Good friends can get you through difficult times. They have your back through thick and thin, they know how to anticipate if you need support, and they can always be relied upon for understanding. However, when that friendship involves music, it can be even richer and more fulfilling.

José Medeles and Nathan Trueb have known each other for many years and have worked on a few projects in the past. They met at Jose’s world renowned drum shop - Revival Drum Shop in Portland, Oregon - when Nathan was looking to purchase some percussion instruments. After jamming and getting to know one another as musicians, they officially joined forces and created a new self-titled project that they call Another Glory.

Nathan and José both have that yin and yang that is a valued dynamic in any work group: Nathan feels most comfortable creating songs of a more traditional nature, while José tackles those compositions with some left-of-center approaches and concepts.

Nathan joins me to discuss the interweaving of both artists' creativity. We also talk about a few of the special guest stars that appear on this record, specifically Wilco’s, Nels Cline and Ben Harper, too! A mystery guest joins us during our chat, as well, but let’s keep that character a secret for now.

Massachusetts has always been aligned with revolutionary thoughts. Anyone paying attention in elementary history classes knows that our very own American Revolution began in Boston Harbor with a little event known as the Boston Tea Party. Just because a thing is a certain way, doesn’t mean it should stay that way forever: that’s Boston, that’s America.

So, how about a revolution against the current state of the music biz? It’s no secret that there’s been a plethora of controversy surrounding streaming versus physical media and also the often unfair payouts that musicians earn. Enter Will Dailey, a Massachusstes-based singer and songwriter who’s decided to explore a few unique ways to share recorded music with his audience.

His latest album, Boys Talking will only be available in physical formats: both on CD and vinyl; but, no streaming. As you’ll hear Will explain, it’s an effort on his part to make a connection with those who love his music, to keep his compositions out of the wind tunnel that the streaming world can often feel like, and - of course - it’s a way for him to keep a larger percentage of the profits that come from selling physical media.

He’s got a keen perspective on these things that sound pleasantly out of step from the norms of the 21st century. In fact, they sound a bit...revolutionary.

It’s not always what we say, sometimes it’s more about what we leave out; the silence in between our words can speak volumes. The same can be said of music, particularly the music of Roger Eno who has recently released a companion piece of sorts to his last release titled, The skies, they shift like chords (2023). This newest album is an extension to some of those musical thoughts and is named the skies: rarities. This release also continues his relationship with the Deutsche Grammophon label. 

Eno has a long history of creating music, he’s released a number of solo albums, but has also composed for film and other media outlets. Of course, he’s also worked with his brother Brian Eno for many years, beginning with 1983’s Apollo which also featured Daniel Lanois. 

As you’ll hear Eno explain, his recent exploration is a sort of artistic pattern of his that more musicians might consider trying out. Instead of releasing an album and moving onto the next idea, Roger continues to find ways in which each of his albums might be expanded, either built upon or deconstructed. In this conversation, Eno shares his process which gives us the opportunity to see the skies - musical and otherwise - from Roger’s vantage point. 

Roger’s music might be considered very “serious” to many folks, but - as you’ll find - in our chat, we have a lot of fun.

When we talk about an individual being artistic, usually we’re referring to the visual or graphic arts field, and every so often, music. However, an infusion of art is really necessary in any branch of knowledge: coding, medicine, logistics, education or any other field for that matter really all require a bit of an artistic eye to be elevated to its pinnacle.

Isaac Watters uses his inherent artistry in two fields where he’s been successful: you may have seen some of his work as a set designer and art director, but he’s also an architect. When he’s not immersed in either of those careers, he’s focused on music. Recently, Isaac has released his latest album, New Space and Time and while he’s got a number of concepts that are unique to his music, on this record he further explores concepts relating to the natural world and the way we humans inhabit it.

So, think about your own life. You may not work with a paintbrush in your hand and you may be completely tone deaf. But I’ve got a hunch, that if you look within yourself, there’s a skill that you have that others think is incredibly artistic. 

Is your passport up-to-date? If it’s not, now might be the right time to submit your application to ensure it’s valid. Because you’re going on a bit of an international trip: from Brussels to Denmark and right here back to the good old United States of America. You’re taking a little bit of an excursion and you’ve got the best excuse to do so: good music.

Nicolas Michaux has been listening to plenty of great music over the course of his lifetime and now - on this third full length album - he’s putting those influences together and mixing them with his own voice. And depending on his mood, his voice may be singing in either English or in his native tongue, Francais.

His latest record is titled, Vitalisme (which he helps me to pronounce) and it’s focused on his current worldview that - even though it was recorded on a small island off of Denmark called Samsø - it still reflects the anxieties and fears that we we face together, not as citizens of a specific country, but as denizens of this planet we call Earth.

So, it’s time to start wrapping up your time in the departure lounge because the announcement has been made to begin boarding. But - as with any trip abroad - prepare yourself to be surprised not at our differences, but by our collective similarities. 

Who didn’t love hanging out in grandma’s basement? There were always a lot of fun things down there. If you were lucky, there might have been an old stereo console crafted out of impossibly heavy wood tucked between the air hockey table and a dart board. It’s possible too, that it still worked. The dials would light up and a DJs voice wafts in from across the airwaves: these are magical and musical moments. Those consoles were great, and maybe a new generation of listeners might appreciate such a unit in their own living environment.

Enter Debra and Scott Salyer who began their journey as furniture makers in the early 2000s in San Diego. While balancing their day jobs building custom furniture, they started developing early concepts for a modern record console.

In 2016, their passion turned into a full-time venture after meeting Greg Perlot, a former senior executive at Sonos. Greg, who had experience in wireless HiFi, shared their vision of combining the convenience of streaming with the timelessness of vinyl, and together they set out to reinvent high-fidelity audio for a new generation. It’s at this point that the three of them founded Wrensilva.

What began as a simple idea grew into a pioneering company focused on merging analog and digital music experiences. With a talented team based in San Diego and beyond, they are reviving HiFi audio with cutting-edge design. Today, from their updated workshop, they create beautiful pieces that blend art and technology and they endeavor to redefine the future of HiFi for music lovers worldwide.

I recently wrote a piece for Michael Fremer’s Tracking Angle site where I explored - first-hand - one of Wrensilva’s console models. I encourage you to check it out, but on this episode, we sit down to Scott Salyer and hear - first-hand - the story of how he and his team are creating what is no doubt the best hifi console on the market today. 

Light and dark have been engaged in an eternal dance since the earliest of times. You’ve all seen the yin and yang which - if nothing else - illustrates that complicated symbiosis between good and evil: you can’t have the hero if you don’t have the villain. It’s just one of those conundrums of humanity. Writers, poets, filmmakers, artists of all ilk have explored this deeply, and will continue to do so as it’s a concept that’s hardwired into the human experience.

You can look at the balance of values through many different lenses. Anastasia Minster has decided to explore light and dark through the experience of love. Her latest album, Song of Songs peels back the layers of common experiences when it comes to that most confounding of human feelings: there’s no greater experience than being in love with someone who loves you back, but there's possibly no worse feeling than unrequited love, or losing your kindred spirit.

Anastasia joins us on this episode to explain how she perceives love, but she also shares the details of this new album, recorded in Canada with the support of the Toronto Arts Council and the Canada Council for the Arts. Song of Songs is a fusion of classical and jazz elements that satisfyingly dovetail with Anastasia’s artistic, scholastic and psychological intellect. You might want to sit in the front of the class so you can keep up. Here, there’s an empty chair right next to me.

Technology’s growth in the last decade has been astounding. I don’t have to tell you how AI has just begun to impact our lives, and we all grit our teeth peeking to witness its evolution. But, though it all, there’s a timeless beauty to the still photograph. Even our 21st century blogs and social media are - in many ways - simply a digital photo book for us to flip through. Humans love looking at pictures and - as with vinyl records - we enjoy that experience even more when it is coupled with a tactile element: the paper, the saturated color, the feel, the smell, and - of course - the artistry behind the lens.

Eilon Paz isn’t so much a record collector, he’s more a collector of record collectors. Paz is a photographer who noticed the uniqueness of record collectors, just as the new wave in vinyl popularity was taking hold. He took his profession and his passion and pointed his camera at record collectors and their collections. First on the web as a blog, his project became a well-regarded book titled, Dust & Grooves which was first published in 2014.

Now, Eilon has released Dust and Grooves, Vol. 2: Further Adventures in Record Collecting, and he’s also expanded his online presence and offerings. Believe me when I say I did not realize the size and scope of the book until I held a copy in my hands. Eilon has outdone himself with a collection of photographs of collectors from around the globe, paired with interviews that describe their methodology and allow a reader into their thought process when it comes to vinyl.

Sometimes, it’s more fun to see someone else's collection of something rather than have it yourself. In this way, the book and Eilon’s photographic journey is appealing to those outside of the record collecting world as well: it’s an opportunity to see the passion and care that these collectors dedicate to their libraries and the humanity intertwined within. Eilon loves a good record collection, but it’s the collectors themselves that really catch his interest. 

Some guys just do it all. Today we speak with Andy Babiuk about the newest release from the Chesterfield Kings who have been rock and roll torch-bearers over the last forty plus years. The album is titled, We’re Still All The Same. Take that musical pathway, connect it with Little Steven - and his Wicked Cool Records label - and first you’ve got a story about a meat and potatoes rock band that continues to preach the garage rock gospel in the 21st century with the help of one of the day’s most active rock and roll champions.

Or, the conversation could shift into Andy’s exhaustively complete authorship of the incredibly successful books: Beatles Gear, Rolling Stones Gear or The Story of Paul Bigsby. These books delve not into the minutia of famous musicians’ lives, but instead tell the tales behind the instruments that they held in their hands while making the timeless music that they made: the guitars, the amps, the effects, and the studio tools. How’d they get them, what’d they do with them, and where’d they go. All of them, fascinating reads.

There’s even another path available when speaking with Babiuk. It’s possible to simply discuss a day in his life running his own guitar shop in Rochester, NY, Andy Babiuk’s Fab Gear. It’s not just any guitar store, the shop specializes in the vintage instruments that were responsible for the sounds you hear on some of your favorite records recorded in the 20th century. They do repairs too. They worked on the 1964 Fender Stratocaster that Bob Dylan used to “go electric” at the 1965 Newport Folk Festival and change the course of music history. You know, stuff like that.

As you can see, there’s no shortage of angles I can take in this chat with Andy and - as you’ll soon hear - I did my best to get to it all, and we even went to a few unexpected places. Luckily, for us, Andy is ready to share his unique insights on his involvement in several aspects of a life spent in rock and roll: you could say he’s an open book. Perhaps the next story he writes will be about himself. There’s certainly plenty there to explore.  

I don’t know when you first found out about the role of a session musician, but for me, it was associated with The Monkees. I remember not quite understanding how a band could make music, yet still not play all of the instruments on the record. Well, my youthful naïveté was obliterated when I learned that there exists a highly skilled, dedicated, professional group of elite musicians who slip in the studio to lay down tracks that uplift whatever the star performer may have created.

On keyboards, there’s one session musician who stands above many others: he’s played extensively with the Rolling Stones, the Kinks, and even the Beatles. Not only did he share that rarefied air with those heavyweight champs of classic rock, but his keyboard parts were sometimes integral to the artistic and commercial success of the song.

You’ve heard the wild electric piano solo on the Beatles’“Revolution”, you know that haltingly beautiful piano part in the Rolling Stone’ “She’s a Rainbow”, and you’re familiar with the majestic grandeur of the piano part that supports Joe Cocker‘s “You are so Beautiful”.

So when you learn about a musician such as Nicky Hopkins, who’s reputation may be a bit unsung, what are you to do? Well, if you’re a filmmaker like Mike Treen, you make a documentary about him. And you gather as many first hand witnesses to Nicky‘s expertise as possible, including Peter Frampton, Dave Davies,and even Keith Richards and Mick Jagger.

Mike Treen joins me to talk about his film titled, The Session Man. We explore how he pieced together different elements from Hopkins‘s life and presented it in a cogent and easy to follow narrative that showcases the ups and downs of this special musician's life.