There are people who make great sound feel less like a secret society and more like an open door. Bob Hazelwood is one of them. He is the Director of Engineering and Product Development at Andover Audio, and his career runs through many major players in the industry. He grew up in South Jersey, built his first amplifier at fifteen, and has been chasing better sound ever since. He loves working with his hands, he loves creating things that actually make life feel richer, and he has a deep belief that music shouldn’t require a technical translation guide.

That outlook is woven into Andover’s mission. The company was built on the idea that audiophile quality should not feel intimidating. Good sound can get technical fast, but most listeners simply want music in their homes that feels natural, full, and easy to live with. Andover approaches that goal by pairing thoughtful engineering with designs that stay out of your way. Their IsoGroove technology is a perfect example. It keeps a turntable steady even when it sits directly on its own speaker, a simple but transformative insight that shapes the Andover-One, the SpinBase, and the rest of the company’s approachable hi-fi line.

Their newest chapter is SpinPlay, announced only recently. It takes the philosophy behind the Andover-One and brings it to an even more accessible place. A semi-automatic turntable. A preinstalled cartridge. A factory-set counterweight. A wide, room-filling sound field powered by independent amplification. It is a system that drops easily into the flow of a home and delivers a genuine audiophile experience without the hassle or the learning curve. For many listeners, it may be the first and last record player they need.

Bob is central to all of this. He understands the engineering, but he also understands the psychology of listening: that moment when music fills a room and reminds you why you wanted better sound in the first place. He is passionate about his family, about fixing bad audio where he finds it, about slot car racing and motorcycles and Frank Zappa, and about building products that make it simple for people to love music more deeply.

So please welcome Bob Hazelwood of Andover Audio, a company proving that great sound can feel like an invitation rather than an initiation.

Everyone agrees that music and the arts are essential — they make us smarter, more empathetic, more human. You’ll hear it in every school mission statement, every campaign speech, every conversation about what “really matters” for kids.

And yet, walk into most public schools and the first thing on the chopping block is still the music program. It’s as if we all nodded our heads in agreement and then quietly decided to spend the money somewhere else.

Our guest today, Anthony Mazzocchi, has built a career trying to change that equation. He’s a GRAMMY®-nominated music educator, trombonist, and now the Executive Director of Kaufman Music Center in New York City which is home to the nation’s only K–12 public school with a full music-focused curriculum.

Anthony’s story is one of those rare intersections where the orchestra pit meets the classroom. From leading 100 middle schoolers in a cramped Brooklyn band room to shaping one of the most respected music education programs in the country, his life’s work is a masterclass in how music transforms learning, and how learning transforms lives.

We talk about what it means to teach through sound, why access to these skills still feels like a luxury, and how to build institutions that teach lessons that transcend music itself.

So pull up a chair, maybe dust off your old band instrument, and join us for a conversation about the future of education; one built on rhythm, resonance, and maybe a little bit of rebellion.

Chris Stamey has long been a quietly pivotal figure in American music. From co-founding the influential avant-pop band The dB’s and releasing early indie classics, to his work with Alex Chilton, Big Star’s Jody Stephens, and a wide array of sonic adventurers, his career has bridged the experimental and the melodic, the cerebral and the emotional. 

With his latest album, Anything Is Possible, Stamey returns not to the past, but to the feelings that defined it, particularly the wonder and harmonic richness of AM radio pop from the late 1950s and early ’60s. Featuring collaborators like the the Lemon Twigs, Marshall Crenshaw, Mitch Easter, and members of the Brian Wilson band and Wilco, the record is both deeply personal and richly collaborative, built from meticulous arrangements and inspired improvisations. 

Stamey’s journey—from CBGBs to Chapel Hill, from indie icon to orchestrator of Big Star’s Third concerts—has always been about curiosity, craft, and a refusal to settle into any single identity. In this conversation, we speak with Stamey about the making of Anything Is Possible, his thoughts on musical memory, harmonic language, and collaboration, and how decades of experience continue to sharpen his vision rather than blur it.

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.

In a moment where algorithms increasingly shape what we hear, see, and feel, Mocky’s Music Will Explain offers something radically simple: the sound of human beings in a room, making music together. Known for his shape-shifting musical identity and wide-ranging collaborations, Mocky’s work has always blurred the lines between genre and geography. But on his new album, released via Stones Throw, he turns inward and local, recording in his Los Angeles garage with friends and neighbors, using a single microphone and an old tape recorder.

The result is intimate, communal, and defiantly analog—a record built on vocal harmonies, live instruments, and a spirit of spontaneity. With influences ranging from the Bee Gees to Brazilian music to Sesame Street singalongs, Music Will Explain channels a timeless joy, even as it wrestles with big questions about creativity and connection in the age of AI.

We spoke with Mocky about his search for the “sound of humans,” the process of capturing voices to tape, and why music still has the power to explain what words can’t. What follows is a conversation about the deep value of making something real.

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 introduction most often associated with producer—and champion of unfairly unheard music—Zev Feldman, compares him to an archaeologist: the “Indiana Jones of jazz,” as The New Yorker wrote in 2023. Fittingly, Feldman’s occasional SiriusXM radio show is cleverly titled Jazz Detective. In a reissue landscape often focused on bringing listeners albums they may already own in triplicate, Zev shines his producer’s flashlight into unexplored corners of the archive: frequently unearthing recordings that may not have seen the light of day since they were first made.

We’re on an adventure in audiophile archeology, so let’s meet the hero of this serial. A devoted record fanatic from a young age, Zev made his way into the music industry through retail, eventually landing in distribution. It was there he met Resonance Records’ George Klabin, who encouraged him to lean into his passion for music, collecting, and archiving, and to try his hand in the producer’s seat. Since then, Feldman has produced albums not only for Resonance, but also for Blue Note, Prestige, Riverside Records, and many others.

While our conversation was originally focused on two recent Elemental Music releases—Bill Evans Further Ahead: Live in Finland (1964–1969) and Art Pepper: An Afternoon in Norway – The Kongsberg Concert—it quickly evolved into something more. We found ourselves excavating the heart of Zev’s work, asking the essential question: how does the digger do the digging?

Dig in to find out.

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. 

Charles “Wigg” Walker’s voice isn’t just soulful, it’s resilient. His decades-long journey through the unpredictable terrain of the music industry is one of grit, adaptability, and unwavering devotion to the craft. From singing on Nashville street corners as a teen to warming up crowds for––and being fined by––James Brown, to reinventing himself across continents and genres, Wigg never quit. Music didn’t always pay the bills––he drove vans, ran hot dog stands, and learned firsthand that making a life in show business is often about survival more than stardom. 

In this candid conversation, Wigg reflects on what it really takes to endure in an industry that can be as thankless as it is thrilling. His latest record, "This Love is Gonna Last", was born from personal loss and creative renewal andcarries the weight of a life fully lived and a voice that still has something to say. Now in his 80s and performing weekly in Nashville, Walker reminds us that staying true to your voice—literally and figuratively—is a form of defiance, power, and peace. This isn’t a story of overnight success. It’s the long arc of commitment, connection, and keeping the fire lit—no matter what.

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.

For over four decades, Dennis Diken has embodied the enduring spirit of American rock and roll as the drummer and co-founder of The Smithereens. In this wide-ranging conversation, Diken reflects on the band’s legacy while underscoring the urgency and relevance of their music in 2025. As the industry shifts toward streaming and fragmented attention, Diken and his bandmates continue to value the full-album experience, recently reissuing 2011 on vinyl—a record originally created as both homage and evolution of their earlier work. Recorded with producer Don Dixon and at Mitch Easter’s Fidelitorium studio, the album offers a vivid snapshot of a group still energized by collaboration, memory, and craft.

Diken speaks with clarity and affection about the band’s late singer, Pat DiNizio, whose presence remains central to their existence. He also addresses the band’s deep New Jersey roots and blue-collar ethos, where directness and commitment shaped both sound and identity. Throughout the interview, a throughline emerges: the notion that music, when rooted in authenticity and executed with intention, doesn’t age—it resonates.

Whether reminiscing about their musical influences, navigating the business realities of the 21st century, or highlighting emerging rock bands that echo their passion, Diken offers thoughtful insight into the persistence of the band format in a rapidly changing landscape. The result is less a look back than a testament to rock and roll’s lasting vitality—and a reminder that, for some, playing music isn’t a phase. It’s a lifelong calling.

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.