the group was also inducted into the Rock and Roll Hall of a fame. 

Recently, however, Felix has published a book of his experiences titled, Memoir Of A Rascal and he was kind enough to join me to discuss the book and share some great rock and roll stories and wisdom. You can’t tell the story of mid-60s American rock and roll without The Rascals, and the best guy to tell us about it is Felix Cavaliere

When was the last time you really danced and just lost yourself in the music without caring what you looked like? Analyzing music is a rewarding experience, but sometimes it’s best to just shut up, enjoy what you’re hearing and simply dance. And if you’re going to engage in such an activity, there’s no one finer to provide a soundtrack than James Hunter.

Hunter’s 2004 breakthrough album, People Gonna Talk was a refreshing listen back then as it was released just on the cusp of the retro-soul groove revival of the early 2000s, but it’s Hunter’s compositional skills which keeps the album fresh these 16 years after its release. Since then, he’s released many equally enjoyable albums, recently on the famed Daptone label. 

So, it’s time for a retrospective. The James Hunter Six has recently released a compilation titled, With Love. To those who have enjoyed Hunter’s music over the last two decades it’s a great opportunity to revisit some classics from his catalog, but to the uninitiated, it’s a huge “where have you been” moment; a great opportunity to learn about a genuine soul music genius living in our modern day midst.

James Hunter joins me from Brighton in the UK to discuss the new compilation, his relationship with Daptone Records, a few secrets that go into getting the sonic quality of his albums just right, and how the best gigs are the ones where there’s plenty of room for people to get out of their seats and dance.

Sometimes, in order to go forward, you must first take a look at your past. Graham Nash has a rich and undoubtedly storied history behind him and he has recently released a live album titled, Graham Nash: Live which features him performing his first two albums - Songs for Beginners (1971) and Wild Tales (1973) - in their entirety. Mr. Nash will also be performing at the Count Basie Center for the Arts in Red Bank, NJ on July 13th. 

Nash, however, has often focused on the future and shows no signs of slowing down. While he’s excited about this new live release, he’s also recently published A Life in Focus: The Photography of Graham Nash which showcases his longtime affair with photography. And, as we learn in this interview, he’s just completed a brand new solo album which is due to be released in early 2023. 

But in this chat, Graham and I talk about why he chose to revisit his first two solo albums and the experience of retracing the footsteps he made nearly a half-century ago. Of course, we also discuss the Hollies and Crosby, Stills, Nash and Young, making long-term musical relationships work and how you can’t really envision where you’re going, unless you know where you’ve been. 

Some people are just so skilled and talented at their craft that you make judgements, you think they’re going to be one way, but they often turn out to be something quite different. I’ve learned not to judge books by their covers, but sometimes it’s hard to avoid. I have so much respect for Bruce Hornsby, his writing, his performing, the fact that he’s one of the most adventurous musicians alive today; someone who resists looking backwards; he’s one of those rare breeds of artists who have their sights set on a goal off in the distance that we can’t see. So, you’ll have to excuse me if I was a bit intimated, assuming that, somehow, much of the conversation was going to go over my head. 

But, wow: was I wrong. Mr. Hornsby couldn’t be a more affable, down-to-earth, engaging personality to chat with. In this episode, we discuss his brand-new album, “‘Flicted”, how it was pieced together during the pandemic but also represents a trilogy of sorts which compliments his most recent work. The new album features some very talented special guests including Ezra Koenig from Vampire Weekend and Blake Mills. Of course, we discuss vinyl records and the ambitious and artistic path that he has forged throughout his musical career.

Sometimes you hear the adage that you don’t want to meet your heroes because your interaction with them might leave you disappointed. However, if you ever bump into Bruce Hornsby and have a chat, I can safely foretell your experience: you’ll walk away a bigger fan than you were before.

If you consume any kind of media, then you’ve experienced the very talented Michael Des Barres. His media presence is ubiquitous: he’s had a long history performing as a vocalist in rock bands, been on television hundreds of times, worked as an actor in many films and now hosts his own music program on Little Steven’s Sirius XM channel, Little Steven’s Underground Garage. 

So, it’s almost difficult to focus on just one of his projects without thinking about all of the other work he’s accomplished. On one hand, this episode features me speaking with the vocalist responsible for one of my favorite rock and roll songs, “Hello, New York” by Silverhead. But, simultaneously, I’m also speaking to Murdoch from television’s MacGyver. Few guests have such a dynamic background.

But Mr. Des Barres does his best to keep us focused on his career where it matters, he’s been there and done this before, so he can easily jump around topics all with the charm of a true rock and roll gentleman. Mostly, we’re here to talk about the band that Michael fronted during the 1970s called Detective who were signed to Led Zeppelin’s record label, Swan Song. Their 1977 debut was recently reissued by the ORG Music record label and was completely sold out on Record Store Day. There’s a lot to discuss with Mr. Des Barres and he doesn’t shy away from any of it, including the role that drugs and alcohol played for part of his journey. 

But, he’s always focused on the positive side of things. He’s open about the bad and ugly experiences he’s had in his life, but - after all is said and done - he’s happiest when he’s talking about the good. 

Sometimes we take ourselves, and our music, too darn seriously. Of course, there are appropriate times for thoughtful contemplation, but there’s no harm in basking in the enjoyment that comes with creating or consuming art with wild abandon and maybe being a little bit silly at the same time. It helps keep us sane and provides us with a youthful perspective of the mean old world in which we live.

We Are Scientists have always imbued some humor into their catalog of music; and what a catalog it is. With seven albums recorded over a 20 year span, Keith Murray and Chris Cain have consistently built a backlog of music that is fun, but also carefully crafted and with as many catchy earworms as are legally permitted. They both join me on this episode to discuss their latest release titled, Huffy (100% Records) which is a straight ahead rock production featuring a number of songs that will be reverberating through your head during your next sleepless night.

We also talk about the unique design of the physical vinyl product: if you love stickers and customizing things with your own unique imprint, then you’ll want to hear what the band has in store for record collectors on this release. Join Keith, Chris and myself as we explore the addictive hooks and production inherent in Huffy and how they’ve managed to cultivate their friendship after over two decades in showbusiness. There’s a lot of substance to this chat, but none of us could resist the urge to engage in plenty of silliness. Lighten up, let’s have a few laughs. 

When people think about the music of New Orleans, it’s usually the traditional jazz scene that comes to mind. But, NOLA is also one of the most consistent melting pots in our great country, so it’s bound to birth some amazingly unique and exciting music. 

Born in the Big Easy, Tank and the Bangas honed their musical skills during their time as backing band in many of the city’s open mics before morphing into the Grammy nominated, NPR Tiny Desk Concert winning, soul, funk, hip hop group that they have become. 

Norman Spence from the band joins us on this episode to discuss the crafting of the band’s latest release, Red Balloon. He explains his role in the group, how he uses his own vinyl collection as an instrument of sorts, and the myriad influences and ingredients that all the members of the band bring to the table to create their own unique musical jambalaya. 

So, let’s promenade down to the Land of Dreams to learn more about what Tank and the Bangas have cooked up on their recent release. The sound may not be what comes to mind when thinking about New Orleans, but maybe it should be, maybe it’s the sound of a new New Orleans. 

Record Store Day is on its way, but do you ever stop to think about the hard work that goes into such an event? All of the special issues need to be cleared for copyrights and publishing. Designs and packaging have to be created and manufactured. Of course, the music must be mastered and actually pressed onto those vinyl discs that we love so much. There’s a lot that happens before you bring your chosen clutch of albums to your local record store clerk for purchase. On this episode, we’re fortunate to speak with Andrew Rossiter, General Manager and Partner at ORG Music who will give us a glimpse into the herculean task that goes into running a record label around this time of the year.

ORG Music, of course has some great Record Store Day releases in the pipeline, and Andrew is here to discuss them all in detail, as well. We’ll talk about a fabulous Brazilian compilation titled, Atenção!: Novos Sons do Brasil; there’s a reissue of The Sheila Divine’s, Where Have My Countrymen Gone; Jeannie C. Riley’s, no nonsense , Harper Valley P.T.A. album will be available on the shelves; Michael De Barre’s 1970’s Zeppelinesque band, Detective finds itself re-released on glorious, super-glam silver vinyl, and - as ORG Music does each Record Store Day, there will be a carefully curated compilation of music from the Sun Records vaults; this particular release being their ninth. 

So, pull up a chair and eavesdrop on my chat with Mr. Rossiter who kindly allows me to ask him all sorts of questions about the new releases, but also about the behind-the-scenes mechanisms involved in running a record label, producing vinyl, developing meaningful liner notes, and offering a little something for everyone this Record Store Day.

It’s a crazy world out there, so why shouldn’t we take some time to stand on line, conversate with fellow music lovers and purchase some beautifully recorded and manufactured vinyl records? Record Store Day is just the opportunity to do such a thing and while many record labels have something interesting to offer, Craft Recordings continues to make an enduring name for themselves when it comes to catalog choices and excellent vinyl manufacturing quality. 

To tell us all about it, Craft head of A&R, Mark Piro, joins me this week to explore Craft’s RSD releases and explain their backstories and the sonic chain of custody for each one. Craft’s offerings this year are certainly an eclectic bunch, we’ll discuss the following: A compilation from Craft’s Jazz Dispensary sublabel; the Go Ahead Punk...Make My Day West Coast punk compilation making its first appearance on vinyl; the 30th anniversary reissue of The Brand New Heavies - Heavy Rhyme Experience: Vol. 1; the 25th anniversary of Conor Oberst’s early project, Commander Venus, The Uneventful Vacation; Vince Guaraldi’s Trio’s - Baseball Theme which is available as a 7-inch single for the first time, Art Pepper Meets The Rhythm Section is here but this pressing is in all analog and in mono; Collective Soul’s 25th anniversary of their Disciplined Breakdown album, Esther Marrow’s 1972 under the radar gem, Sister Woman; and an all-analog 35th anniversary reissue of Jonathan Richman and the Modern Lovers’ final album, Modern Lovers 88.

You’ll hear us discuss all of these albums, and more: including some of the records found behind us on our competing record shelves. So, join Mark and I as we sort through Craft’s offerings for Record Store Day 2022 and enjoy the luxury of discussing the art of collecting and listening to great records. 

Spring fever is in the air and Major League Baseball’s Opening Day is just behind us: there’s no better way to celebrate the changing of the seasons than with America’s Pastime. But what do music and baseball have in common? Well, aside from the fact that there have been numerous songs written about baseball - and conversely many classic tunes tht have been used to pump up the energy level at a ballpark - both of them are connected to very voracious collecting communities: like vinyl records, baseball card collecting is also going through a renaissance.

Dr. James Beckett is no doubt the leading authority on all things baseball cards. In the late 1970s, Dr. Beckett began publishing price guides for cards and in 1984 founded Beckett Baseball Card Monthly which became the gold-standard for establishing card values. The magazine, and accompanying Beckett Media, grew tremendously; branching out into other products and sports and also becoming one of the leading card grading companies in the world. While he has since sold the company, he still retains a position as senior advisor. 

He’s found a new legion of collectors, however, with his very popular podcast called, Sports Card Insights and has currently completed his 724th program. During this interview, Dr. Beckett and I interviewed one another - in a way - each drawing parallels between collecting vinyl records and what many people consider the greatest hobby in the world, baseball card collecting. I was pleased - and honored - that he used some of our conversation on his own podcast; it was a great trading session. 

So, take a seat, grab a hot dog and a cold beer as Dr. Beckett and I compare hobby notes; while we come from different worlds, you’ll be very surprised to learn we have many more similarities than differences. So, let’s play ball!

Even though listening to and collecting music are wonderful pastimes, it is when you’re able to actually share in the creative process of performing, creating and playing music with someone else that true bonds are forged. Avi Wisnia and I met while both performing at the - now defunct - New Jersey Songwriters Conference which took place, for many years, in beautiful Cape May, NJ. Avi would perform his set, I would perform mine, and many other talented songwriters would perform their sets as well. We all cheered each other on, networked and learned more about each other, but also about the commonalities that many of us faced in the often difficult career path of songwriting and performing.

Like any good communal experience, not all of the relationships made during those conferences survived, but the very meaningful ones did. I’m pleased that Avi is one of the few performers with whom I’ve kept in touch and I was excited to learn that he’s released a new album titled, Catching Leaves. The album is a mature and adult contemporary affair that straddles the line between jazz, pop, and samba, commonly illustrating Avi’s musical individuality.

So, join me as I introduce to you this wonderful Philadelphia based songwriter. We discuss the crafting of his new record, how it's a real Philly experience, his historic musical lineage and much more. Most importantly, however, you’ll hear two musicians chew the fat about the hours we’ve both spent behind the piano keys and who have a deep mutual - and musical - respect for one another. You’ll hear us connect as colleagues and as friends, but also as something much more rare and treasured: as songwriters.

America is very fortunate to have supported many different genres of music: there are composers of every stripe scattered throughout all 50 states. However, there is one style of music that has been long taken for granted and that is Exotica. The genre became popular during the American mid-century and is often associated with the Tiki bar scene and maybe Pee Wee’s Playhouse; it consists of melodies that imbue a certain mysterious quality coupled with percussion and - sometimes - even animal noises and other common jungle sounds. 

One of the main historical figures in the Exotica movement was Eden Ahbez, a songwriter and recording artist who made a name for himself in California during the 40s, 50s and 60s. He was a prototypical hippie responsible for penning Nat “King” Cole’s big hit, “Nature Boy”, and in 1960 Ahbez released his masterpiece, Eden’s Island, the vinyl copy of which has now become very collectible. 

Enter producers Brian Chidester and Johan Hjalmarsson and the Swedish musical group Ìxtahuele who resurrected unreleased and unrecorded manuscripts of Ahbez’s by creating a new album of his work titled, Dharmaland. On this program we welcome co-producer Johan - who also plays drums in the group - and another of the band’s talented musicians, Mattias Uneback. They both join me from Sweden.

So, listen to our conversation, but then enjoy the exquisite album that they released which really is capable of transporting you to a strange and mystical natural world accompanied by wistful melodies and dreamlike ambience. You don’t need any apps or screens to enter this alternate dimension, all you need to do is use something that you might have forgotten about: your imagination.

Rock and roll didn’t waste any time growing up, even in the earliest years of its inception. Like a delicious batch of chili, it heartily welcomed extra ingredients and spices. In fact, it was those accouterments which allowed the revolutionary musical style to splinter and create so many successful sub-genres.

Carlos Santana did more than anyone else in those early days to initiate and imbue strong Afro-Latin influences into a traditional rock and roll framework. But he continued - and continues - to grow; finding new musical landscapes to explore with the legendarily talented friends that he’s made along the way. Santana’s reputation, of course, precedes him: leader of the Santana rock outfit, Carlos has sold over 100 million records and played in front of 100 million people. Of course, he’s in the Rock and Roll Hall of Fame and has 10 Grammy - and 3 Latin Grammy - wins to his name.   

Santana has recently released a new album titled, Blessings and Miracles where he revisits the formula that brought him so much success with 1999’s Supernatural album. Blessings and Miracles finds a new duet with his partner, Rob Thomas, but also boasts heavyweight mutual collaborations with Steve Winwood, Chris Stapleton, and many others. In addition to his new album, Santana is also currently headlining a multi-year residency at House of Blues at Mandalay Bay Resort and Casino in Las Vegas.

So, I’m very pleased and honored to welcome Carlos Santana to the program. It was a thrill to discuss his career, but what you’ll find most interesting is the mystical way he looks at his life and experiences: through a lens of gratitude, joyfulness, and curiosity. So, grab my hand and let’s climb up this hill together to meet the wise man sitting at the top. Like any guru worth his salt, Santana looks at the complicated edges of existence and filters them to make everyday consciousness seem simple. See if you can see what he’s seeing.

People don’t want to be songwriters so much anymore. Sure, maybe they want to write songs, but today it’s a part of some other greater, grander plan: maybe super stardom in one way or another; songwriting in the 21st century is often a means to an end.

But there was a time when a musical person recognized that they didn’t want to be the one surrounded in the stage's spotlight, but did want to find the chops to write a song from scratch armed only with their voice, a piano, and maybe a cold cup of coffee. Things aren’t really that way anymore, and no one is really to blame, but there was a time, and I know just the person who can tell you about it. 

Gilbert O’Sullivan wrote one of the most intriguing pop hits of all time, “Alone, Again (Naturally)”. The song catches attention with its ear pleasing melody, but upon further listening, the fascinating dichotomy of the tune reveals itself and makes it evident to the listener that they are hearing the work of a master songwriter. The song has been covered by other artists countless times, but it’s Gilbert’s original that displays the full range of his skills and best encapsulates the composition. 

That song may have been released in 1972, but Gilbert has been hard at work since then, writing songs in his home off the coast of the UK in Jersey. Not the Garden State, but just Jersey (or, old Jersey). He joins me on this episode to discuss two bits of exciting news: the first is that the states can expect a tour from him for the first time in 50 years, and the second is that he’ll release a new album of his latest compositions in the next year.

So, join us - just two Jersey boys - though we’re 3500 miles apart. Gilbert and I discuss his career, his musical process, and what he does to keep things fresh for himself whenever he steps behind a piano to write a song. He’s written so many good ones, but he’s still got more to go. Naturally. 

The top of the Empire State Building is an impressive place to say that you’re doing any activity, and it’s even more exciting to say it’s where you’re hosting a radio program. That’s what listeners in the New York City area imagined when they tuned to Z100 on their radio dial. Okay, so maybe in actuality they weren’t broadcasting exactly from that lofty location, but the theatrical panache solidified Z100 into what is now considered perhaps the most influential radio station in the world. 

However, there was a time when that claim was not true. In the early 80s, a successful host from Florida was sent to the swampy Meadowlands of NJ to create a radio station that would rival all others in the New York City metro area. That man was Scott Shannon and he is my guest this week to discuss a new film that has been released which explores those primal days at Z100 and how they climbed from the bottom of the ratings to the top. It’s called From Worst to First and also features memories and interviews from Jon Bon Jovi, Joan Jett, Nile Rodgers, Debbie Gibson, and - of course - Scott Shannon.

Shannon joins me to discuss the path that led him to Z100, how playing it safe is a fool’s game, and what was so special about the musical mix cooked up by Shannon and his compatriots.

So, while we’re not joining you from the top of the Empire State Building, it doesn’t matter, Shannon long ago reminded us all that radio is - indeed - a theater of the mind. No one says that you can’t close your eyes and imagine Scott Shannon and I conversing on the 102nd floor of the most iconic, Art Deco skyscraper in New York City. Man, would you just look at that view?

The idea of being eclectic is a beautiful one, who doesn’t want to experience the depth and breadth of whatever it is they are trying to experience? However, usually, we find that institutions reject the heavy lifting that comes with embracing an eclectic body of work. Be it a restaurant, radio station, or shoe store; most things have some sort of theme, some kind of common thread. It’s understandable, such expectations are necessary; humans like familiarity.

However, sometimes we’re excited to buy the ticket and take the ride, no matter where it might lead. If that describes your carefree nature, then you might want to add Crammed Discs to your list of favorite record labels. In this episode, you’ll meet Marc Hollander who has helmed the Belgian label since 1980, releasing music from the whole world: rock, pop, electronica, modern classical, and much more, and a lot of it: about 360 albums and 250 singles.  

So, maybe you’re looking for something different, or maybe you’re always an adventurous music listener who wants to lock into a label who shares your wild tastes. Hollander isn’t afraid to explore the recesses, and neither should you. You’ll never know what to expect, but try it, you might like it, there’s a lot of cool music crammed onto these discs. 

Marshall Crenshaw bridged an important gap during the end of the twentieth century. His early hits glimpsed into the recent past; recognizing the work of the 50s and 60s masters but soldering it onto 1980s pop thereby creating a sort of vintage-modern hybrid. Crenshaw also portrayed Buddy Holly in the 1987 film, La Bamba which added yet another layer to his aura back then: as if he were saying, ‘Hey, I’m going to nail this Buddy Holly cover right now, but stick around to hear my original music, too.” 

And there was always plenty of fantastic original Crenshaw music to hear: “Someday, Someway”, “There She Goes Again” and “Cynical Girl” and his co-written super-hit, “Til I Hear it From You” with the Gin Blossoms, a tune that was inescapable on rock radio during the 1990s (and beyond). He was also always writing and working. During the nineties, Crenshaw forged a partnership with Razor & Tie Records, releasing several albums with the label.

Today, Crenshaw is revisiting those 90s albums and reissuing them with fresh masterings and bonus tracks; many released on vinyl for the first time. In this episode, Crenshaw and I discuss his 1999 release, #447. Of course, we also talk about his major label days, the process of recording before digital became de rigueur, getting his act back on the road and we also reminisce about the last time he and I spoke, which was ten years ago.

So, join us and remind yourself of how lucky we are to have Marshall Crenshaw in our midst. He might take an occasional glance in the rearview mirror, but his eyes are firmly planted on the road ahead. 

Jacob Plasse is the producer of - and a musician in - the critically acclaimed Cuban big band, Orquesta Akokán and he is my guest on this episode. Jacob and the group found great success with their first self-titled, Grammy nominated album and they have returned with another electrifying set of tunes highlighting and elevating their love of Cuban music, specifically within the mambo genre. The new LP is titled, 16 Rayos.

Jacob tells us about the dedicated cast of characters involved in this project and he takes us on a deeper dive into what mambo really is. We also discuss how Plasse captured the authentic mambo sound that was so prevalent in pre-revolution Cuba and what it was like recording this album on location in the country’s famed and state-run, Egrem Studios.

It’s curious that in our day and age, a time when we have immediate access to so much culture, that most of us stay focused on the same old familiar performers and genres. When was the last time you really challenged yourself to listen to something out of your comfort zone, perhaps something in another language? Exercises like this are important for any music lover, so if you're due for such a foray, then Orquesta Akokán might be just what the doctor ordered. And if that’s what your doctor ordered, then you’ve also got a pretty cool doctor. 

Sure, there’s Detroit’s Motown, Los Angeles' famed music scene and we know all about the great records that were recorded and produced in New York City. However, during a certain, special period of time in the 1970s, Philadelphia reigned supreme. Philadelphia International Records was founded in 1971 by songwriting and production team Kenneth Gamble and Leon Huff and their partner, Thom Bell. During their heyday, the label produced 170 gold and platinum records, many of which still remain radio mainstays.

Philadelphia International had its signature sound: slick and professional, full of angelic voices, lush strings and solid bass which was recorded at Philly’s famed Sigma Sound Studios. Two of the men who were behind the mixing board during many of these sessions were Arthur Stoppe and Jim Gallagher. They both join me for this episode to discuss two beautiful box sets recently released by United Soul and Philadelphia International Records. The first is The Sound of Philadelphia, Volume 1: Get on Board the Soul Train and the second is The Sound of Philadelphia Volume 2: Satisfaction Guaranteed.  

Arthur and Jim let us in on some secrets related to these historic records, how they really feel about analog and digital recordings, and what was in the water in Philadelphia during the 1970s where all of this musical magic was allowed to happen. I don’t know if you’re hungry, but this episode might be served up best with your neighborhood’s finest cheesesteak; go ahead and order, just hit pause first. We’ll wait here. 

Corey Feldman is an icon: he represents a certain time and place for a generation of moviegoers who existed just prior to the internet’s big bang, before wi-fi conquered civilization. In the 1980s, one didn’t begin watching a film without assuming Feldman might pop up somewhere; he appeared in an astounding batch of pop culture blockbusters; many of which still roundly resonate today: Gremlins (1984), The Goonies (1985), Stand By Me (1986), The Lost Boys (1987), and many more. Feldman - with his entertainment pal, Corey Haim - was also one half of the eighties showbiz power-duo known as “The Two Coreys” appearing in nine films together, including a popular reality television series.

While Corey has experienced the entertainment industry’s pinnacles, he’s also glimpsed its dark side. But through it all, Feldman has maintained a stiff upper lip and a positive outlook while putting his creative energies into a musical career which he kicked off in the early 1990s. Since then, he’s released albums such as Love Left, Former Child Actor, Angelic 2 the Core, and now a sprawling box set (Love Left 2.1) containing a remastered version of his first Love Left album, rarities and also a brand-new follow up to that album titled, Love Left 2. Feldman and I explore his wide-ranging musical thumbprint, including the production influences and professional discipline he learned during his friendship with Michael Jackson.

We speak with Corey about his newest music and examine how it relates to his past, yet serves to presage the future. For, as you’ll learn, there are few people who understand the transition from the golden age of cinema to the entertainment machine that exists today as intimately as Corey does. Fortunately, he’s happy to share some war stories and explore what he believes is the future of the entertainment industry, but he also warns about the vampires that still lurk around Hollywood after midnight; they might not have fangs, but they sure are bloodsuckers.

We begin the new year by trying something a little different. This week, we focus our radar’s attention on food. And we talk about it with the “highest paid professional restaurant server on the planet.” Meet Eric Valdivieso, he’s a longtime food service industry insider who has a new book out called, “The Valdivieso Method” which explores the idea of applying the tools he learned in the service industry to other service oriented businesses.

You’ll hear Eric’s story of how he went through the restaurant ranks and learned his craft so well that he now mostly coaches servers and managers in the hospitality industry. 

But, it’s more than just food that Eric and I discuss; we explore how you can become your best self, how some of these skills can be used in any business that thrives on relationships, and - really - what business doesn’t? Of course, I don’t let Eric off the hook without giving us some great restaurant recommendations. 

Above all, though, Eric’s program and experiences are mostly centered around taking care of others and enjoying the glow that comes from making someone feel special and cared for. It’s about not missing the many opportunities we’re all presented with each day to elevate someone else's experience; how caring for others can become a habit. And nowadays, that’s a skill we could all use a little bit more of.

Sometimes, it’s the smallest instruments that make the biggest impact. If you’re of a certain age, you can remember tuning into this new thing called YouTube to watch a young man absolutely shred on a version of the Beatles’ “While My Guitar Gently Weeps”. What made this musician stand out, however, was that he did it on ukulele. 

Over the last two decades, Jake Shimabukuro has not only continued to become the preeminent ukelele player on Earth, but he’s also branched out to bring the instrument places it has never gone before. Most recently, this was evidenced on his newest album, Jake and Friends which features an extraordinarily impressive roster of friends that Jake has picked up along the way: Kenny Loggins, Bette Midler, Jack Johnson, MIchael McDonald, JImmy Buffett and Amy Grant & Vince Gill and many more.

Join Jake and I as we discuss how that little instrument can make a huge sound, especially when it is accompanied with the cast of luminaries that he’s assembled for this album. How could you resist making an album like this when you’ve got friends like that?

Any good collection has a great number of different niches and subcategories: music and record collecting is no different. Some of us focus on rare soundtracks or hard-to-find instrumental music from Europe and the US that was released in the 1960s and 70s. One could scour record stores for years and spend a great deal of money trying to chase down these revered sounds, or you could just pick up some releases by Frank Maston and be done with it. 

Frank Maston - who goes just by Maston - is an American musician, composer and producer who pays homage to those sounds, but through his own lens. In fact, Maston has chosen to live abroad in search of authenticity and finding musicians to work with who share his own visions. What’s most interesting is that, while Maston is a musician and composer, he appears to be most at home producing and arranging his projects much the way that record producers like David Axelrod or Jack Nitzsche did. While Matson creates the pieces of the puzzle, his true art comes to light in putting it all together. 

Recently, Maston teamed up with the Swiss sextet, L'éclair to produce an album titled, Souvenir which has all of the deep, funky, melodic grooves of those rare records we crazy collectors are always chasing. If you’re listening to us at The Vinyl District, you’ll hear our conversation, but if you’re joining us on the radio at WFDU, 89.1 FM, you’ll be treated to the music taken directly from vinyl. On this episode, Maston joins me from his apartment in Paris, France to discuss the makings of the new album, leaving his home to set out in search of his musical destiny, and how he sets the stage to bring his musical concepts to life.

Vinyl gets plenty of love in the 21st century even though streaming offers plenty of convenience and stability, while the venerable CD quietly sits waiting for someone to rediscover it. But what’s left for the cassette? In this episode, I sit down with Dr. Iain Taylor who joins us all the way from Birmingham City University in the UK. Taylor is a Lecturer in Music Industries, and a researcher within the Birmingham Centre for Media and Cultural Research. As an educator, Iain teaches primarily on the Music Industries degree, leading modules which explore the cultural and emotive value of music, and how this translates into the business models and intellectual property rights of the music industries.

Earlier this year, Dr. Taylor wrote an article at The Conversation website titled, “Audio cassettes: Despite Being ‘A Bit Rubbish’, Sales Have Doubled During the Pandemic – Here’s Why”. In that article, he explores the origins of the cassette and even the fact that the medium was more - or less - disowned by its creator. However, for all of their awkwardness and their inferior sound quality, cassettes still hold a place in the hearts of those who collect physical media, if only as a way for human beings to connect with something tangible, something real.

So, join Dr. Taylor and I as we explore the cassette from points of view nostalgic, economic and humanistic. Cassettes may bring back some warm memories of days gone by, but no one looks forward to respooling a tape that had been eaten by a player with a number 2 pencil.

As you know, this program typically finds me exploring the work of others, but for this episode, I hope you’ll allow me to turn the attention over to myself. The last few years have found me compiling a special project: it’s my new album, it’s called “The Show” and there is an interesting story attached to it that I think you’ll enjoy hearing.  

Like many folks growing up in the 80s and 90s, I became a big fan of Billy Joel. During Billy’s most successful years, his band consisted of a stable lineup of musicians; it was easy to recognize the skill and personality that they brought to his music. Liberty DeVitto had a fun, yet thundering presence on drums that always balanced out Billy’s more theatrical and balladic impulses. Richie Cannata brought blistering and irreplaceable saxophone parts to Billy’s work; you can probably hum along to all of his solos and arrangements. Russell Javors was always there, steadfastly holding down the rhythm guitar section. 

When I discovered that Liberty, Richie and Russell were still playing together as The Lords of 52nd St. and that they were living in the same tri-state area that I was, I reached out to see if they’d be interested in recording an album of my originals with me. Luckily for me, they were. Unfortunately, Billy’s stalwart bassist, Doug Stegmeyer - known as the Sergeant of the Billy Joel Band - passed away in 1995, but for this project, his role was filled by the extremely talented Malcom Gold, who currently plays bass with the Lords. Also featured on the record is my beautiful wife, Laura Toth, who recorded a very special duet with me and whose voice - by the way - introduces each episode of this program.

So, we set to work recording in Richie’s Cove City Sound Studios in Glen Cove, Long Island. After we completed the rough tracks, the pandemic bared down and stopped us all in our collective tracks.

However, we persevered. The album was completed and mixed by John Arbuckle and mastered by Grammy-award winning Michael Graves. I was even fortunate enough to have the cover art created by the very talented Jess Rotter. On this program, I’ll be joined by Liberty, Richie - and my wife - as they share their own insights into this project and also shed light on the preparation and process that goes into any recording session.

So, I hope you’ll excuse this look into the mirror, but as much as this is about me, it’s also about the people who I was fortunate enough to have helping; as we all know, no one completes something like this in a vacuum. To that, I say a hearty “thank you” to all of those who were involved in the creation of the album. 

With that being said, I wish to welcome you to, “The Show”.

It’s hard to look back at the British Invasion and not be amazed at the level of skill and talent that came across the pond to impact and influence the revolutionary pop music that was being made worldwide at the time. One of the major bands to break out of the UK was The Zombies who hit it big in 1964 with, “She’s Not There” and continued to have hits throughout the 1960s. The wonderfully romantic and singular voice of the band was that of Colin Blunstone who is my guest this week. 

The career of the Zombies took a curious turn at the end of the decade, the band broke up soon after releasing their final album, Odessey and Oracle, but fate had other plans for the group. Their song, “Time of the Season” became a hit of epic proportions and Odessey and Oracle slowly grew into what is now seen as one of the cornerstone achievements in rock and roll history.

Following the break-up of the group, Blunstone set out to discover what the next move for his career was and began to release solo albums beginning with 1971’s, One Year which celebrates its 50th anniversary and is being re-released this year featuring 14 previously unreleased recordings and nine unrecorded compositions with never-before-seen photos and new liner notes penned by Blunstone. Of course, the project will include a new vinyl pressing mastered by Joe Lizzi and cut by Kevin Gray at Cohearent Audio.

Blunstone continues to record and tour with the Zombies, but this anniversary is an important opportunity to take a peek into his solo career and pay special attention to his luxuriously exquisite vocals and unique artistic directions. Keep an eye out for Blunstone to visit the states soon and perform his inaugural solo album. During this interview, Colin’s computer - and my own - were both running low on battery power. Do we make it through the whole chat? You’ll have to listen to find out, but just remember, even rockstars need to charge their devices.

As a music lover, sometimes it’s hard for us to differentiate between being fans of music vs. being collectors. What part of our listening is really about enjoying the sounds of our favorite artist and what part of it is merely fulfilling a nostalgic desire? Since 1979, brothers Wayne and Gary Johnson have owned Rockaway Records in Los Angeles, California. Over the last 40 plus years, a mind-boggling treasure trove of music and memorabilia have passed through their hands and their shop still stands strong today. Now, bear in mind, Wayne and Gary don’t just sell your regular, run-of-the-mill items: they deal in the high end, investment-grade, vinyl and collectibles market. 

Wayne Johnson was kind enough to sit down with me and talk about some of the more eye-popping items that he currently has available for sale; many of which will probably be sold by the time you listen to this chat. But, Wayne and I go deeper down the collecting rabbit hole and get into some of the more philosophical and existential elements of what defines a music fan, a collector and an investor.

The Vinyl District page associated with this episode will also feature several photographs of the goodies at Rockaway Records taken by a member of our TVD Los Angeles team, Matthew Belter. It’s great to hear Wayne and I discuss what he’s got for sale but, as is usually the case, Matthew’s pictures are worth thousands of words. 

Sure, we talk about the Beatles items that are currently worth a fortune, but we also discuss items that people perceive as having value, that aren’t very valuable at all. We explore some big-ticket items that might surprise you, and also look at artists who aren’t quite as collectible as they used to be. If you love music, if you love that tactical feeling of holding an artist’s work in your hands, if you get excited seeing items that aren’t just albums, but historical artifacts, then join me on a visit to Rockaway Records. Wayne is happy to have us browse, but if you plan on buying something, don’t forget to bring your wallet! You’re gonna need it. 

Andrew Gold was a sort of Zelig figure in popular music during his career. If you fell in love with his music in any place, you’d probably be surprised to see him pop up somewhere else. Gold was a talented singer-songwriter with his own string of excellent and underrated solo albums and a Top 10 hit “Lonely Boy”, but there was much more. He was also Linda Ronstadt’s arranger and a multi-instrumentalist on several of her albums and he toured with the Eagles and James Taylor. His song, “Thank You For Being a Friend” was rerecorded for use in the mega-hit TV series, The Golden Girls. He also wrote and performed the theme song to the 1990s TV hit, Mad About You. 

In 1996, Gold saw what he felt was a deficit in the Halloween music world and released an album celebrating the spookiest of all holidays: Halloween Howls. At the time, the album didn’t take off just the way that Andrew had hoped, however, the internet had other plans. Slowly, over time, a track from the album gained attention. A remix of the song “Spooky Scary Skeletons” became a bonafide viral, dance-hit smash and was impossible to miss on social media last year.

Sadly, Gold passed away in 2011. However, his widow, Leslie Kogan, continues to make sure his wide and varied catalog finds appreciative ears. She helped to unearth a strong live performance by Andrew from 1978 which was released in 2015 as, The Late Show and Kogan also delved through Gold’s archives to create last year’s unreleased compilation, Something New (both albums on Omnivore Recordings). 

This year, it’s Gold’s Halloween Howls which sees its first vinyl release featuring new artwork by the extraordinarily talented Jess Rotter on Craft Recordings. It’s always welcome to hear new music from Andrew Gold, but standby because Kogan has more in store down the road. Sit tight while she and I discuss all this and much more in this week’s episode. Happy 

Halloween to all. 

Boo!

Whenever the mailman delivers a package that looks like a record, there’s no doubt that I become excited. Such was the case when I received something from Ted Riederer and Never Records. Except, something was off...while the package’s dimensions were correct, the weight was wrong, “this is light,” I thought. The packaging inside was that of a fully designed record sleeve, but - as I was to soon learn - there was no actual record inside, no disc. Intrigued, I began to uncover the story of Never Records and learn its motto which is: you are not listening. My astonishment at the empty sleeve was indicative of the fact that I wasn’t listening; but my attention had been captured and I was ready to open my ears. 

Never Records is really an art project and describes itself as, “a combination recording studio and record shop, all operating in one building. The sole proprietor, interior decorator, and engineer is New York-based artist Ted Riederer.” Ted travels to different geographic locations (The UK, New York, New Orleans, Amman, Jordan and more), finds a space that would serve as a temporary and fictional record shop, connects with local performers, records them, and creates two lone lathe cuts of their work on vinyl: one for the artist and one for Ted’s archive. The genre of music doesn’t matter, it’s all part of encapsulating the sounds of the communities that he visits.

Join Ted and I as we get to the bottom of Never Records’ artistic vision and float some lofty dreams and theories. It’s an opportunity to observe how we currently consume music through a different lens. We also discuss his work with Arturo Vega and the art of operating a lathe. In fact, we may even cut this interview to vinyl! 

Riederer’s project celebrates vinyl, but also challenges our current expectations of what kind of music lives in the grooves; it’s an homage to record stores and collecting, except nothing is for sale. It’s a beautifully designed album cover, but it’s empty. Are you listening yet?

David Duchovny is one of those rare entertainment birds who has managed to craft a career in show business utilizing his many passions. Everyone is familiar with his portrayal of Agent Fox Mulder in the X-Files and his successful run with Californication both of which afforded Duchovny Golden Globe awards. But there are other artistic outlets that he continues to explore.

An English major and graduate from Princeton University, it’s natural for Duchovny to express himself with a word processor. He’s written four books which have received strong reviews. His latest is titled, Truly Like Lightning: A Novel (Farrar, Straus and Giroux). But he’s also a songwriter and musician: music serves to fuse together the literary Duchovny with the on-screen actor: with music, he is able to both write and play a part, even if the part he’s playing is himself. 

His newest album, Gestureland is his third record. Duchovny explains in our interview that it focuses on signs and signifiers of our modern culture, and the mysterious interest humans have by trying to find meaning in things that may not mean what we think they mean. Sounds like something Agent Mulder might focus on if he played in a band on his off nights from the FBI.

Join Mr. Duchovny and I as we talk about the creative process, his new record, the fabled Princeton eating halls, and much more. If you’re hoping that he’s as intensely conspiratorial as Fox Mulder, well, you might be a little let down, but the fact of the matter is that - like all of us - Duchovny is grappling with what the last few years of our lives means, we may not be able to quite discern what that is yet, but like Agent Mulder, we all want to believe.

It’s not hyperbole to say that musician, songwriter, arranger and record producer Van Dyke Parks is a legendary or mythical creature in pop music folklore. Sure, you know how Brian Wilson recruited him to join his creative process on what was to be the Beach Boys’ penultimate masterpiece, Smile. But there’s so much more to his career: aside from his critically acclaimed solo albums - Parks has historically been involved in a number of notable musical projects, always searching to shed light on music and stories that are astutely sui generis.

During quarantine, Parks orchestrated four songs for Verónica Valerio, a singer, songwriter and harpist born in Veracruz, Mexico. The album is titled, Only in America, Solo En America. While the lyrics are in Spanish, the mood and emotion of the project is evident no matter what language one speaks. Don’t forget to take a moment to study the album’s cover art: it was created by Klaus Voorman, the Beatles’ chum who created the ever-enduring album art for Revolver. 

So, let VDP and me keep you company as we engage in a conversation that goes wherever it pleases. We discuss his connection with Valerio’s music and subject matter, calling Klaus Voorman on his cell phone, how this project compares to his work with Brian Wilson and so much more. You’ll find Van Dyke Parks affable, nimble-witted, and urbane; join me as I try to keep up! 

Much of the music we listen to today comes from different generations. It may be an old favorite like Led Zeppelin, or it might be a group that was under the radar for many years before finally having their hey-day long after they’d ceased to exist as a group, like Big Star. Behind the contemporary music scenes, there is a full-blown industry involved in keeping popular records in print and releasing albums that deserve a second chance.

Meet Gordon Anderson who has spent much of his life doing both things. He was the co-founder of the ubiquitous Collector’s Choice label in the 1990s which - long before streaming - was the easiest and most sonically pleasing way to track down classics from the 50s and 60s. After leaving Collector’s Choice, Anderson - and his business partner Gabby Castellana - have created Real Gone Music, which is - as they describe it - “a reissue label dedicated to serving both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites.”

With nearly ten releases per month, Real Gone Music probably has something in their catalog that will appeal to everyone, in fact, it’s this populist, all-encompassing acceptance that gives the label its unique spin: if enough people want it, Real Gone Music will try to find a way to serve it up. 

Anderson and I take a deep dive into the world of running a record label, the business of music reissues, and the vinyl comeback. We also question what’s going on with our old buddy, the CD and learn about the origins of Real Gone’s celebrated Black Jazz label reissues. It seems difficult to comprehend, but if it weren’t for guys like Gordon Anderson keeping vintage music catalogs alive, you might not even know that some of your favorite music ever existed.

Gregory Porter embodies the best of what a popular singer should be: he’s a suave and stylish songbird with the heart of a poet, painting the lyrics he’s reciting onto his canvas while letting his soul lead the way. With six albums under his belt, he’s had the opportunity to do a little bit of everything, and do it well: from traditional interpretations from the Great American Songbook to more contemporary fare. If that weren’t enough, he’s also a talented songwriter.

Like all of us, Mr. Porter is ready to get the needle back in the groove that his career was in prior to the pandemic which included five Grammy nominations and two wins. In fact, Gregory won two Grammys in the same category, in the same year for two different albums. Has anyone ever done that before?

Porter is back on the road: our New York City area listeners have one treasured opportunity to catch him in our region at the beautiful New Jersey Performing Arts Center on Tuesday, September 21st before he jets off to the UK and Europe in November. 

So, join Gregory and I as we discuss his latest work, our mutual affinity for Nat “King” Cole, whether, or not, he’s a vinyl disciple, and hear some secrets about his creative process. You’ll find him incredibly intelligent, insightful, and passionate about his work, and hopefully you’ll walk away feeling lucky that we have a vocalist as skilled as Porter is in our modern midst, I know I do. 

For some folks, New York City is a place they’ve only seen in movies or read about in books; a mysterious, mystical place full of danger and excitement where fame or fortune - or failure - might be lurking around any corner. For those of us familiar with the Big Apple, we know that description is mostly true. No one, however, has characterized New York City in a song quite like Suzanne Vega. Vega began her career as part of the neo-folk scene that was taking hold in Manhattan in the early 1980s, but she broke through to the big time with her songs, “Luka” and “Tom’s Diner” the latter of which was famously remixed to become a global phenomenon.

Vega has, of course, continued writing and performing; crafting a catalog of music that is poetic, clever and adventurous. Location is of paramount importance to Vega and the thread of her body of work always ends up somewhere in New York City. This leads us to Suzanne’s latest project and release, An Evening of New York Songs and Stories which was the encapsulation of a run of shows Suzanne performed at New York City’s famed Cafe Carlyle. Like many projects in the last year, or two, the release and tour to support it was hampered by the pandemic, but Vega is ready to get back out on the road to share this song-cycle focused on New York, New York. 

Suzanne was kind enough to sit down with me and discuss not only her latest record, but also her career from its humble folk beginnings to finding herself on the international top singles charts. Certainly, we discuss New York City and how events like 9/11 and the recent pandemic have shaped her both personally and as an artist. 

Suzanne has a string of shows approaching, as well. Our New Jersey listeners can see her at the South Orange Performing Arts Center on September 11th. Our Long Island listeners can see Suzanne at the Sufffolk Theatre in Riverhead, NY on September 12th. Before embarking on a European tour, Suzanne will also return to New Jersey to perform at the The Vogel in Red Bank on October 14th and at the Scottish Rite Auditorium in Collingswood, NJ on October 16th before performing in New York City’s City Winery on November 26th and 27th. 

Prepare to be allowed to peek inside the mind of a very special songwriter, to get a glimpse of what makes her tick and how she’s able to process the mystery and madness of New York City; its people, its trials and its tribulations. You don’t have to have ever set foot in New York City to appreciate the music of Suzanne Vega, but if you ever come to visit, it wouldn't hurt to have “Tom’s Diner” playing in your headphones as you step out of the airport to hail a taxi cab. 

It’s hard to imagine now, but there was a time when troubadours would travail the twilight streets of New York City with a guitar strapped to their back and scribbled lyrics written in coffee shops crammed into the pockets of their Levis. These minstrels would then perform those tunes to audiences who went out specifically to see something new, to learn about new voices and musical directions. Willie Nile can tell you more about it, he was there. 

Discovered by Clive Davis in the late 1970s, in many ways, Nile was the last of that generation of New York City poet/songwriters to get a shot at the big time. Willie brings that timeless poet’s sensibility to his recent run of albums. His newest project, The Day the Earth Stood Still is a record focused on the impact and experience of our recent pandemic times.

Willie is a lot of fun to talk to, he’s a bit of divining rod to the sea of emotions that exist just below the surface of the city. He’ll tell you all about the new album, but his conversation is full of rich context and wisdom that only someone who’s howled songs into the night sky over Manhattan during the wee hours would truly understand. 

It feels a little bit as though the Earth has stood still for the last year, or so. During times like these, when it seems we’re often at a loss for words, we’re lucky to have guys like Willie around to fastidiously fill in our collective blanks with rock and roll music sealed with the magic of a poet’s touch.

Elroy is the son of Crowded House’s Neil Finn and, just like much of his musical family, he is a unique artist all his own. While he is currently playing drums in dad’s band, Elroy also has a brand new album out and it is simply titled, Elroy on Grand Phony Records. Written, produced, recorded, and mixed by Elroy himself, the album is a moody and mellow slice of modern day psychedelia. 

Elroy joins me all the way from New Zealand to discuss the writing and production of his new album, his musical family and its influences, and what’s coming up next!

Robby Takac can tell you some stories! A founding member of the Goo Goo Dolls in the 1980s: he was there in those rough and tumble hard rock early days and evolved with the band to produce some of the most heard alternative rock numbers of the 1990s. In fact, the band’s song “Iris” was ranked #1 on Billboard's "Top 100 Pop Songs 1992–2012" chart. 

While Robby and longtime Goo Goo Dolls frontman John Rzeznik work on a new album, it seemed it was the right time for them to dive into the archives and compile and produce an anthology of rare cuts and seldom heard live performances: the album is called Rarities and it provides some very revealing and informative glimpses into songs that we’ve all heard many, many times. 

Robby joins me to discuss the tracks on this new compilation, but we also talk about those heady Goo Goo Dolls days when it seemed the Dolls’ music was inescapable whenever you spun a radio dial. We discuss the good and bad elements of the algorithms that keep their fingers on our collective pulses and we track the path of one of the most successful rock and roll bands of the late 20th century. 

While I’ve been fortunate to have John Rzeznik on the program, it’s now Robby’s turn to dish and give us a glimpse inside the modern day machinations of the Goo Goo Dolls. 

It’s unusual to discuss an album that doesn’t fully yet exist yet, but that’s what’s happening here with soul and R&B singer-songwriter, Rozzi who joins me this week to discuss her new song, “I Can’t Go to the Party” which encapsulates the age-old and awkward experience of navigating a social setting with an old paramour, and I won’t say more, just tune in to hear Rozzi explain how the scenario went down.

Discovered by Maroon 5’s Adam Levine, Rozzi’s voice is full of depth, yearning, and character. Of course, we talk about the song, but there’s an album brewing, as well. So, consider the song an appetizer for the album that is still a work in progress. 

You’ll hear Rozzi rattle off a list of some of her favorite musicians, and she’s got great taste! With heroes like that it would be hard to create a product that didn’t shoot for the stars. So, join me and meet Rozzi, and get ready to hear plenty more where this came from. 

Gary Kemp cut his teeth as a band member of the immensely popular 1980’s New Romantic, synth-pop band, Spandau Ballet. As their chief composer, his participation in the group was fundamental to its success; Kemp is responsible for writing a song that you’ve heard many times - in fact, BMI has awarded it one of the most played songs in American history with 5 million airplays, and counting: the 1983 mega-super- hit, “True.” 

Kemp released his first solo album - Little Bruises - in 1995, but now he’s come back again with his first new album in 25 years, it’s called In Solo and demonstrates his formidable and refined composition chops coupled with his evocative voice. The album was crafted during the pandemic and features some special guests like Queen’s Roger Taylor. 

Spandau Ballet is currently on hiatus, but that hasn’t slowed down Kemp. In addition to this new record, and his stage and screen acting gigs, he also tackles guitar and vocal duties in Nick Mason’s, Saucerful of Secrets band which performs the early music of Pink Floyd. Kemp also co-hosts the popular music interview podcast The Rockonteurs with Guy Pratt. 

Join Kemp and I as we discuss his clear insights into how he’s approached writing the songs on this new album, the odds of a Spandau Ballet reunion, and to see if he knows my cousin Terry who has been a Spandau Ballet superfan since the early days! 

Everything has its time and place, while it’s wonderful to enjoy a small indie band who created a landmark recording on the laptop in their bedroom, don’t discount the seasoned artist who enters the studio to create an expansive and polished masterwork. If you hope to enjoy an expertly executed, blockbuster production this year, Gary Kemp’s new album is the place to start listening. 

The work of certain musical artists occasionally transcend the initial audience and genre they were intended for. Waylon Jennings, best known as a cornerstone of country music’s “Outlaw Movement”, produced a body of work during his lifetime that encapsulated a certain place and time in American musical history. But the music he composed, and the recordings he made, are now being re-contextualized from a female perspective. 

Songwriter and performer, Shannon McNally, has long-since admired the music of Jennings and envisioned looking at his music through a female lens which she’s done on her latest release, The Waylon Sessions (Compass Records). In fact, as we discuss, Shannon’s interpretations might make a listener question why it took so long for someone to come up with this concept in the first place.

Join Shannon and I as we talk about Jennings and the impact his music has had on her, seeing his body of work from another context, and the making of her new album. Not just anyone could pull off a project performing Waylon’s music. You've got to be a great musician, sure. But you’ve also got to be a bit of an outlaw, too.

Every so often, there is a member of a well-known band who truly blooms after stepping into the spotlight on their own terms. Such is the case for Eric Slick who is also the drummer from that fabulous band from Philadelphia, Dr. Dog. 

In 2020, Eric released his second solo recording - <i>Wiseacre</i> - via Bandcamp which - given the current state of the the rabid vinyl buying community - sold out pretty quickly. In conjunction with ORG Music, Mr. Slick has reissued the album on red and yellow vinyl, of course. 

It’s always a little interesting when a drummer takes the reigns. A world of critical eyes are upon them: will they be able to make the move from the drum throne to center stage, will they have the chops, the guts, and the vision? A cursory listen to Slick’s Wiseacre not only confirms his ability to make such a move, it leaves mouths agape at the quality and craft that he’s brought to both his writing and performance. He’s not just playing drums either, while Butch Walker produces, Eric plays almost all of the instruments you hear. If it ain’t him, he’s joined by his talented wife, Natalie Prass and Steven Drozd who was on loan from The Flaming Lips. 

Eric joins me to talk about the new album, and we do it in a location familiar to many rockstars: the van. But, this time, perhaps teeming with apt symbolism, Eric holds our discussion from the driver’s seat.

Laura Benack and Steven Mertens are a duo that go by the name Bass Race. They may have created a 21st century fusion of music on their new release Tender Vittles, but something about them feels comfortably old fashioned. You can feel their familial connections to music and the arts, the respect they have for old-school Los Angeles, and the way they nurture their own relationship in a respectful and fruitful way. 

As you’ll hear, their musical influences are rich and tasteful and pull inspiration from some of the best r&b, soul and funk music of the last 50 years: they love their Earth, Wind and Fire and Donny Hathaway records. They lean on analog recording techniques and instruments, but fuse them together with modern-day beats and technology to create something fresh, but pleasantly familiar. 

There’s something about a duo that’s a little forgotten and underappreciated in today’s day-and-age: Sonny and Cher, Louis Prima and Keely Smith, Ashford and Simpson, or Marty and Eliane: they all work best when they work together; their teamwork makes the dream work. Laura and Steven bring that same harmonious synergy to Tender Vittles making it more than just a geat record; perhaps the album serves as a love-letter or a representation of the relationship Laura and Steven have together, but it’s also a testament to all of the good things that a mighty duo of two people can accomplish when they make a choice to set aside their own needs and focus on their partner.

It’s an understatement to say that Kenny Loggins has achieved massive success in the entertainment industry. He’s been on the Billboard Top Ten charts over 20 times and sold over 25 million records. Many of the songs he’s created have become an important part of the musical fabric of a certain time and place in American history. All that aside, Kenny Loggins has had one of the most successful runs in history creating pop songs for film; so much so, that he’s known in the industry as “The Soundtrack King.” 

Mr. Loggins celebrates his soundtrack kingdom by releasing a special vinyl compilation for 2021’s Record Store Day. The album will be called At the Movies and - believe it, or not - collects, for the first time ever, Loggins’ greatest soundtrack hits on vinyl, including “Footloose”, “Playing With The Boys” (Top Gun), “Danger Zone” (Top Gun) and “Nobody’s Fool (Theme From Caddyshack)” plus, it includes a newly recorded version of “Playing With The Boys”.

Kenny and I discuss the new release and his need to purchase a turntable, so he can hear it! But we go further: this industry legend gives valuable insight into how film music is different in today’s climate, he shares some stories about the ones that got away, and also describes the critical music magic that happened right in his own car. 

These days, it’s hard to imagine the pre-internet impact and significance these blockbuster movies and songs had. While the films were all-encompassing cultural events, the soundtracks belonged to Kenny.

Can you remember the first time you heard the song, “Cars”? At that moment, it must have been obvious that Gary Numan looked at things a little bit differently than you or I do; that he was full of a wisdom and intellect that we mere Earthlings do not possess. The good news is that Gary Numan is still putting his unique insights to music.

Gary’s new album is titled Intruder and it is an exploration of the concept that the Earth is tired of us lowly humans kicking it around and has decided to fight back. At an earlier time, the thesis Gary posits might have garnered a few chortles and eye rolls, but in today’s climate, well, it feels as though we ought to sit down with Gary and hear him out; he might be on to something. Don’t say Gary Numan didn’t warn you. 

Gary joins me all the way from England to talk about his newest release, but we don’t stop there. We also talk about how music production has changed since the late seventies, his feelings about the vinyl comeback and how hard he’s worked to stay true to his musical voice. 

If you’re hoping to be a rockstar, you’ve got to have drive, ambition, a sense of luck, faith and - perhaps, most importantly - you’ve got to have a great sense of humor. Gina Schock has all of those attributes, and more, and she needed those tools to hold down the backbeat for the most successful all-female band of all time: The Go-Go’s.
 
 If you saw the recent Allison Ellwood directed documentary,  The Go-Go’s, you’ll know that the band soared to the highest showbiz highs and sank to some pretty lousy lows. Witnessing the entire rock and roll rollercoaster from the drum throne was Gina Schock who joins me to talk about many things currently buzzing in the world of the Go-Go’s, but specifically, the 20th anniversary and reissue of their 2001 reunion album,  God Bless the Go-Go’s which will be released on May 14 (Eagle Records). 
 
Gina and I discuss the making of that album, including Billie Joe Armstrong’s contributions. You’ll hear Gina rifle through her vinyl collection and pick out some of her favorites. We also chat about a book that she’s currently completing about her experiences in the Go-Go’s. Most significantly, we talk about the band’s nomination for this year’s roster of the Rock and Roll Hall of Fame. 
 
If you want to be a rockstar drummer, you’ve got to be in tune with your heartbeat and keep the tempo tight and unwavering. If you walk away from our chat learning nothing else about Gina Schock, it’s that Gina doesn’t just have the beat, she’s got the heart.

“What are you about, man?” That’s the question Frank Ene asked himself when writing and recording the music for his latest EP, No Longer. Hearing Frank explain it, this was his opportunity to gaze into the mirror and paint a musical portrait of who he is, or who he was. 

The music on No Longer is dark, and the 90s kids in the room might hear some influences in the way of Enigma, or late-stage Duran Duran and Frank is happy if that’s what you hear, because he loves those sounds from the 1990s as well which he fuses into his own subterranean musical landscape. 

But, Frank will not be typecast. Nope, in fact, the way he tells it, he’s already completed his next album and is working on the next one and neither of those records will sound like this one. So, while we hope you enjoy the music you hear from No Longer, don’t get used to it, you may not hear it again, at least not from Frank.

Or, maybe you will. That’s the fun thing about Ene: he seems to always be driving himself to the next destination, but - if he’s so inclined - and can find a good artistic reason for doing so, he might just turn that car around. Perhaps from the back seat, you’ll see Frank’s eyes flash in the rearview and hear him ask, “What are you about, man?” Will you have an answer?

Pete Krebs is a musical chameleon. It was the 1990s when his career began in the band Hazel which was a very popular alternative rock and roll group on Sub Pop Records. In those days, Krebs even formed a friendship and musical partnership with indie rock hero and legend Elliott Smith. Yes, I’ve been trying to track down their split-single for many years, but that’s another story. He’s also been inducted into the Oregon Music Hall of Fame.

Since then, Krebs has continued experimenting and expanding his musical palate. Catching one of his shows, or listening to one of his records, might find one encountering Western swing, jazz, country, or just straight up, no holds barred rock and roll. While some musicians work hard to stay in their lane, Krebs enjoys grabbing his guitar and exploring wherever his ears lead him. 

Krebs’ latest album (with his band The Gossamer Wings)  is titled All My Friends are Ghosts and one might say the record is a sort of amalgam of the many styles and sounds that Krebs can make with his voice and some steel strings in his hand. It’s an excellent recording and deftly showcases his compositional skills.

Krebs isn’t through exploring yet. As you’ll hear in the following conversation, he is still searching out unique sounds to play on his stereo. When he’ll try to figure out how to make those sounds himself is anyone’s guess, but you can be sure he’s thinking about it.

Some of us were just born to do the things we do; it’s in our blood, in our genes. Jon Klages is one of those folks whose lineage belies a musical connection. His grandfather was a popular and successful producer during the latter half of the 20th century, Enoch Light. Light was known for his exciting and fun recordings on his own Command Records label. Often his productions were worthy of an audiophile’s discerning ear. Light was also known for the groundbreaking abstract and minimalist album art that graced the covers of many of his recordings: some the designs that artist Josef Albers created for Light are now on display at the Museum of Modern Art. 

So, it’s no surprise that Klages felt the tug to finally fuse his own musical proclivities with those of his familial forebearers. But Klages’ background is a bit different from that of his grandfather, Klages is a guitarist by trade and performed with The Individuals, the Richard Lloyd Band and was also a part of the Hoboken, NJ music scene in the early 1980s. His new album - Fabulous Twilight (Danbury Fair Recordings), is an eclectic effort that features all the best of what Jon has explored in his past: twangy guitars, clever and slick production, and - of course - lots of fun. 

Join Jon and I as we discuss his new album and the myriad influences that brought it to life. 

Tracy Bonham can do it all. You might remember her from the late 90s when she released The Burdens of Being Upright album and screamed right into the faces of the alternative rock world. Or, maybe you learned about her through her terrific albums and career that followed over the course of the last twenty years, but now, she’s back and she wants to teach you a lesson!

No, like a real lesson. Tracy takes a studious approach to music and wants to share her musical training with kids who have an interest in learning about it. Her newest project, Young Maestros, Vol. 1 has the goal of instilling into students some solid musical theory without pandering to them, or talking down to them (kids hate when you do that!). 

Join Tracy and I as we talk about her career and Young Maestros; you might even walk away learning some music theory; maybe even a little math. Did I just use math in an attempt to hook someone into listening to a show? Don’t worry, you’ll love it! Don’t forget to take notes, there might be a quiz at the end.

It doesn’t happen often, but every once in a while, I drop the needle on a record and can feel something special happening; a sort of groundswell. As if something is growing, or getting ready to burst. This was my experience when listening to Sunny War’s new album, Simple Syrup (Hen House Studios). I won’t even pretend that I’ve fully immersed myself in the album yet, as there is a lot left for me to unpack and figure out - lyrics that I’m still uncoiling and processing. It’s an album to revisit for years to come. 

Sunny War bills herself as a folk-punk musician from Los Angeles. Her backstory is intriguing: she’s lived on the streets and traveled around by hopping on trains. However, she’s a little more settled now and - as you’ll hear - continues to look toward having some of that newfound stability influence her future music. She’s performed on NPR’s Tiny Desk Concerts and has entranced many audiences along the way.

Join Sunny and I as we have a hang and discuss her new album, but also get into the nooks and crannies of her musical development, her impressive guitar skills, and how the pandemic and lock-downs have influenced her writing.

Simple Syrup is a great album to be sure, but there’s an excitement in the air regarding the future of Sunny’s music. Listeners might wonder: what’s around the next corner for Sunny War? Maybe you’ll get a clue, or two, right now. 

It’s not often we get to throw around the phrase “legend” or “trailblazer” without hyperbole, but that’s exactly what we’ve got on this week’s program. Suzi Quatro is credited as being the first instrument playing female to lead a successful rock and roll band which - when she came upon the male dominated music scene in the early 1970s - was no small feat. 

Suzi has done it all: several top ten hits throughout the world, a starring role in Happy Days as Leather Tuscadero, and she recently saw the release of an excellent documentary about her life titled, Suzi Q (2019). When she’s not doing that, she’s hosting radio programs on the BBC, writing a book of poetry, or finding some other way to explore her seemingly limitless wealth of talents and energy.

After 50 plus years of performing, she has not slowed down as evidenced by her brand new album, The Devil in Me which was written and recorded during the pandemic. In fact, Suzi contracted coronavirus and - because of travel restrictions - was forced to spend several months away from her husband, but - as Suzi often does - she made the most of the extra time on her hands.

The Devil in Me rocks just as hard as her earlier releases and Suzi describes it as “the best album in my career to date.” Helming this production is her son, Richard Tuckey, whose goal was to make sure Suzi’s hard-rocking clarity, power and wild-abandon remained audibly obvious and evident.

So, join Suzi and I as we discuss the last six decades of her career, the turbulent last 12 months, and try to uncover why and how - in many ways - Suzi is at the top of her game right now. 

2021 marks the golden anniversary of the band America. That’s 50 years of unique and carefully crafted rock music that was always adorned with strummy acoustic goodness, the best harmonies this side of Crosby, Stills, Nash, and Young and sui generis lyrical content. The band has released 18 studio albums (many produced by George Martin of The Beatles) and they still have a formidable presence on the touring circuit. 

While bands of similar stature have had their histories dissected and anthologized, the story of America has never endured such an investigation. Author, Jude Warne, saw the opportunity to fill the void and - with the blessing and participation of the band - began the journey of writing the history of America. Her new book, America, The Band - an Authorized Biography details the nuts and bolts of the band in a scholarly yet easy to read style.

And, there’s no denying that Warne is the right person for the job, following in the lineage of Griel Marcus and other authors who approach writing about rock and roll from an erudite standpoint, she has written about The Eagles, Zeppelin, The Band, Bowie and she wrote her NYU master’s thesis on the Boss. Warne understands rock and roll from the 60s and 70s and so she’s in a fine position to write the definitieve bio about America, a tale she has skillfully and exhaustively crafted.

So, join Jude and I as we talk about how she sifted through America’s archives and combined them into what will almost surely stand as the final word on all things America. 

Judee Sill was a California-based songwriter who came of age during the peak of the Laurel Canyon scene in the early 1970s and she mingled with the likes of Jackson Brown and Joni Mitchell. In fact, Sill was even the first artist to be signed to David Geffen’s Asylum Records label. But, Judee - and her music - generally tapped into something a little darker; more dangerous than her colleagues did. Sill relied on Christianity, mysticism and occult imagery that could sometimes be comforting and uplifting, yet simultaneously looming and foreboding.

Judee released two very well-regarded albums, her self-titled debut Judee Sill was released in 1971 and her follow-up, Heart Food, came out in 1973. However, she never hit the big time. After years struggling with addiction, Sill died in 1979. The limited body of music that she left behind is, however, exquisite.

New York multi-instrumentalist and producer, Lorenzo Wolff, also loves Judee Sill and has crafted an EP reimagining some of Judee’s classic tunes. It’s titled Down Where the Valleys are Low: Another Otherworld for Judee Sill, released on StorySound Records. Wolff’s vision was to avoid simply recreating Sill’s excellence, but rather to funnel her music through an edgy and contemporary lens. Some Sill fans might initially be taken aback by the treatment Wolff has given these tracks, but that’s the point: he’s fostering a conversation about Sill and her music whether you like it, or not. 

While Lorenzo performs on all of the tracks, he’s chosen to showcase different vocalists in an effort to get the right voice behind the right songs. Some of the artists in his stable are Bartees Strange, Michael Cerveris, Mary-Elaine Jenkins, Grace McLean, Emily Holden, and more.

While Judee Sill isn’t exactly the hidden treasure that she used to be, talking about her life and music is always a special treat. If you’ve never been introduced to Judee Sill, well, welcome aboard; we’ve been waiting here for you to join us. If you’re a Judee lover, then you’ll likely find plenty to enjoy in this conversation and - if you don’t - you still might walk away seeing Judee from a slightly different perspective; from another other world.

Let’s start with the bad news, so we can get it out of the way. Musician A.J. Croce lost his father - famed singer-songwriter, Jim Croce - before he was two years old. As if that weren’t enough, A.J. went through a long period of blindness as a child, and - in 2018 - he lost his wife from a rare heart virus. Faced with those challenges, most of us might not be able to find the strength to carry on, let alone produce a rich catalog of music and maintain a busy performing schedule, but that’s exactly what Croce has done, and that’s the good news.

His brand new album, By Request on Compass Records, features Croce utilizing his impressive piano skills and vocal stylings on a number of familiar songs, but with his own reworkings and unique spin. The goal behind the album was to give listeners an experience as though they were attending a house party thrown by Croce and hearing him entertain the intimate gathering with well-known chestnuts and unexpected gems.

Join Croce and I on this episode of Radar as we discuss the new record, his very eclectic vinyl collection and the importance of the healing power of music; how sometimes music is the only prescription that truly succeeds in mending our wounded souls.

The path to success for most successful people in the entertainment business - or any business, for that matter - is rarely a straight one. Life is full of unexpected twists and turns, but it's all about keeping one’s cool and choosing directions that make sense, even if there is a bit of risk involved. Jim Keller knows he didn’t just wake up one morning to become the longtime manager for Phillip Glass who is one of America’s most celebrated composers and a Kennedy Center Honors recipient who was presented with the U.S. National Medal of the Arts by President Obama. It was a certain sequence of events that got Jim there. 

Keller, of course, is a musician. You’ve all heard Tommy Tutone’s “867-5309/Jenny” blasting from car radios and being played by bar bands, and so has Jim Keller; and he loves it! Except, in his case, he happens to be co-writer and performer of that song and was in Tommy Tutone! After releasing that power pop classic, Keller continued to make music under his own name, on and off through the years, but now he is back with a brand new album produced by the great Mitchell Froom. The record is called By No Means and features Keller’s direct, infectious music that can cut so sweetly you don’t even recognize that you’ve been wounded. 

Join me and Jim on this episode of Radar as we talk about the twists, turns and many lives of his career, seeing the music industry from both sides of the stage, and the production and splendid songwriting that went into his new album, By No Means.

The good old days of record collecting are over; the cat is definitely out of the bag. You don’t need me to tell you how sales of vinyl records have been increasing in the last few years. There used to be a time when one could walk up to a garage sale, or into a thrift store, and buy grails for a dollar, or less, but those days are now gone. Additionally, Discogs has created an environment where record stores are well aware of the value of the items displayed on their walls; so the chance of a hidden gem slipping by has grown increasingly slim (though not impossible for us veteran diggers).

Well, what’s the next best thing to do in this hobby? Things will probably never go back to days where mere pennies would procure a serious collection, but there are opportunities. One of the best things for a collector to do is to find a label who cares deeply about music, has access to original master tapes, has them mastered by an expert in the field and sells them at a reasonable price. Enter Craft Recordings and Mr. Mason Williams. 

Williams is a Grammy nominated producer in A&R at Craft Recordings who has teamed up with the Vinyl Me Please company (and Craft’s own Jazz Dispensary imprint) to release five, difficult to find, funk-jazz albums; all cut from the original tapes and all mastered by the great Kevin Gray at Cohearant Audio, pressed at RTI on 180 gram vinyl and tucked away in heavy stock tip-on jackets. The albums are as follows: 

Idris Muhammad’s, Black Rhythm Revolution!

Bernard Purdie’s, Purdie Good!

Jack DeJohnette’s, Sorcery

David Axelrod’s, Heavy Axe

Leon Spencer’s, Where I’m Coming From

Join us as we discuss these limited reissues with Mr. Williams and the process of procuring and producing these recordings for the 21st century market. 

So, even though the good old days of record collecting have come to an end, there’s a new way to collect; thanks to industry guys like Mason Williams and Craft Recordings there are still things to be on the lookout for and to proudly add to your shelf.

It’s not always about money and it’s not always about fame; sometimes an artist has a desire to just share the music that they can’t help but create, but every so often the industry gatekeepers also have more of an interest in art and creativity than just dollars and cents. Meet Howie Klein, a writer, concert promoter, disc jockey, music producer, record label founder, record label executive, progressive political activist, and adjunct professor of music. He’s about as music industry as you’d like to get: he was general manager of Sire Records and was the president of Reprise/Warner Bros. Records. He was responsible for signing Lou Reed to the Reprise label and was an early industry champion of Wilco. Currently, he helms DownWithTyranny!, a popular political blog. 

Through it all, he didn’t care about the money. He cared about the music, the people, the message. You know what he didn’t care about? He wasn’t entranced by those gaudy baubles that hypnotize most of the folks who reach the top of any industry. No way, no how. Howie plays by Howie’s rules.

I would jump to discuss any number of fascinating subjects with Howie, but this conversation is focused on the reissues and re-releases of a record label that he founded with Chris Knab and Butch Bridges: 415 Records. The reissue campaign is led by another record label, Liberation Hall. The goal of the label was simple: to release independent music focused on local punk and new wave bands from the fertile San Francisco music community. Even though they weren’t searching for success, it came anyway. They signed such bands as Romeo Void, the Pop-O-Pies, Wire Train, SVT and - one of my personal faves, Pearl Harbor and the Explosions. Of course, larger audiences craved this unique brand of rock and roll and, well, you know how the story goes: the familial label just wasn’t the same after they connected with Columbia Records in an effort to get their artists more visibility.

So, listen carefully to a man who knows his way around the music industry, perhaps more than he’s comfortable with. He can tell you some secrets, this guy. Maybe he’ll share one, or two, right now. 

Some people refuse to look back, not wanting to see what’s happened in their past, not wanting to question their decisions or reopen old wounds. Most of the time, this is good advice; the past is a cashed check. However, every once in a while, we allow ourselves to wallow in a bit of nostalgia, to crack open the old high school yearbook and pass through the faces and memories of many years ago. 

Well, what if you wrote an album about it? That’s what Eric Hutchinson has done and what we’re here to talk about on today’s episode of “Radar.” Hutchinson is a talented platinum selling singer and songwriter who earned a gold record for his song, “Rock and Roll” which was a #1 hit in several countries. On his 6th full length album, Hutchinson hops in the Delorean and sets the destination coordinates back to 1998 where he imagines the kind of record he would have recorded with his adolescent years in hindsight. Sonically and thematically, Hutchinson pulls off the illusion. Here, he and I talk about his unique idea for this album and the process he went through writing and recording it. So, have a listen to our chat, and then make sure to check out his latest album, Class of ‘98.