The Vinyl District's Radar with Evan Toth

Imagine hearing a style of music that has become very popular; a genre you might hear on a TV commercial, or maybe on your favorite streaming program, or perhaps coming from a car window as it passes you by the street. Now, try to pretend that the style of music you’re hearing was popularized by your dad.

Seun Kuti goes through this process often and - along with his siblings - have become the next wave of afrobeat music makers who have followed in the footsteps of their famous father, Fela Kuti. Fela was the architect of the afrobeat sound. Its infectious rhythms lifted African sounds to another level, but also redirected those influences as heard in American music back to the homeland.

Seun - with Egypt 80 - have released a brand new album titled, Heavier Yet. The project finds Lenny Kravitz acting as executive producer and also features Fela’s original engineer Sodi Marciszewer; he is behind the board on this album in the role of artistic producer. But, wait, there’s more: the son of an Afrobeat pioneer joins together with the son of a reggae pioneer. Damian Marley and Seun collaborate on one of the album’s penultimate tracks: “Dey”.

Seun and I were both a little excited to be having our international chat between New Jersey and Lagos, Nigeria. We both hope you’ll find the technology as enthralling as we did. We discussed his new album, of course, but as you’ll find, Seun is up for talking about anything. Settle in to hear about some history, a few surprises, and some really exciting music. 

You don’t need to be using your vocal cords to sing. There are other ways to do it, you don’t even need to be a human being! Birds sing, the wind sings while you’re standing on the beach watching the surf, and maybe you could even say that an air conditioner sings in the background as it cools your room on a hot Summer day. Just because something is singing doesn’t mean it has to come from vox humana. In the case of Delicate Steve, it’s his guitar that does the singing, and it’s a distinctive voice that his instrument has.

On his recently released new album Delicate Steve Sings, Steve Marion takes the voice of his guitar and applies it to mostly an original cadre of songs, however, he throws in a few covers for good measure, some you’ll definitely know, and a few that may be new to you. But no matter what song he’s playing, he’s working hard on this album to make sure that those songs have the unique singing voice that his guitar has exhibited over the last 8 albums that he’s released.

On this episode, we of course talk about his new record, and about how some critics may have misunderstood what he was trying to do on this album, but how it only goes to prove to himself that he’s on the right track. Do you know what your voice sounds like? You don’t have to use your vocal cords, or a guitar. What is it that you use when you really sing?

It’s amusing how certain traits and talents seem to run in families—like an unbreakable thread woven through generations. Perhaps you hail from a long line of carpenters or artists, each passing down their skills. Music, in particular, has a remarkable way of flowing through bloodlines. While styles may evolve, the gift of rhythm and melody remains timeless, transcending the boundaries of space and time.

Nikka Costa understands this instinctively. Drawing on the rich legacy of her father, renowned arranger and producer Don Costa, she has infused his best qualities into her own vibrant blend of funky, soulful rock and roll. Though she was young when her father passed away, she carries with her a treasure trove of musical memories—most notably, a hit recording from 1981, “(Out Here) On My Own,” and an unforgettable duet with her father’s longtime collaborator, Frank Sinatra, performed on the White House lawn, no less!

Throughout her extensive career, Nikka has explored various musical styles, but on her latest album, Dirty Disco, she takes a deep dive into the propulsive sounds of the dancefloor. In this episode, she joins me to discuss her new record and how those familial musical influences continue to resonate in her work today.

It’s easy to overlook, but for some, music isn’t just a passion—it’s a livelihood. While many might juggle music as a side gig or serious hobby, others dive headfirst into a full-fledged career as a musician. As with any pursuit intertwined with money, the path ahead is rarely smooth. Yet, artists like Brian Ray not only navigate this complex terrain but they truly thrive there.

We could delve into his collaborations with Smokey Robinson, retrace the dedication he poured into his years with Etta James, or explore his legendary - and current - stint as Paul McCartney’s guitarist. Today, however, we focus on his latest solo endeavor, My Town, released under Little Stevie Van Zandt's Wicked Cool Records label.

Brian has generously shared his musical prowess with others, but a listen to My Town reveals that he still has plenty of expertise left over for himself. Brian and I chatted about the creation of this album, the invaluable lessons he's gleaned from working with industry icons, and some of the realities of life on the road.

It’s not exactly a comeback. Instead, the dB’s are reconnecting with their loyal audience, who have always valued their brief but impactful body of work. The New York City band (by way of North Carolina), crafted a distinctive sound by blending edgy late-'70s NYC new wave and punk with the Southern indie-rock essence of Big Star. This fusion produced a unique mix of jagged rock and roll, complemented by thoughtful lyrics and intricate songcraft.

During their peak, the dB’s released just two albums with their original lineup—Chris Stamey, Peter Holsapple, Will Rigby, and Gene Holder. Both Stands for Decibels and its quick successor Repercussion came out in 1981. Although the band’s original run was brief, they released a well-received reunion album in 2012. Meanwhile, each member has continued to pursue music outside of the dB’s.

This year, the dB’s have partnered with Propeller Sound Recordings to reconnect with long-time fans and attract new ones. Notably, their first two albums were initially available in the U.S. only as imports. While the albums have been reissued in various formats over the years, this is the first time they will be released on vinyl in America. Both records have been remastered and are available in different color variants.

In this episode, band members Peter Holsapple and Will Rigby join me to discuss their upcoming live performances with the original lineup and their excitement about introducing and reintroducing their music to fans who cherish the sound they created that has captivated so many “in the know” music lovers over the years and how these fresh releases might find new ears, too.

There’s nothing like the sound of an old Motown record. Whether you hear it in your hometown of Detroit, or turn it up in Kathmandu; it doesn’t matter, the music is great regardless of location and - truth be told - those recordings are inimitable. One could say they encapsulate a certain time and place, but that wouldn’t be fair to the level of sorcery that was achieved in Motown’s studios during their hey-day. It wasn’t just music they were creating, instead it was an almost existential sound; sure, go ahead: they made magic.

Motown’s catalog is vast and while much of it has been grafted onto the American experience of the 60s and 70s, there are many recordings that still wait to be re-discovered by music lovers and record collectors. Elemental Music was founded by Jordi Soley in Barcelona in 2012 and is best known as a jazz reissue label. Recently, however, they’ve been given the opportunity to reissue a significant chunk of the Motown catalog. Achieving this keeps these important Motown milestones in print, but the label is also committed to doing it right so these releases proudly represent the timeless grooves located within their cardboard sleeves.

Joining me on this episode from Elemental is Kevin Keeley. Together, we discuss the process that Elemental is undertaking to bring these eternal tunes to a new generation of vinyl lovers. In a nutshell, this show is a guy from Ireland who works for a record company in Barcelona talking to a fella in New Jersey about music made in Detroit more than half a century ago. If that doesn’t show the worldwide, timeless appeal of Motown’s music, then I don’t know what to tell you.