In the 1990s, Us3 reshaped the global music landscape by fusing hip-hop and jazz in ways that felt both groundbreaking and a little bit inevitable. Their 1993 debut, Hand on the Torch, became Blue Note Records’ first platinum-selling album and introduced an entire generation to the possibilities of genre fusion. Yet, after a run of chart success and international touring, the project receded from the spotlight, and founder/producer Geoff Wilkinson stepped into other creative lanes.

After a decade-long hiatus beginning in 2014, Wilkinson has returned with Soundtrack—a striking reinvention that distances itself from Us3’s past vocal-driven records. His new work leans fully into instrumental storytelling, drawing on orchestral textures, intricate rhythm patterns, and social commentary.

Wilkinson joins me on this episode to discuss why now was the right time to resurrect his genre-bending alter ego.

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.

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.

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.

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.

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.

Being a rockstar might look effortless from the outside, but as Cody Hanson of Hinder makes clear, staying relevant in the music world takes far more than talent. In this revealing conversation, the drummer and co-founder of the multi-platinum band pulls back the curtain on the real work behind the music—from scrapping a full album that didn’t feel honest, to reigniting the band’s passion with the song that would become their seventh studio album, Bring Me Back to Life.

What’s striking isn’t just Hanson’s musical role, but his deep involvement in every aspect of the band’s output—recording on the road, mixing and mastering at home, designing the artwork, even managing the logistics of owning a tour bus. His reflections highlight how today’s artists must blend creativity with strategy, especially in a world dominated by streaming, social media, and emerging tools like AI.

Ultimately, Hanson’s story is one of resilience and reinvention. Whether building a recording studio on a moving bus or navigating the shadow of a massive hit, Hinder’s journey shows that the magic of rock and roll is built on long hours, smart pivots, and the unshakable drive to just keep creating.

Singer-songwriter Jenny Owen Youngs has never been one to shy away from transformation. In revisiting Avalanche for its deluxe edition, she offers listeners not just a deeper look at the record but a fuller portrait of herself: one that is shaped by collaboration, reinvention, and a willingness to let imperfections breathe. For Youngs, songs aren’t just crafted; they’re lived in, layered, and continually reinterpreted. The deluxe edition reflects this ethos, blending intimate demos, reimaginings, and remixes that speak to a creative process rooted as much in community as in craft.

What emerges in conversation with Youngs is a portrait of an artist who balances vulnerability with wit and depth with disarming warmth. Throughout our chat, punctuated by laughter, storytelling, and a shared appreciation for physical media and flawed beauty, it felt more like catching up with an old friend than interviewing a seasoned professional. Her openness about the artistic process, emotional stamina, and the strange alchemy of songwriting reveals a creator unafraid to blur the lines between the personal and the universal.

Youngs is as reflective about her own journey as she is generous with her insights. Whether discussing the accidental poetry of a rain-soaked piano take, the tactile pleasures of vinyl, or the resonance of her music with listeners both young and old, she speaks with the kind of clarity that only comes from years of growth and self-inquiry. It’s a conversation about music, sure, but also about time, presence, and the strange comfort of hearing your own story echoed in someone else’s life.