Put the Phone Down, Pick the Record Up: Discogs VP Jeffrey Smith on Dis/Connect | The Sharp Notes Interview

Be honest — when was the last time you listened to a record all the way through, without checking your phone? No notifications. No scrolling. No playlists on shuffle. Just… listening.In a world that never stops pinging, Discogs — yes, the massive online music database and marketplace — is asking us to do something radical: to step away. On October 18th, they’re launching a global initiative called Dis/Connect, it’s a day that invites music lovers everywhere to unplug from devices, skip the stream, and spend a single day reconnecting with the joy of listening — really listening.It’s a bold move for a digital platform built on connection. So in this episode, I talk with Jeffrey Smith, Vice President of Marketing at Discogs, about what happens when a tech company tells its users to log off. We get into the ideas behind Dis/Connect, the paradox of leading an online movement about going offline, and the nuts and bolts of what keeps Discogs thriving as the world’s biggest record-collecting community.So… could you do it? Could you go a whole day without the scroll — and just let the music play? Let’s find out.

Few albums in the history of rock music have had a journey as unlikely—or as triumphant—as Odessey and Oracle. Recorded at Abbey Road Studios in 1967 during the final months of the original Zombies, the record was released only after the band had already broken up. And yet, what emerged from that bittersweet moment was a British psych-pop masterpiece: an album that gave us “Time of the Season,” and later earned its place on Rolling Stone’s list of the 500 Greatest Albums of All Time and today, it stands as a landmark of 1960s pop imagination.This year marks a particularly special milestone: the first U.S. release of the band’s original mono mix—remastered, beautifully presented, and accompanied by new liner notes from David Fricke. For longtime fans, it’s a chance to hear the record as it was originally intended in 1968.Today, Colin Blunstone returns to this podcast for the second time—not to rehash the myth of Odessey and Oracle, but to explore what it really felt like to be part of the band in that moment, when the record was both a swan song and, ultimately, a timeless resurrection. Our conversation is less about track-by-track analysis and more about the emotions behind the music, and the way history has finally caught up with one of the greatest rock albums ever made.

Few musicians have had as wide-ranging an impact on popular music as Steve Porcaro. As a founding member of Toto, his synthesizer work helped define an era—on hits like “Africa,” “Rosanna,” and “Hold the Line.” But his influence doesn’t stop there. Steve co-wrote “Human Nature,” one of the most enduring tracks on Michael Jackson’s Thriller, still the best-selling album of all time, and he became a go-to sound architect for legends from Quincy Jones to Don Henley. His textured, atmospheric programming on songs like “Boys of Summer” and “Dirty Laundry” set the sonic standard for a generation. Beyond the pop charts, Steve has left his mark on film and television, scoring projects from Justified to Dune.Today, Steve continues to push forward. After releasing his first solo album, Someday, Somehow, in 2016, he’s preparing the release of his follow-up, The Very Day, coming in 2025 on a Sun Records imprint. In this conversation, we trace his remarkable journey—from high school dropout on tour with Gary Wright to hit-maker, pioneer, and storyteller—and dig into the creative process behind his new work.

Tito Puente was more than a legend of Latin music, he was a cultural force who reached far beyond the Latino world. For those of us who grew up in the ’80s and ’90s, his presence was everywhere. By the time of his passing in 2000, his loss resonated deeply, especially here in the New York City metro area, where his music had long been part of our region’s heartbeat.His son, Tito Puente Jr., has embraced that legacy while shaping his own path. As you’ll hear, he doesn’t simply perform—though his live shows with his band are a celebration in themselves—he also brings a teacher’s spirit, eager to remind audiences of the history behind the rhythms. The music didn’t emerge in a vacuum; his legendary father laid much of its foundation. At the same time, Tito Jr. is tuned in to today’s renewed appreciation for salsa and Latino greats, and we talk about Craft Recordings’ ambitious reissue campaign of the Fania and Tico catalogs.On Friday, September 19, Tito Puente Jr. and his big band will bring that energy to the Westfield Garden State Plaza to launch the celebration of National Hispanic Heritage Month. The Sharp Notes record shop will be open across the mall, but we’ll also have a satellite location located near where Tito is performing where we’ll offer some of our best with a special focus on Latin and Afro-Cuban recordings to complement the performance.Join me and Tito as we talk about his career, the lasting influence of his father, and the joy of rediscovering music through the grooves of a new record.

Meet Luke Marzec, a British singer, songwriter, and multi-instrumentalist whose music lives at the crossroads of soul, jazz, and modern storytelling. His new single, “Growing Up With You,” is a heartfelt reflection on the friendships that shape us — a theme that runs deeply through his latest album, Something Good Out of Nothing.Luke studied classical and jazz at the Royal College of Music and Trinity Conservatoire, but his path has never been a straight academic line. He’s just as comfortable leading a stripped-down band in a small Devon venue as he is experimenting with synths or building songs from the ground up in his home studio. Off stage, he balances music with work in the film and television world, utilizing a creative eye that seems to spill into every part of his life.In our conversation, Luke talks about why he prefers strict limits when writing, how friendships from his teenage years still guide his art, and what it means to return to live instruments after years of computer-based production. It’s about roots, freedom, and creating meaning out of the simplest materials.So settle in — this is Luke Marzec.

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.