For nearly a decade, Sleepersound has been more than just a band—it’s been a brotherhood bound by a shared passion for creating immersive, emotionally rich music. Their journey together has been defined by deep friendship and an unspoken understanding that transcends words, allowing their sound to evolve organically. From late-night jam sessions to the meticulous crafting of their third full-length album, My Own Dead Love, the band’s dynamic is built on trust and mutual respect, a foundation that fuels their creativity and sustains their unique sonic identity.

Loyalty is at the heart of Sleepersound. In an industry where bands frequently shift members or fall apart, these musicians have remained steadfast, dedicated to both their art and each other. They embrace a fully collaborative songwriting process, where every voice matters and each instrument weaves seamlessly into the fabric of their music. This commitment to one another has allowed them to push artistic boundaries, blending influences from post-rock giants like Mogwai and Radiohead to classical composers like Chopin and Tchaikovsky, all while maintaining a signature sound that is distinctly their own.

Above all, Sleepersound is a testament to the brotherhood that forms when musicians create something meaningful together. The bond they share is evident in the way they write, perform, and support each other through the highs and lows of making music. As they prepare to release My Own Dead Love, their connection is stronger than ever, proving that when a band is built on friendship, loyalty, and trust, the music that emerges is as timeless as the relationships that sustain it.

For over three decades, Michael Andrews (aka Elgin Park) has been an integral part of the Greyboy Allstars, a band that has carved out a unique space in the world of funk, jazz, and soul. With their infectious grooves and deep musical chemistry, the group has remained a fixture on the scene, constantly evolving while staying true to their roots. As they prepare to release Grab Bag, a new compilation showcasing the full spectrum of their sound, Andrews reflects on the band’s journey, their creative process, and the art of keeping things fresh after all these years.

In this conversation, Andrews shares insights into the band's longevity, emphasizing the importance of mutual respect, individuality, and allowing space for personal growth. He discusses how their collective approach to music—both structured and spontaneous—has kept the Greyboy Allstars together for more than 30 years. We also touch on vinyl and a key detail included in this new release that collectors will no doubt appreciate.

Beyond his work with the band, Andrews has built an impressive career as a composer and producer, scoring major films and television projects, including collaborations with Will Ferrell and Seth Rogen. His ability to shift between different musical worlds—from funky jazz guitar to acoustic folk to cinematic compositions—highlights his versatility and passion for storytelling through sound. In this interview, he offers a glimpse into his influences, his approach to composition, and what continues to keep the Greyboys boogalooin' after all these years.

Through addiction, industry upheavals, and personal reinvention, a rock survivor’s unwavering path forward.

Perseverance is more than just endurance—it is the art of weathering storms without losing sight of the horizon. For Josh Todd - the last remaining original member of Buckcherry - survival in rock and roll has never been about mere resistance; it has been about forward motion, an unrelenting push toward something greater. With the recent vinyl reissue of 15 on Real Gone Music, Todd finds himself looking back—not to dwell, but to recognize the grit and resolve that have kept him moving when so many others have faded.

Todd’s journey is one of endurance sharpened by intention. From the early days of Slamhound, where raw energy often outpaced direction, to the seasoned clarity of his present self, his career has been less about reinvention and more about refinement—a steady chiseling away at anything that does not serve the greater vision. His long-standing sobriety, maintained since the mid-1990s, has been more than a personal victory; it has been a quiet, steadfast rebellion against the industry’s norms. While countless peers were undone by excess or disillusionment, Todd stayed the course, his focus cutting through the noise like a compass pointing toward blue skies in the midst of a storm.

That same drive extends beyond music. When the world stood still during the pandemic, Todd refused to stagnate, earning a certification in phlebotomy rather than succumbing to inertia. For him, perseverance is not just about surviving hardship—it is about carving meaning from it, about turning each setback into a stepping stone rather than a stopping point.

Today, we explore his ethos: the lessons forged in decades of relentless touring, the will to hold a band together when gravity pulls it apart, and the mindset that transforms obstacles into momentum.

Some artists walk, some artists run—but Michael Mayo flies. His latest album, Fly, isn’t just a title—it’s a philosophy. It’s about soaring past self-doubt, catching the updraft of creativity, and trusting that the music will take you exactly where you need to go. Raised in the rarefied air of music professionality—his mother has served as a powerhouse vocalist for Luther Vandross and Beyoncé, and his father is a multi-instrumentalist who was at one time Sérgio Mendes’ musical director—Mayo grew up with his feet barely touching the ground, swept up in a world of sound that would shape his own journey.

Now, with Fly, he’s reached his own altitude. The album was created at lightning speed—written, recorded, and pressed in what felt like the blink of an eye—and it captures the exhilaration of letting go and allowing the music to take to the sky. In this conversation, Mayo shares how he assembled an all-star crew to navigate this sonic adventure. He talks about the freedom of composing, the discipline of performing, and the lessons he learned from legends like Herbie Hancock and Wayne Shorter.

But just as important as the music itself is the journey—the travel, the late nights, the rigor required to sustain a career in jazz. Mayo opens up about life on the road, the reality of touring as a vocalist, and the balance between artistic freedom and the demands of performance. With wisdom passed down from both his parents and his mentors, he shares how he’s learned to protect his instrument—his voice—while still embracing the thrill of the ride.

So fasten your seatbelts and get ready for takeoff—because Michael Mayo is here, and you’re invited to join him in the friendly skies.

In 1979, Blondie released their fourth album, Eat to the Beat. Little did the band know that nearly a half-century later, there would be a discussion of pressing beats onto a record made of beets that one could - in theory - actually eat.

Through a shared love of vinyl and an interest in investigating new and unique ways to make the process of pressing discs more environmentally sustainable, two record fans have joined forces to investigate the possibilities of starting a vinyl pressing plant in Iceland and - instead of using PVC - using the sugar beet! Meet Larry Jaffe - author of Record Store Day: The Most Improbable Comeback of the 21st Century and co-founder of the Making Vinyl Conference and Kevin DaCosta, a vinyl record manufacturing consultant & technical director for Evolution Music. The name of their new company is Thermal Beets.

Larry and Kevin describe the origin of their vision, why Iceland is an ideal location for their pursuits, and how the functionality of their new product may supersede that of the audio record as we know it today. 

In vino veritas, is a Latin expression which - when translated - means, “In wine, there is truth.” While that concept might be slightly romanticized, there’s no doubt that a little bit of truth, and a whole lot of vision - with nice cabernet - can influence an adventurous idea, or two. But, you’ve got to have the follow through the next morning to make all of those lofty thoughts reality.

With, or without wine, Michael Dorf is a visionary, someone who has the ability to see opportunities that others miss. It all started in the 1980s when he took a chance on opening the Knitting Factory in New York City. That club became a beacon of cutting-edge taste and style during the 80s and 90s at a time that was ripe for indie music to make its impact on the city’s larger cultural milieu. His next major venture was the City Winery food, wine, and performance space brand which - though originated in NYC - has since been expanded to several other locations nationwide.

While the success of those businesses no doubt make him proud, it’s the philanthropic angle to his imaginativeness that really inspires him. Michael Dorf Presents has produced several concerts with philanthropy in mind paying tribute to some of his favorite music and often featuring guest appearances by legends of the performing arts community.

March 26th at Carnegie Hall finds Dorf producing People Have the Power: A Celebration of  Patti Smith which also happens to be the 20th anniversary of his concert series. 100% of net proceeds will go to music education for underserved youth, and concertgoers can expect to see Michael Stipe, Ben Harper, Kim Godon, Flea, and many other surprise guests on stage.

So, you might want to find yourself a safe space to listen to this episode and enjoy a glass of wine, and let Michael’s vision inspire your own. What are your dreams? What skills and interests do you have that can make the world a better place? Enjoy that pinot noir, but - like Michael - get ready to put in the work.

Determination is an incredibly important part of success in any industry. But, in music and media, one must be constantly doing their thing in front of as many audiences as possible, all the time. Sure, this is an exhausting part of the gig, but - in many ways - it’s mandatory. Based in Los Angeles, Goldiie Lux had an interview scheduled with me during a week where the City of Angels experienced the worst fires it’s ever known.

While Goldiie (born Naomi Simon Summers) was just outside of the evacuation zone, she managed to meet me for this chat, even if it meant sitting in a car parked nearby her home as she checked on news about the fire's progress. As the saying goes, the show must go on, and it’s a showbiz lesson that Goldiie has clearly learned well. She didn’t let a once in a lifetime catastrophe stop her from meeting with me to talk about her recently released EP, SIN (South Music Group).

So, join me for a chat with Goldiie: it’s interesting to speak with an artist right at the beginning of their career, to try and guess the directions it might take. Here’s an artist who is eager to talk about her new music and plans even as the haze from the fires in Los Angeles surrounded her car and threatened the place she currently calls home. That’s determination: that’s Goldiie Lux.

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.