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On this episode of Let’s Talk Vinyl, I sit down with singer-songwriter Philip-Michael Scales to talk about his fantastic album Good to Be Here. I first discovered Philip-Michael this past summer at Musikfest in Bethlehem, Pennsylvania, where his performance completely drew me in. I ended up buying the vinyl directly from him that day — and it’s been one of my favorite new additions to my collection.

Philip-Michael shares his musical journey with me, starting from his early days performing in Joseph and the Amazing Technicolor Dreamcoat alongside Donny Osmond, to developing his own soulful sound as a solo artist. He also talks about the surreal experience of having one of his songs played on SiriusXM, which caught the attention of Ellen DeGeneres and eventually led to him being featured on The Ellen Show.

We focus on three standout tracks from Good to Be Here: “Be My Own Man,” “Can’t Get Enough,” and “Something Bout You.” Each song showcases Philip-Michael’s knack for blending soul, blues, and emotion into something uniquely his own.

You can find Philip-Michael Scales on all major music platforms, and if you love that warm vinyl sound, Good to Be Here is absolutely worth adding to your turntable.

Listen with music at: https://www.mixcloud.com/letstalkvinyl/re-release-rick-price-from-the-brains-to-the-georgia-satellites-to-tangled-oaks/

On this re-released episode of Let’s Talk Vinyl, we sit down with legendary bassist Rick Price, whose musical journey spans some of the most iconic (and underrated) corners of rock history. From the edgy new wave pulse of The Brains ("Money Changes Everything") to the Southern rock swagger of The Georgia Satellites, and his current project Tangled Oaks, Rick shares stories from the road, the studio, and everywhere in between.

Listen to this episode with music at: https://www.mixcloud.com/letstalkvinyl/alice-cooper-muscle-of-love/!

Muscle of Love,” the seventh studio album by the American rock band Alice Cooper, was released in late 1973. Tragically, the band played its final concert a few months later. Notably, this album marked the end of Alice Cooper’s studio career as a band, spanning an impressive 52 years, until the release of their highly anticipated reunion album, “The Revenge of Alice Cooper,” in 2025.

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In Episode 9 of Let’s Talk Vinyl, we embark on a comprehensive exploration of Elton John’s iconic album, Too Low for Zero. Released in 1983, this critically acclaimed album marked a significant comeback for Elton John, reuniting him with lyricist Bernie Taupin for all the tracks. We delve into the vibrant ‘80s pop-rock sound, unravel the unforgettable hits, and uncover the stories behind each track. Notably, Too Low for Zero was the first Elton John album to feature his classic touring band from the early ‘70s, including Davey Johnstone (guitar), Dee Murray (bass), and Nigel Olsson (drums), contributing to its dynamic sound.

We highlight three standout songs: “I’m Still Standing,” an anthem of resilience with an energetic music video shot in Cannes, France; “I Guess That’s Why They Call It the Blues,” featuring Stevie Wonder on harmonica, which became one of Elton’s most beloved ballads; and “Kiss the Bride,” showcasing catchy hooks and upbeat rhythms typical of the era. The album achieved multi-platinum status, earning Platinum certification in the United States and the United Kingdom, and peaking at No. 25 on the US Billboard 200 and No. 7 on the UK Albums Chart. Its commercial success played a crucial role in revitalizing Elton John’s career during the 1980s, with several hit singles dominating international charts.

Whether you’re a devoted Elton fan or just discovering his music, we’ll guide you through the album’s enduring legacy, its profound impact on popular culture, and the creative process behind these iconic tracks.

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The Stranger, the fifth studio album by American singer-songwriter Billy Joel, was released on September 29, 1977, by Columbia Records. It marked the beginning of a collaboration between Joel and Phil Ramone, who would work together on five subsequent albums. This album propelled Billy from regional east coast stardom to global stardom.

Joel’s previous album, Turnstiles (1976), had sold modestly, peaking at only #122 on the US Billboard 200 charts. This prompted Columbia to consider dropping him if his next release failed to perform well. Joel wanted the new album to feature his touring band, formed during the production of Turnstiles. The band consisted of drummer Liberty DeVitto, bassist Doug Stegmeyer, and multi-instrumentalist Richie Cannata, who played the saxophone and organ. Seeking a new producer, Joel initially approached veteran Beatles producer George Martin but eventually settled on Ramone, whom he had noticed on albums by other artists like Paul Simon. Recording took place over three weeks, with DeVitto, Stegmeyer, and Cannata performing on the album. Additional studio musicians filled in as guitarists on various songs.

The Stranger, released after a six-week stint at No. 2 on the US Billboard 200 chart, marked Joel’s critical and commercial breakthrough. Four singles were released in the US, all of which achieved Top 40 hits on the Billboard Hot 100 chart: “Just the Way You Are” (No. 3), “Movin’ Out (Anthony’s Song)”, “She’s Always a Woman” (both No. 17), and “Only the Good Die Young” (No. 24). Other songs, such as “Scenes from an Italian Restaurant” and “Vienna”, have become integral to his career and are frequently performed in his live shows.

The album won two awards at the 21st Annual Grammy Awards in 1979: Record of the Year and Song of the Year for "Just the Way You Are". It remains his best-selling non-compilation album to date and surpassed Simon & Garfunkel's Bridge over Troubled Water (1970) to become Columbia's best-selling album release, with more than 10 million units sold worldwide. Rolling Stone magazine ranked the album number 70 on its 2003 list of the "500 Greatest Albums of All Time", repositioned to number 169 in a 2020 revision.[6][7] In 2008, The Stranger was inducted into the Grammy Hall of Fame.

Listen to this episode with music at: https://www.mixcloud.com/letstalkvinyl/rick-price-from-the-brains-to-the-georgia-satellites-and-tangled-oaks/!

On this episode of Let’s Talk Vinyl, we sit down with legendary bassist Rick Price, whose musical journey spans some of the most iconic (and underrated) corners of rock history. From the edgy new wave pulse of The Brains ("Money Changes Everything") to the Southern rock swagger of The Georgia Satellites, and his current project Tangled Oaks, Rick shares stories from the road, the studio, and everywhere in between.

Enjoy this episode more-more-more with vinyl music at: https://www.mixcloud.com/letstalkvinyl/billy-idol-dream-into-it/

Dream Into It,” Billy Idol’s ninth studio album, was released on April 25, 2025, by Dark Horse Records and BMG. It marks his first album in over a decade, following 2014’s “Kings & Queens of the Underground,” and his first new songs since 2022’s EP “The Cage.” This concept album, the shortest of his career, clocks in at just 34 minutes and 50 seconds. While primarily a rock album, it incorporates elements of pop, electronic, country, and even grunge. Notable guest appearances include Avril Lavigne, Alison Mosshart, and Joan Jett.

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Wild in the Streets,” a 1968 American dystopian comedy-drama film, stars Christopher Jones, Hal Holbrook, Richard Pryor, and Shelley Winters. Directed by Barry Shear, it’s based on Robert Thom’s short story “The Day It All Happened, Baby!”. Distributed by American International Pictures, the film, described as both “ludicrous” and “cautionary”, was nominated for an Academy Award for Best Film Editing and became a cult classic of the 1960s counterculture. A soundtrack was released on Tower Records and became successful, peaking at No. 12 on the Billboard charts. Taken from the soundtrack and film, "Shape of Things to Come" (written by songwriters Barry Mann and Cynthia Weil) and performed by the fictional band Max Frost and the Troopers, was released as a single (backed with "Free Lovin' ") and became a hit, reaching No. 22 on Billboard.

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We’re talking about the brand-new record from Kaiser Chiefs—Kaiser Chiefs’ Easy Eighth Album. That’s right, the Leeds lads are back, and this time they’ve teamed up with none other than Nile Rodgers for a slick, funky, and very unexpected sound that still keeps that indie-rock edge we know and love.

Check out this episode with actual vinyl music. It’s at: ➡️: https://www.mixcloud.com/letstalkvinyl/the-police-dont-stand-so-close-to-me-86/! If you haven’t checked it out yet, why not? Just click on the link, and you’ll transform this podcast into a radio show on MixCloud.

The Police disbanded in 1986, but a new version of their classic song, “Don’t Stand So Close To Me,” was recorded during a brief reunion for their first compilation album, “Every Breath You Take: The Singles,” released in October 1986. This new version departed from the reggae style of the original and embraced a new wave, melancholic sound. It was released as a single and reached No.24 in the UK, becoming the band’s final single of the 1980s.Tragically, Stewart Copeland, the band’s drummer, broke his collarbone the night before they were scheduled to record their sixth album, which unfortunately never materialized. This setback left the band in a precarious situation, as Copeland was unable to play the drums. Amidst this uncertainty, a heated argument ensued over whether to use a Synclavier or Fairlight CMI to program the drums.Musically, “Don’t Stand So Close To Me” stands out for its minimalist yet effective arrangement. The Police, known for their unique blend of rock, reggae, and punk elements, crafted a sound that is both distinctive and easily accessible. The song begins with a haunting synthesizer riff that sets a somber tone, followed by Andy Summers’ sharp, staccato guitar chords and Stewart Copeland’s precise drumming. Sting’s evocative vocal delivery adds to the song’s tension and emotional depth.The production of “Zenyatta Mondatta,” and particularly this song, exemplifies The Police’s signature style: a tight, polished sound that never compromises emotional depth. The harmonious interplay between the instruments and Sting’s voice creates an immersive atmosphere, drawing listeners into the song’s narrative.