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.

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.

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.