The Vinyl Guide

Fred Schneider of The B-52s discusses his massive 10,000+ record collection while sharing stories about the B-52's early days, the original "Rock Lobster" single, vinyl reissues and new boxset. Topics Include: Massive record collection visible in wall-to-ceiling custom cabinets Estimates 10,000+ records, considers himself a "record nut" Collection includes avant-garde, classical, funk, soul, bad records Loves bad Christmas records and Halloween records specifically Been collecting since age 13, started in early days Currently has broken receiver, can't play main system Portable player works for 45s but stops unexpectedly Still adding records but doing major purge now Selling and donating records, too many to listen to Donates to Archive of Contemporary Music organization regularly Most precious records are original 45s from youth Still has first album mother bought thinking Beatles Moved into funk, Led Zeppelin, then New Wave music Was Sirius Satellite Radio DJ for three years Prefers first pressings, doesn't care about reissues much Looking for "When I'm Gone" by Brenda Holloway Will clean up scuffed records if sound improves Vinyl never left his turntable despite CD popularity Listens to music most of day while doing activities Plays classical mornings while reading magazines and coffee Enjoys electronic music from 50s/60s and harp music B-52s sound came from all members' varied influences Band was lumped with punk but more "freak punk" Original "Rock Lobster" single recorded in Georgia mountains DB Records pressed 2,000 copies, sold out quickly Eventually pressed 30,000 total copies of original single Australia embraced band early, rolled out red carpet Band never saw penny from original single sales Talking Heads recommended B-52s to their manager successfully Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Epitaph founder Brett Gurewitz discusses rare records, early Bad Religion releases, the lasting impact of "Suffer", format transitions, and staying relevant through punk's evolution and vinyl's revival. Topics Include: Brett's first record: Cosmo's Factory at age 9-10 Lost entire record collection after breakup with Susie Shaw Greg Shaw's legendary garage rock collection inspired young Brett Vinyl revival surprised Brett after seeing format cycles Started Epitaph shipping vinyl from West Beach closet CD controversy: expensive, poor sound quality initially Made three formats: vinyl, cassette, CD for releases Vinyl nearly died in late 90s, warehouse troubles COVID lockdown sparked massive vinyl sales resurgence Indie artists need vinyl for merch booths Color variants important for hardcore collecting communities Epitaph's mission: help artists, don't make records ourselves Started Bad Religion at 17, Greg/Jay were 15 No label knowledge, just entrepreneurial punk rock spirit Dad lent $1500, found Alberti pressing plant First 7-inch had skipping error, different pressings exist Rodney on ROQ played cassette before vinyl Fan mail arrived from Europe surprisingly early "Into the Unknown" prog disaster: 11,000 returns somehow Took day job selling gay disco imports Learned recording at University of Sound Arts Started West Beach studio in Pacifica's back closet Cocaine-fueled 80s work schedule: three jobs simultaneously "Suffer" recorded in seven days, transcendent experience Eddie Schreier at Capitol gave Brett confidence boost "Suffer" sound attracted top punk bands to studio Signed NOFX, Offspring through West Beach connections California harmonies influenced by Adolescents, Beach Boys "Beginner's mind" philosophy keeps Epitaph current today Authenticity and youth create that rock miracle Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Billy Gibbons shares his lifelong passion for collecting vinyl records and vintage guitars, from his first Jimmy Reed single to his legendary "Pearly Gates" Les Paul, revealing the stories behind iconic instruments and rare recordings. Topics Include: Billy Gibbons has honorary doctorate from Musicians Institute Extensive record collection includes many well-preserved 78s Takes records on tour bus, plays DJ with Elwood About 1,200 legitimate record stores exist worldwide today Favorite shops include Waterloo Austin, secret Vegas spot Record stores create communities with great coffee, food British resurrected American blues through vinyl reissues Girlfriend "Stick" sent Hendrix record from London early Moving Sidewalks learned Purple Haze before tour Jimi appreciated their nerve playing his songs first Saw Elvis at age five in 1956 Houston Witnessed B.B. King recording at ACA Studios age six First record was Jimmy Reed single via housekeeper's list Parents supported musical tastes, dad was MGM pianist Mom "knew how to play the radio" best Dad's family immigrated 1908, became musicians avoiding gloves Samuel Goldfish (Goldwyn) brought dad to MGM Pictures Elvis lit fuse, B.B. King sealed musical deal Beatles introduced unusual harmonies, more than three chords First vinyl appearance: Moving Sidewalks "99th Floor" Recorded at Doyle Jones studio in Houston Houston had rich recording scene with multiple studios Various labels operated from Houston recording schools Pearly Gates Les Paul bought for $250 originally Searched for guitars matching Pearly Gates' magic sound Three vintage Les Pauls appeared at Carter Vintage simultaneously Nacho Banos recreating vintage Les Pauls in Spain Recently played Albert King's custom Flying V gift Recording "Chronicles 2" using Albert's original Flying V Robert Johnson legend, pictures and collectables Guitar collection includes meteorite picks, slides, Bo Diddley rectangle Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Billy Corgan discusses his unconventional record collecting philosophy while revealing the complex saga behind the Machina albums, the 25 legendary vinyl copies, the upcoming Machines of God boxset, Mellon Collie vinyl releases and more. Topics Include: Billy working on book for 10 years, restarted multiple times Billy buys lots of records but isn't fussy collector Prioritizes clean vinyl condition over perfect covers or variants Worked at record store in 80s, understands collector mindset Collects obscure major label releases from 60s and 70s Searches for forgotten bands with no online information trace Loves jazz on 10-inch records from late 50s/early 60s Record collection has no organization, total mess at home Bought thousand records on last tour, resells some Machina originally sprawling concept record about band breaking up Virgin Records treated band poorly despite massive previous sales Never finished complete Machina vision during original 2000 sessions Released truncated 15-song Machina I album through Virgin/EMI Band toured 11 months knowing they'd break up afterward Three weeks before breakup, Billy rushed to finish leftover recordings Record company rejected finished Machina II Billy dumped complete Machina II free on internet in 2000 First major band to release album free online, predating Radiohead Machina II became viral sensation, fans loved the record Produced only 25 hand-cut vinyl copies of Machina II Each copy uniquely wrapped in printed tape, all different Sent copies to Robert Smith, fans; now worth thousands Years of legal battles with Universal over complete release Initial "Mellon Collie and the Infinite Sadness" vinyl release Alterations for Mellon Collie running order New Machina box set finally coming through Madame ZuZu's Box contains 80 songs: complete vision plus extra tracks Universal separately reissuing original Machina I album remastered ZWAN vinyl reissue underway Archive contains over 60,000 pieces of physical media Hundreds of live concert recordings from 90s tours available Billy passionate about rewarding dedicated fans who dig crates Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Punk legends Alice Bag and Kid Congo Powers discuss their collaborative lounge project "Juanita and Juan", reflect on the diverse, inclusive LA punk scene, discussing moments like the first Germs show, the "Up in Smoke" filming, and the tight-knit community that reshaped music forever. Topics Include: Alice Bag and Kid Congo Powers introduce collaborative project Known each other for decades from LA punk scene Project started with mysterious Hollywood call for Latin song Characters Juanita and Juan have elaborate fictional backstory Sound described as "loud lounge, punk folk" style Uses electronic music, keyboards, minimal guitar, tropical beats Album titled "Jungle Cruise" released on In the Red Songs are autobiographical, including "Here Comes the Prez" Originally planned for book readings with musical interludes Both authors used music to ease reading nervousness LA punk scene was incredibly diverse and inclusive Lasted only 18 months but reshaped music forever Everyone contributed something to the tight-knit community Alice witnessed first chaotic Germs performance with groceries Both attended "Up in Smoke" Battle of Bands filming Kid visible in background of unreleased Germs footage Darby Crash's death discussed - overdose versus suicide debate Bags single "Survive" now worth $1000 to collectors Both still actively collecting and occasionally selling records Planning more Juanita and Juan material, considering Australia tour Order Juanita and Juan's "Jungle Cruise" vinyl here. Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

SWANS founder Michael Gira discusses his final orchestrated album "Birthing," his creative process, and plans to transition to a simpler musical approach after decades of creating intense, transcendent live performances. Topics Include: Michael introduces "Birthing" as SWANS' final orchestrated album. Future SWANS work will be much simpler. He's 71 and finds intense performances physically demanding. No clear vision yet for his next musical phase. SWANS will tour US in October, then Europe. He finds Australian tours difficult due to jet lag. Triple vinyl/double CD includes concert film and documentary. Marco Porzia filmed the SWANS documentary. Christopher Nicholson filmed a solo performance in Norway. Great shows happen when "the music plays us." Natural venue acoustics enhance the performance experience. Songs transform and lengthen throughout tours. One song evolved to 82 minutes during tour. Three-hour sets leave performers exhausted afterward. Songs begin on acoustic guitar before band elaboration. He listens to guitar sound hole to hear potential harmonics. Directs band through gestures during live performances. The recording happened immediately after European tour ended. Uses same old Guild acoustic guitar for decades. Vinyl editions required some song edits for length. Gira doesn't listen to much music anymore. He art directs all SWANS releases personally. Created unique limited editions with handmade elements. Has done crowdfunding since 2000 for recording budgets. Once recorded personalized songs for top contributors. Will miss the elation of building live crescendos. No current plans for more fiction writing. Reluctant to write autobiography despite family encouragement. Can mentally play entire album from memory. Recently rediscovered early Led Zeppelin's brilliance. Order the SWANS LP "Birthing" here. Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

andrew "falco" falkous discusses the reformation of his band mclusky after a nearly 20-year hiatus, their upcoming album on ipecac recordings, the rare catalogue of vinyl releases and more! Topics Include: falco confirms mclusky's new album "the world is still here and so are we." album will be released on may 9th on ipecac recordings. falco feels ipecac is the perfect label home for mclusky. he hopes this is just the end of "act one" for their reunion. falco approaches life expecting problems but finding humor in them. humor is essential to mclusky's songs without becoming a joke band. falco keeps files of potential song titles for future use. songs usually emerge from playing together in the same room. first takes often contain the magic that makes songs special. falco writes most lyrics but damien wrote lyrics for two songs. "your mother is a ballpoint pen thief" came naturally in writing process. falco describes songwriting as writing 1000 bad songs to get 10 good ones. performing gives falco confidence he doesn't have in other social settings. the current mclusky lineup consistently delivers intense live performances. "mclusky do dallas" remains their most popular album by far. steve albini recorded both "do dallas" and "the difference between me and you..." "lightsaber cocksucking blues" started as a throwaway whole lotta rosie parody. the line "flying is fearful of me" just emerged while performing. "she will only bring you happiness" had radio potential until "sex criminal" line. self-sabotage is part of mclusky's essence, even when unintentional. falco considers swearing an essential part of rock music. australia has been mclusky's strongest market since early in their career. melbourne, sydney and brisbane show strongest streaming numbers for mclusky. the band has toured australia approximately ten times since 2002. prescriptions music is falco's label for future of the left and christian fitness. falco considers mclusky "mostly my band" but credits all members' contributions. damien sayell (current bassist) recently recovered from a health scare. jack egglestone (drummer) has jazz training and remarkable listening skills. mclusky reunion began with charity shows for venues like le pub in newport. the current lineup feels like a distinct band, not future of the left playing mclusky songs. recording the new album was spread across three weekends over 18 months. bob weston remastered "mclusky do dallas" giving it a different sheen. future of the left albums and more christian fitness reissues are planned. their favorite songs on the new album are those recorded most recently. the name "mclusky" came from a character in british tv show "grange hill." order the new mclusky album here commercial free, high resolution version of this podcast is available at: www.patreon.com/VinylGuide listen on apple: https://apple.co/2Y6ORU0 listen on spotify: https://spoti.fi/36qhlc8

Damian Kulash of OK Go discusses his evolution from punk music fan, working with Dischord records, and creating boundary-pushing music, vinyl packaging and viral videos Topics Include: New album "And The Adjacent Possible" available for streaming now. Discussion about physical media's role in OK Go's output. OK Go primarily known for videos that "live in the ether." Damian was into physical record packaging during college years. First record was Herbie Hancock's "Rockit," bought at Tower Records. Young Damian damaged the record trying to scratch like DJ. Later played with Herbie Hancock at Obama's 50th birthday party. Musical journey from hip-hop through Prince, Beatles, Led Zeppelin. DC punk scene was influential, with bands playing in cafeterias. Started Level Records at age 15,with funding from Dischord Records. Ian MacKaye lent teenager Damian money to start label. Level Records produced 7-inches and compilation CDs for friends' bands. College made running a record label difficult for Damian. Studied art semiotics at Brown University. Worked as NPR radio engineer and Photoshop retoucher after college. Indifferent to Napster's rise during OK Go's early days. Band finances operated like "roadrunner off the cliff" cartoon. Discussion about gift economy model working for the band. Belief that making things you love matters most, not success. Music sometimes gets overshadowed by video's visual impact. Videos gave OK Go longevity beyond typical radio-hit bands. New album theme explores Stuart Kaufman's "adjacent possible" concept. OK Go doesn't have unified sound; band is "like a mixtape." Treadmill video was originally made for "nerdiest fans" only. Videos aim to create real events that connect with viewers. Physical pressings of OK Go albums are costly in secondary market. New vinyl features elaborate pop-up sphere in custom packaging. Hidden track on second album deliberately blocked copy-protection software. Record label "Paracadute" means parachute in Italian. Ten-year album gap wasn't intentional; life and pandemic happened. Directed "The Beanie Bubble" film with his wife for Apple. Film directing different from making music videos; less adrenaline-driven. Video production typically takes 3-6 months from concept to completion. Some video ideas abandoned when technology made them commonplace. Order the OK Go LP "And The Adjacent Possible" on vinyl here EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Private Function frontman and instigator Chris Penney discusses the rare, collectable and controversial vinyl art of the band and reveals some details of their new album. Topics Include: Chris Penney injured himself at a house party. Private Function opened for Green Day recently. Bassist Milla broke her ACL during a show. Band got stuck in a cyclone for six days. New album has a shrugging emoji as its title. Album features 2,590 microscopic album covers on the sleeve. Each album copy comes with a magnifying glass. Album name is hidden somewhere in the artwork. Available for pre-order April 23, shipping May 23. Being released in Australia, America, and Europe. Chris started in a band called Mesa Costa. Private Function began with demo recordings at home. First release: "Six Smoking Songs" cassette (100 copies). Reissued with "bin night" sounds layered over it. Another reissue with Christmas carol audio added. Released fake pregnancy tests as band merchandise. "St. Anger" album named after controversial Metallica album. Had to change Spotify artwork due to Metallica similarity. Released an obscure 8-track version of the album. "Whose Line Is It Anyway?" album had Queen-themed artwork. Special "Mystery Bag" vinyl contained bags resembling drugs. Their song "Aubrey Wodonga" became strangely popular in Spain. Released "The First Two Tapes on a 12-inch." Included Subway job applications with the album. 10 copies included handwritten letters of recommendation for Subway. "370HSSV0773H" album featured scratch-off lottery ticket material. Winner received $2,999 and their face on reprints. Needed special gambling exemption to sell in South Australia. Special "gold" edition contained the band members' urine. Another special edition contained beer-making ingredients. Upcoming album will have 100 special variant copies. Chris was banned from America for six years. Recently received American visa for touring. Australian tour in June, European tour in July. Planning potential U.S. tour later this year. Preorder the new Private Function album here EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

TV writer & Record Collector Andrew Reich discusses his decade-long journey creating a documentary about Los Angeles music legends Redd Kross and the McDonald brothers' musical partnership. Topics Include: How Andrew made the leap from TV writing to filmmaking. Wife's suggestion sparked the documentary idea. Heard Steve McDonald's abduction story on a podcast. TV writing different from documentary making - can't control narrative. Documentary structure doesn't follow traditional storytelling beats. Director learned new storytelling techniques through editing. Documentary required extensive collaboration with editor Aaron Elders. Filming spanned approximately 10 years (2015-2025). Jeff McDonald's hairstyle changed dramatically throughout filming. Andrew discovered Redd Kross through "Teen Babes from Monsanto" album. Became fan at 13, requesting records for radio station. Redd Kross connects diverse bands from Black Flag to Go-Go's. Director considers Redd Kross one of Los Angeles' greatest bands. Documentary coincided with band's current renaissance and revival. Making the movie spurred new Redd Kross creative activity. Band created "Born Innocent" song specifically for the film. Initial filming was sporadic until Kickstarter provided funding. Created oral history structure from interview transcripts. Collected extensive archival material throughout production process. Film deliberately kept under 90 minutes for accessibility. Cut "Desperate Teenage Love Dolls" section despite importance. Film focuses on brothers' relationship rather than complete history. Steve's abduction possibly influenced band's fantasy/dress-up aesthetic. Andrew admires documentaries like "Anvil" and "Dig." Avoids rock critics in documentaries, preferring eyewitness accounts. Parents' interview about abduction was emotionally challenging. Wishes he had footage of certain legendary shows. New photographs emerged after film completion for eventual Blu-ray. Describes record collecting journey starting in New Jersey. Now focuses on first pressings of albums he loves. Sold unnecessary records to fund first pressing purchases. Australian bands currently producing best new punk music. Prefers seeing smaller shows over expensive arena concerts. Purchased rare Redd Kross/White Flag split single. Film rentals now available worldwide at reddkrossfilm.com/rent Rent "Born Innocent: The Redd Kross Story" here. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Nuggets curator Lenny Kaye joins Brown Acid creators Lance Barresi and Daniel Hall to celebrate their 20th volume of rescuing forgotten proto-metal singles from the early 70s, discuss rare vinyl discoveries, and preserving music that would otherwise be lost to time. Topics Include: Introduction of Lance Barresi, Daniel Hall, and Lenny Kaye. Lenny explains discovering Brown Acid at Other Music in Manhattan. Lenny compares Brown Acid's impact to how Nuggets defined garage rock. Discussion of what makes Brown Acid unique in music archaeology. How Jac Holzman gave Lenny the original idea for Nuggets. Daniel and Lance never expected Brown Acid to reach 20 volumes. Track-by-track discussion of Brown Acid Volume 20 begins. AfterFlash's "Cookbook" was originally a B-side. 500 copies was typical minimum pressing quantity in the early 70s. Lenny mentions pressing 1500 copies of Patti Smith's first single. Most Brown Acid records didn't come with picture sleeves. Discussion of Polvo, the first Mexican band on Brown Acid. Other international acts include bands from Australia, Sweden, UK, Canada. Three primary regions for Brown Acid music: Youngstown, Detroit, Texas. Osage Lute from Missouri is Lance's hometown connection. Osage Lute drummer Mike Lusher preserved extensive band history materials. Frozen Sun's "Jamm Pt 1" was from original master tape. Some records are so rare they have no Discogs sales history. Many original artists don't remember details about their recordings. Lenny mentions difficulty finding information when creating original Nuggets. The Banana Bros record isn't even listed on Discogs. Surprising connection: Banana Bros member was father of Permanent Records performer. Many Brown Acid discoveries happen through impossible coincidences. A horror movie soundtrack led to discovering one Brown Acid track. B-sides often better fit the Brown Acid aesthetic than A-sides. Lance must track down artists for proper licensing for each song. Some negotiations take years to complete. Nick Townsend credited for consistent audio mastering across compilations. RTI pressing plant provides consistent quality for Brown Acid vinyl. Paul Major writes the colourful track descriptions for Brown Acid. Lenny wrote the foreword for Brown Acid Volume 20's deluxe edition. Brown Acid 20th anniversary release party happening at Permanent Records Roadhouse. DJ Mr. Dibs creating special Brown Acid mixtape to celebrate milestone. Brown Acid preserves songs that would be lost without the project. The team has enough material licensed for many future volumes. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Renowned archivist & record producer Zev Feldman, "The Jazz Detective", returns to discusses the Record Store Day 2025 releases of lost jazz recordings from Freddie Hubbard, Charlie Mingus, Bill Evans, Patsy Cline & more!  Topics Include: Introduction of Zev Feldman, nicknamed "the jazz detective" Status of finding lost jazz recordings - feeling optimistic Live recordings create a "renaissance" for jazz enthusiasts Concern about aging jazz colleagues with undiscovered tapes Feldman works with multiple record labels simultaneously Record companies are selective about which projects to release Concerns about tariffs affecting vinyl manufacturing costs Vinyl jazz releases often operate on slim profit margins Resonance Records uses Canadian pressing plant Le Vinylist Six Record Store Day releases coming from Feldman Patsy Cline "Imagine That" was most difficult release to assemble Patsy Cline release required coordinating multiple rights holders Country Music Hall of Fame involved in Patsy Cline project Feldman's personal connection to record stores and vinyl collecting Freddie Hubbard "On Fire" recorded at Blue Morocco (1967) Bernard Drayton engineered the Blue Morocco recordings Blue Morocco club owned by Sugar Hill Records founders Kenny Dorham recordings from same Blue Morocco venue Dorham's recordings especially rare and significant to Feldman Dorham was also a writer who contributed to DownBeat magazine Charles Mingus in Argentina - recordings from 1977 concerts Second Argentina concert added due to popular demand Mingus recordings made less than year before his ALS diagnosis Wes Montgomery with Wynton Kelly Trio reissue with new mastering Original Montgomery release now selling for $100+ in stores Time machine question - which historic jazz gig to attend Discussion of legendary venue Slugs and its important shows Feldman's collection of music memorabilia and venue posters Bill Evans live in Finland recordings (1964-1969) Feldman's 13th Bill Evans production with the Evans Estate Finland recordings feature three different Evans trio lineups Record Store Day helping introduce Evans to younger audiences Plans for Record Store Day Black Friday releases Value of releasing previously unheard music versus reissues EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Jean-Louis Atlan Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Replay of our 2024 interview with hardore legend Al Barile of SSD and X-Claim! Records. Photos by Alison Braun ------- Society System Decontrol (SSD) self-released several landmark hardcore punk records in the early 80s. Out of print for over 4 decades, SSD has only recently reissued their two masterpieces "The Kids Will Have Their Say" and "Get It Away" on vinyl. SSD founder Al Barile takes us through the making of those records. Topic Include: Interview start The continued popularity of SS Decontrol music Al was a natural leader for the hardcore scene Naturally managing risk Jumping to an album – no singles for SSD 1900 units of “The Kids Will Have Their Say” Self-funding the album, selling the initial pressing Recording “The Kids Will Have Their Say” Was Al happy with the original recordings? Al doesn't enjoy listening to “The Kids Will Have Their Say” Comparing Trust reissue with original Xclaim Issues getting the tapes back from a label Original pressing of “The Kids….” goes for > $1k Why were there no repressings before the recent Trust reissue CD issue of “Power” Has Al hung onto his records? White cover of “The Kids Will Have Their Say” designed by Bryan Ray Turcotte Original concept & artwork for “The Kids Will Have Their Say” The difference in recording “Get It Away” Was “Get It Away” always envisioned as an EP? The cover songs that SSD performed Original 4800 copies of “Get It Away” Running the X-Claim! label/imprint All X-Claim! bands ran their own vinyl pressings What is the source of the “Get It Away” reissue Will there be reissues of “How We Rock” and “Break it Up” Al's health update Al wants everyone to get a colonoscopy The SSD book “How Much Art Can You Take?” Interview wrap up Order "The Kids Will Have Their Say" and "Get It Away" on vinyl here. Order the book "How Much Art Can You Take" here. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Australian icon Tex Perkins takes us through his legendary career, from The Cruel Sea & The Beasts recent works, to wild ARIA award nights, his atrocious habits with vinyl records, reissuing his works on vinyl and lots more.  Topics Include: Tex Perkins rehearsing with The Cruel Sea for upcoming gigs. Bringing back "deep cuts" from 30 years ago. Band already prepared the songs before his arrival. Feels like "personal karaoke" returning to old material. Gains fresh perspective on older songs with time. Sometimes writes songs instinctively, not from personal experience. Song "Hard For You" channeled rage he hadn't experienced. Recorded with Kid Congo Powers from Bad Seeds. ARIA Awards incident clarified - didn't stab anyone. Hit someone with a glass at an after-party. Molly Meldrum was present during the altercation. Lived with Jules Normington of Phantom Records. Paid rent by washing Jules' dishes. Had access to Jules' extensive record collection. Especially enjoyed 60s punk and garage rock records. Met John Foy, who was pedantic about record handling. Music scattered across many different record labels. Controls some albums, but not all. Universal owns The Cruel Sea and some Beasts albums. Axeman's Jazz recorded and mixed in six hours. Recent album "Ultimo" recorded differently - basic tracks then laptop. Modern recording allows more experimentation without studio costs. Prefers vinyl album lengths around 18-20 minutes per side. Three Legged Dog being released on three vinyl sides. Spanish reissues were "handshake deals" with unclear accounting. Appreciates unashamedly Australian content in newer bands. Newer bands don't hide their Australian accents. Never experienced censorship of his music. Had releases in different regions without his knowledge. No accounting from Big Time label after bankruptcy. Performed with The Legendary Stardust Cowboy in 1985. "Ledge" known for having "world's worst record" - Paralyzed. Backed Ledge with James Baker, Spencer Jones, Lachlan McLeod. Ledge progressively stripped during his performance. Threw Frisbee paper plates with drawings into the audience. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Despite having no manufacturing experience, Nick Phillips (The Breadmakers, Corduroy Records) impulsively bought Australia's last vinyl pressing equipment, not only saving it from the scrap heap, but creating an Australian vinyl legacy and spirit that continues through today's modern pressing plants. Topics Include: Introduction of Nick Phillips and his vinyl industry background. Early records on Mr Spaceman – label-mates with Cosmic Psychos How Nick impulsively bought a record factory in Sydney. Nick had no manufacturing experience before buying the equipment. The equipment cost approximately $6,000 in 1989-1990. Nick moved the vinyl pressing equipment to Melbourne. Finding an affordable factory space in McKinnon, Melbourne. The labor-intensive nature of hand-pressed vinyl record production. Description of the vinyl manufacturing process with electroplating. Need to import vinyl pellets from California after local supply ended. The machines were 1960s Swedish Alpha Toolex presses. Typical daily production of 500 albums or 800 seven-inches. Discussion of major artists pressed at Corduroy Records. Direct-to-acetate recordings as a significant part of operations. Sonic Youth's visit to record direct-to-acetate - "Melbourne Direct" record The White Stripes recording session that didn't go smoothly. How the White Stripes acetates were transferred to Third Man Records Corduroy's unusual business model of charging majors more. Employee requirement to run their own record labels. Nick's perspective on running a business more for passion. The origin of the Corduroy Records name. Why they added "& Detective Agency" to the business name. Their one failed detective case involving counterfeit Nike socks. Financial challenges of running the pressing plant. How EMI and other labels sued Corduroy for copyright infringement. The factory relocation costs that contributed to closing. Selling the equipment to Obese Records/future Zenith Records. How Hilltop Hoods went from customers to part-owners. The machines are still operating today at Zenith Records. Nick's band The Breadmakers has been active for 35 years. The Breadmakers' consistent 1960s R&B sound over decades. The new Breadmakers album "Lonesome Sundown." Nick's satisfaction at keeping vinyl alive in Australia. Directing listeners to thebreadmakers.bandcamp.com for music. Interview wrap up EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Wolfgang Flür, formerly of Kraftwerk, and musical collaborator Peter Duggal, discuss musical journeys, memories from the Kraftwerk years, collaborating with members of Daft Punk and Joy Division for the new LP "Times" and much more. Topics Include: Introduction of new album "Times" release details First 200 vinyl copies include signed postcards Peter's role as Wolfgang's longtime collaborator since 2015 Peter's musical background in 1980s electronic music Previous collaboration on album "Magazine" released in 2022 Collaborators on "Times" including Boris Blank and Daft Punk Modern vs. old technologies for music production Wolfgang's frustration with German music industry Cherry Red Records supporting Wolfgang's career in England EMI's mishandling of Wolfgang's earlier album "Time Pie" Peter's personal relationship with vinyl records Production quality of the vinyl pressing in Czechoslovakia Mastering process with different approaches for vinyl vs. CD Collaborating with Emil Schult, former Kraftwerk visual artist The track "Planet in Fever" originally written in 1993 Wolfgang's approach to revisiting and evolving older songs How Peter and Wolfgang know when a song is "done" Comparing music creation to cooking a meal Process of collaborating with Boris Blank on "Global Youth" Wolfgang's childhood in post-WWII Germany First record purchase: Khachaturian's "Sabre Dance" at age 10 Musical influences from his mother and grandmother First musical instrument was a mouth organ Discovering drums at school at age 16 Designing electronic drum pads for Kraftwerk Wolfgang's friendship with Florian Schneider until his passing Their emotional final meeting at a brewery Working with Thomas from Daft Punk Planned joint appearance at a Chicago film festival Live performance concept "Musiksoldat" as anti-war statement Wolfgang and Peter completed their 60th show together Wolfgang's last visit to Australia in 1981 Karl Bartos' importance to Kraftwerk's musical compositions Plans for future performances and promoting the album EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Mike Kennerty of All American Rejects is a serious record nerd! Here he shares about his hobby, his collection, the rarities, the grails and the vinyl catalog of The All American Rejects, Screeching Weasel and more! Topics Include: Introduction to Mike Kennerty of All American Rejects Whether Mike considers himself a "record nerd" Mike's history of collecting vinyl since the 1980s Valuable records in Mike's collection His purchase of Misfits records in the mid-2000s Mike's extensive collection of seven-inches and LPs Finding rare No Effects record in Japan for $12 Mike's approach when visiting record stores His focus on punk records and international versions Whether Mike buys duplicate copies of records Multiple versions of Misfits' "Walk Among Us" in his collection Mike's collection of memorabilia beyond records (zines, flyers) Custom record shelving from closed Hastings stores Holy grail records Mike still wants (Misfits' "Cough/Cool") Most he's paid for a record ($600 for Fear) Thinking about vinyl during recording and production process Creating different masters for digital versus vinyl releases Experience with rejecting test pressings that aren't satisfactory Trouble with recent Screeching Weasel record pressing Update on All American Rejects' current status Their cover of "Flagpole Sitta" as first new material Band dynamic after not recording together since 2017 Upcoming singles "Sandbox" and "Easy Come Easy Go" Availability of All American Rejects albums on vinyl Status of master recordings following Universal Music fire Challenge of finding 24-bit masters for vinyl reissues Working with other producers in All American Rejects Mike's early band Mr. Crispy and DIY label Saving Taco Bell wages to release 7-inch records The Oklahoma punk scene in the 1990s Mike's love for All and Descendants Favorite record shops around the world Rarest items in Mike's collection His home audio setup for playing records Future plans for All American Rejects in 2025 EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Martin Rev shares stories of the early days of Suicide, the acetates, recording the debut album, audience reactions, continually creating solo music and more. Topics Include: Discussion of Rev's current relationship with vinyl records Early influences on Suicide's sound Inspiration of Tony Williams Rev's transition from drums to electronic instruments Early Suicide performances with minimal equipment Origins of using "punk" term in early marketing Story of "Rocket USA" acetate at Max's Kansas City Henry Rollins acquiring one of the original acetates Recording process of first Suicide album Equipment used: Farfisa organ and Seagram's rhythm machine Creation of first album's cover art Response to negative early reviews Early tours with Elvis Costello & The Clash Audience reactions and controversies during shows Different versions of "Frankie Teardrop" Rev's creative partnership with Alan Vega Gap between Suicide albums Creation of "Clouds of Glory" solo album Current approach to composing music Discussion of "Demolition Nine" album Rev's process for creating new material How familiarity affects perception of one's work Rev's current artistic aspirations Upcoming UK shows and festivals Early Suicide set lists Rev's pre-Suicide musical background The band's evolution from chaos to acceptance Rev's perspective on collaboration Creating without commercial expectations The endless nature of musical discovery Rev's focus on continuing to create new work EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Three vinyl nerds – Billy Fields from Warner Music Group, Dillon Smith of Noble Records and Nate Goyer of The Vinyl Guide - discuss the state of vinyl collecting in the year 2025 - trends, changes, evolution and thoughts and predictions on what's to come in the near future. Topics Include: Introduction of Billy Fields as vinyl expert at Warner Music Group Dillon Smith introduced as Noble Records owner Initial discussion of 2024 vinyl market trends Billy mentions focus on maintaining subscriptions with Third Man Records Discussion of discovering Lee Dorsey records through social media Impact of online discovery versus traditional record store hunting Dillon reflects on personal collection growth in 2024 Store inventory mix discussion: 70% used, 30% new Dillon describes efforts to prevent burnout through regular collection buying Changes in modern vinyl collections coming to market Impact of overpressed modern releases on secondary market UK vinyl market showing strongest growth internationally Release schedule alignment with digital affecting market success Taylor Swift's impact on vinyl sales globally Discussion of fewer bands in current charts versus solo artists Evolution of vinyl market since 2006-2008 Economic factors affecting entertainment spending during tough times Local UK pressing plants helping market stability Changes in used record collections coming to market Impact of deceased collectors' collections entering market Discussion of subscription service impact on used market Original pressings versus reissues value discussion Impact of Tone Poet series on Blue Note original prices Quality improvements in modern pressing techniques Availability of better playback equipment today Discussion of collecting original pressings versus reissues Dillon's perspective on psychopathic collector mentality Voice of America collection acquisition mentioned Discussion of historical pressing quantities versus modern numbers Billy's approach to collecting versus hunting original pressings Impact of audio system quality on listening preferences Youth market engagement with vinyl discussion Different collecting approaches between generations Modern retail challenges with Target/Walmart pricing Discussion of variant pressings and market saturation Impact of FOMO buying on market Sustainability in vinyl production discussion PET vinyl alternatives being developed Plant efficiency improvements and environmental considerations Declining genres discussion - 1950s rock and traditional pop Rising interest in country music records Discussion of 90s country potential on vinyl Garth Brooks box set marketing strategy failure Predictions for 2025 vinyl market Direct-to-consumer strategy concerns Sustainability developments in record pressing Personal collection management strategies Discussion of recent records giving participants "goosebumps" Discussion wrap up Video version available on the Noble Records YouTube channel Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Australian punk pioneer Kim Salmon details his journey from discovering punk in isolated Perth to making extraordinarily rare and collectible records with The Scientists, The Beasts of Bourbon, Smoked Salmon and more! Topics Include: Kim Salmon has new “Smoked Salmon" album coming February 2025 Discovered punk through NME magazine articles in 1975 First heard Ramones after ordering album from Perth record store Formed The Cheap Nasties, one of Perth's first punk bands The Victims formed after watching Cheap Nasties perform Scientists formed when James Baker joined after Victims broke up "Frantic Romantic" single: 1000 copies made on DNA Records Bomp Records in USA ordered 500 copies, never paid Chris Robinson paid $800 for "Frantic Romantic" copy Scientists gained popularity touring Australia's east coast Band appeared on Countdown TV show, refused staged motorcycles Salmon painted original Scientists logo by hand Early Perth punk scene was isolated from eastern Australia Creedence Clearwater Revival influenced young Salmon's musical development Scientists' "Pink Album" recorded as band was breaking up "Weird Love" album re-recorded songs due to copyright issues Numero Group now handles Scientists' reissue campaign More archival Scientists recordings planned for future release Salmon stopped writing songs during Melbourne's 2020 lockdown Recorded pandemic song "Self Replicator" within 5km radius Smoked Salmon started as bushfire fundraiser project Recent Beasts album "Ultimo" features collaborative songwriting James Baker and Salmon still write songs together "Ballad of Rock and Roll" inspired by Mott The Hoople Creates watercolor artwork for Smoked Salmon releases Perth's isolation affected access to new music Scientists performed different styles before settling on sound Currently balancing multiple bands and visual art career Order the new "Smoked Salmon" album from Cheersquad Records EXTENDED, commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

John Rzeznik and Robbie Takac of The Goo Goo Dolls discuss their early punk rock roots, record labels, writing unexpected mega-hits, their harrowing plane crash, vinyl reissues and lots more. Topics Include: John recently recovered from pneumonia and multiple hand surgeries Goo Goo Dolls were heavily influenced by punk rock They listened extensively to The Replacements and Hüsker Dü Band started by renting VFW halls for shows First record cost $750 on Mercenary Records They signed contracts despite lawyer's warning not to Metal Blade discovers and signs band Learned touring lessons watching mistakes of other bands Being rejected by their favourite labels – SST & Twin Tone Band's sound evolved away from early punk style "Name" unexpectedly became their first big hit Legal issues followed success of "A Boy Named Goo" John retreated to LA hotel during difficult period "Iris" and the "City of Angels" soundtrack "Iris" released year before "Dizzy Up The Girl" Taylor Swift later covered "Iris" Survived plane crash in Sicily during USO tour Pilot attempted landing multiple times in storm Band got drunk to fly home next day John took up skydiving to overcome flying fear Initially feared appearing on Howard Stern's show Relationship with Stern's show improved over time John doesn't collect vinyl or music memorabilia Robbie runs Good Charamel Records label John collects vintage recording equipment instead Band criticizes Spotify's payment model Few B-sides exist because John discards incomplete songs Covered Lime Spiders song – will be on upcoming release Record store clerks were important musical mentors “A Boy Named Goo” 30th anniversary edition coming Australian tour planned for February Playing seven Australian cities on upcoming tour John grew up on greatest hits albums Learned to appreciate Led Zeppelin at age 50 Tickets and vinyl available here! Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Eddie Spaghetti of the Supersuckers discusses the band's extensive vinyl catalog, upcoming releases, vinyl reissues, their unreleased Interscope album while sharing stories about merch table oddities & touring Australia. Topics Include: Introduction and scheduling discussion of interview length Eddie's current location and preparation for Australian tour Discussion of packing requirements for Australian weather Eddie's personal record collection and collecting habits Current vinyl availability of Supersuckers catalog Italian pressing of "Must've Been High" discussion Upcoming Sub Pop 30th anniversary reissue plans Vinyl merchandise availability at upcoming Australian shows Eddie's early music influences and first record purchase Discussion of "My Sharona" as formative musical influence Eddie's relationship with punk rock and The Ramones Development of country music influence on songwriting Songwriting process discussion - starting with song titles Current commissioned songwriting service offering Status update on upcoming new Supersuckers album Hard Charger Records deal and label discussion Rights ownership of Supersuckers back catalog Story behind unreleased Interscope Records album Early vinyl releases and singles history Origin of "Eddie Spaghetti" nickname Band member nickname assignment process Instagram bathroom documentation hobby discussion Comparative analysis of worldwide venue bathrooms Merchandise table unusual items and sales Tour expectations with Nashville Pussy Aussie tour details and ticket information See Supersuckers & Nashville Pussy in Australia here Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Former Black Flag singer/guitarist Dez Cadena traces his path from being the son of a jazz record producer to becoming a pivotal figure in the LA punk scene, discussing the records, rare recordings and eyewitness accounts in the formation of LA punk rock culture. Topics Include: Interview start, brief discussion of The Saints and Chris Bailey's passing Dez discovered Australian punk through Music Plus record store Early exposure to Ramones, The Damned, and The Saints Describes discovering Radio Birdman alongside The Saints Compares Radio Birdman's sound to Blue Öyster Cult Discusses early AC/DC fandom, specifically Bon Scott era Father Ozzie Cadena was record producer for jazz labels Family moved from New Jersey to California Father had connection to Lighthouse Cafe jazz venue Dez's childhood exposure to music through father's record store Father's recording techniques using minimal microphone setups Connection to Rudy Van Gelder's recording studio Father recorded blues artists like Lightnin' Hopkins Received first drum kit as child from father Influenced by TV show Hee Haw's multi-instrumental performers Father encouraged guitar learning over other instruments Father's reaction to Dez joining Black Flag Met Ron Reyes at garage sale playing punk records First encounter with Black Flag (then called Panic) Discusses early Black Flag recording sessions and demos Explains Louie Louie single release on Posh Boy Records Details Thirsty and Miserable Licorice Pizza promotional record Discusses relationship with Black Flag after leaving band Explains circumstances of Ron Reyes leaving Black Flag Describes chaotic Louie Louie performance after Reyes quit Discusses transition from singing to playing guitar Mentions potential singers considered before Henry Rollins Keith Morris briefly returning for one show Current Flag project and Punk Rock Bowling festival Discusses Punk Rock Museum and giving tours Mentions Johnny Thunders' guitar and other museum exhibits Recommends The Schizophonics band Promotes his current band Dondo Mentions producing 3rd Rate band's recent record See Dez at the Punk Rock Museum - Tickets here Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Stephen Malkmus of Pavement and The Hard Quartet supergroup discusses his record collecting history and hobby, the curation and rarities of his collection and more. Topics Include: Discussion of California fires affecting friends and family Malkmus planning upcoming Australia tour dates Past experiences touring Australia - good venues and hospitality Planning to watch Australian Open tennis in Melbourne Record store habits in Chicago area Sold eight feet of records to Portland dealer Keeps records with sentimental value over others Considering organizing valuable records for emergency evacuation Owns rare Australian records from Bondi Beach dealer Band of Light, Buffalo, Carson among Australian collection Collecting New Zealand Flying Nun and Expressway records Prefers finding records in wild over online purchases Interest in outsider music and private press records The Shags mentioned as reference for outsider music Gary Higgins' "Red Hash" mentioned as great private press Values original pressings over reissues, condition less important Not particularly interested in promo or white label releases Discusses Led Zeppelin records and Robert Ludwig pressing Moved from LA to Stockton around age eight Played in Stockton punk band Straw Dogs Opened for major hardcore bands like Black Flag Tales of Terror band mentioned as influential Authorities from Stockton discussed - "Soundtrack for Trouble" First vinyl appearance was Slay Tracks release Early Matador Records special releases with dinosaur stamps Influenced by Swell Maps and Beat Happening Early Sub Pop and Homestead Records were influential Hard Quartet project confirmed as ongoing, not one-off Band recorded together, avoiding remote recording methods Discusses song "Renegade" and its evolution Compression techniques used on "Renegade" discussed Looking for Roy Rutanen record while in Australia Found Bram Stoker record in Gold Coast charity shop Uses phone to research records while shopping Values surprise discoveries in record stores most Tickets for The Hard Quartet Australian tour Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Tony Reflex of The Adolescents discusses the band's 45-year journey, from the early days, the Blue Album, the legacy of "Amoeba", working with Frontier Records to current day releases, rarities and more. Topics Include: Adolescents approaching 45 years as a band Band attracts three generations of fans to shows Beatles and Cheap Trick were major musical influences First records were children's Golden Records on yellow vinyl Cereal boxes used to come with cardboard records Tony couldn't play instruments, focused on vocals instead First vinyl appearance was "Amoeba" on Rodney on the Roq compilation Rodney Bingenheimer played their demo tape immediately after receiving it "Amoeba" originated from Rik and Casey's previous band Detours Lisa Fancher signed them to Frontier after shows turned into riots Blue Album recorded over single weekend with Tom Wilson Album cover inspired by Cheap Trick's logo design Band wasn't close friends, created internal tensions Pat Smear briefly joined band for three months "Welcome to Reality" single - Ed Colver gravestone cover photo Recently discovered Starwood live tapes from Rob Ritter Hollywood punks accepted Orange County bands despite distance Cuckoo's Nest venue paid bands very little money 1986 reunion show at Fender's Ballroom with Weirdos "Brats and Battalions" released on SOS Records Steve Soto and Tony called themselves "rock wives" Recent albums include Russian Spider Dump, Caesar Salad Days Tony collects CDs more than vinyl records Owns original Germs "Forming" single in true mono VIDEO version of this podcast is available at: www.Patreon.com/VinylGuide Photos by Alan Snodgrass, Glen E Friedman Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Australian drummer James Baker chased after punk rock overseas before returning to Perth, forming The Victims, The Scientists, The Beasts of Bourbon and more with an extensive discography of increasingly collectible records. Topics Include: Born in Perth 1954, travelled to US/UK at age 21 in 1976 Saw early Ramones shows at CBGB's in New York Met Sid Vicious on bus while wearing NY Dolls shirt Auditioned as drummer for The Clash in London Formed The Victims in Perth after returning home Pressed 500 then 1000 copies of "Television Addict" single Hand-stamped Victims record sleeves during beer-fueled parties The Victims only lasted eight months as band Joined The Scientists a day after Victims broke up Scientists' "Frantic Romantic" shipped 500 copies to LA Never got paid from BOMP Early punk records now worth hundreds of dollars Reformed The Victims with Ray Ahn of Hard-Ons Beasts of Bourbon formed when Tex needed backup band Recorded The Axe Man's Jazz album in just one day New Beasts album "Ultimo" recently released Planning Sydney and Melbourne tour for new album Released multiple records during 70th year celebration Live Victims album coming soon through In The Red James Baker Experience single produced by John Foy Most recent recordings done in just two days Still actively recording but less live performance Original Victims records now worth thousands of dollars New "James Baker Beat" single on Cheersquad Records Get new music from the Beasts and the James Baker Beat now! Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Metal vocalist Tim "Ripper" Owens shares his remarkable journey from tribute band singer to Judas Priest frontman, discussing rare vinyl, relationships with metal legends, and his upcoming Australian tour while revealing the humble attitude that helped him succeed in the world of heavy metal. Topics Include: Interview start, connections to Australia Valentine's Day show announcement for Melbourne 2025 tour Discussion of Australian touring band lineup Added new songs to setlist including KK's Priest material Memories of friendship and touring with Ronnie James Dio Early musical influences from father's rock record collection First exposure to Judas Priest through Screaming for Vengeance Early band experiences with Brainicide and Winter's Bane Formation of British Steel tribute band in 1990s How video of tribute performance reached Judas Priest Quick audition process with Judas Priest - got job after one line Recording “Jugulator” album with Judas Priest in 1997 Dealing with fan expectations replacing Rob Halford Relationship with Rob Halford over the years Discussion of rare Jugulator and Demolition vinyl releases Experience working with Yngwie Malmsteen, including "Beat It" cover Formation and recording of Charred Walls of the Damned Meeting Navy SEALs at charity events - feeling starstruck Working with various metal vocalists throughout career Dream collaboration wish: Tony Iommi and Geezer Butler Names Heaven and Hell as ultimate desert island album Current recording setup at home for various projects Details about upcoming 2025 Australian tour dates Discussion of potential merchandise for Australian shows Closing remarks about KK's Priest possible Australia tour lookie here for tickets for Tim "Ripper" Owens' 2025 Australian tour  Pictures by Jeremy Belinfante Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Daniel House of CZ Records had a pivotal role in the Seattle music scene of the 1980s and early 1990s, including his work with Skin Yard, his time as a key employee at Sub Pop Records, and working with influential bands like Nirvana, Melvins, Soundgarden, the "Deep Six" compilation and lots more. Topics Include: Introduction of Daniel House and CZ Records New Skin Yard seven-inch box set announced History of Ten Minute Warning band Formation of Skin Yard with Jack Endino Forming the seven-inch box set idea Deep Six compilation's initial release discussed UMen added to Deep Six compilation Chris Hanzsek starts CZ Records then transitions out Deep Six compilation initially sells poorly Daniel House takes over CZ Records operations A&M Records purchases Deep Six compilation masters Working simultaneously at Sub Pop and CZ Records Creation of Sub Pop's direct-to-retail store network House builds Sub Pop's international distribution connections Nirvana's Mexican Seafood track on Teriyaki Asthma Confrontation with Geffen Records over Nirvana tracks Missing songs on Bleach cassette recall story Sub Pop focusing marketing efforts on Mudhoney Early Seattle scene was small and intimate Current Skin Yard Select box set details Pink and red vinyl pressing information Production quality control issues at pressing plant Discussion of box set pricing and production costs Interview wrap up Order "Skin Yard Select" box set here. Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Jeff & Steven McDonald join us to discuss the new documentary "Born Innocent - The Redd Kross Story", learnings from their lifelong musical partnership, memories of early punk days, David Bowie, Germs and more. Topics Include: Possible talk of touring Asia and the Pacific Rim Steven and Dale are road dogs Jeff more of a homebody than Steven Adjustment from touring back to home Steven and Mario seeing King Gizzard in early days Playing the L7 Fast & Frightening Festival Challenges of making the “Born Innocent” documentary Keeping the documentary to 90 minutes The dynamics of the brothers – getting under each other's skin Earlier attempts to tell the story of Redd Kross What parts of the Redd Kross story were under-represented? Leveraging “devices” to tell the story and manage viewer expectations What did you learn about yourselves watching the documentary? Ability to view the unique partnership of the brothers Taking away learnings from the movie – relatable learnings from the brothers Brothers within a band – comparisons with Oasis Are the brothers enjoying the current state of their band Grateful for the movie and the book – most proud of the REDD KROSS album How did David Bowie show up for their 1st club gig? Punk in LA in late 70s was a small community The bill was UXA, Black Flag and Redd Kross Memories and experiences with Darby Crash The impact of Darby Crash's death People who may misinterpret Germs Video of Germs performance for “Up In Smoke” The humour and comedy of punk Interview wrap-up Watch the "Born Innocent - The Redd Kross Story" Trailer here Check for a "Born Innocent" screening near you Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

A chaotic dive into the world of Kevin Rutmanis, Gina Skwoz, and Trevor Dunn as they discuss the new Lords & Lady Kevin + Trevor Dunn LP “Last Days at Hot Slit”, their experimental music-making process, the liberating unpredictability of their collaborations, the Cows "Peacetika" vinyl reissue and more. Topics Include: Kevin, Gina & Trevor log in Discussion about virtual backgrounds and Kevin's creative experiments. Nostalgia about childhood posters, including Kiss and Farrah Fawcett. The importance of album releases aligning with other projects. Reflections on “Last Days at Hot Slit” album Kevin, Gina & Trevor sending tracks back and forth Collaboration during the pandemic sparks their experimental projects. How Jim Goodwin, aka Pseudo Beast, became their mixer. Alphabetical track sequencing  Gina's return to music and transition to drumming. Tribute to Dave Livingston in their musical process. Use of spirituals and blues lyrics in the album. Challenges of performing complex studio-created tracks live. Trevor's saxophone debut Kevin's experiments with unconventional sound recording techniques. Inspiration for titles, including Andrea Dworkin and old films. Discussion of upcoming vinyl releases and special editions. “Peacetika” reissue, Cows albums and their provocative themes. Exhaustion with large festivals versus intimacy of smaller shows. Nostalgia for early 90s Cows tours and wild experiences. Contributions to “Burn Us Clean" box set. Multiple purchase links and other Bandcamp releases. Interview wrap up Get "Last Days at Hot Slit" vinyl here Get the Cows "Peacetika" vinyl reissue here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Lucas Harwood of King Gizzard and the Lizard Wizard discusses his new project Heavy Moss, their eco-conscious approach to vinyl production, the making of their album Dead Slow, life on tour, King Gizzard vinyl, posters, merch and more. Topics Include: U.S. and Australian coffee Heavy Moss's album Dead Slow release details. Transition to vinyl production and sustainability discussion. Pioneering no-shrink-wrap, eco-conscious vinyl packaging. Challenges and benefits of cardboard vinyl sleeves. Good Neighbor Records' carbon-neutral vinyl innovations. Exploring recyclable compounds for vinyl pressing. Limited variants for Heavy Moss records Balancing aesthetics with eco-friendly vinyl production. Reflecting on King Gizzard's early vinyl pressings – Willoughby's Beach & 12 Bar Bruise Stories of early struggles with vinyl production costs. University music program as a foundation for KGATLW. Eric focusing on Flightless was not a surprise Evolution of King Gizzard's collaborative band dynamic. Managing growing tour setlists & deep cuts Three-hour shows and adjusting setlists for each city. Fans' dedication to King Gizzard merch and posters. Famous fans and being starstruck Heavy Moss formation and early recording process. Recording methods for Dead Slow: collaborative yet remote. Balancing touring, family life, and side projects. Plans for live performances and future Heavy Moss albums. Reflecting on record collecting and its evolving priorities. Get Heavy Moss' "Dead Slow" on vinyl here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Yesness is a 2-piece featuring Damon Che (Don Caballero) and Tristan Dunn (El Ten Eleven). We discuss their formation, writing and recording their debut album "See You at the Solipsist Convention", math-rock, post-rock, other dirty words and lots more. Topics Include: Formation of Yesness Kristian and Damon struggle to find musicians to collaborate with The “California No” Making an album from different parts of the country Meeting for the first time in the recording studio Over recording and having a lot of material to work with Working with instrumentals vs music with vocals Album title origin story Songs start as riffs, song titles come much later Strange song titles Using extra songs for b-sides Origin of the band name “Yesness” The band almost became “Keister Island” What does Damon think of the title “Math Rock”? Genres become limiting Not listening to Post-rock or Math-rock What's on heavy rotation and playlists? The Spotify algorithm still struggles to satisfy El Ten Eleven's “New Years Eve” coming after 3-LP set “Tautology” “New Years Eve” and “Valley of Fire” were conceived together The “Yesness” debut always needed to be a full length LP Can the Yesness LP be played live? Yesness challenges playing live – equipment stuffups Will they tour overseas? Selecting the album cover Damon recently upgraded his vinyl system Looking for records Status of the Don Caballero  master tapes and reissues Damon's YouTube video channel Grab all the pressings of your favourite albums “Everything in between the speakers and stylus is snake oil” Interview wrap up Vinyl copies of Yesness "See You at the Solipsist Convention" can be ordered here. Photo by Berto Campus Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8  

Andy Scott of The Sweet discusses band history, rare records, various versions of "Desolation Boulevard", mega-hits like "Ballroom Blitz", "Fox On The Run", meeting Beatles, Australia tour & lots more! Topics Include: Andy's moments with The Beatles Discovering The Shadows Andy becoming a musician since Footy didn't work out Early bands Andy was in Growing up in Wrexham – Seeing The Searchers Almost seeing The Silver Beatles – Dad wouldn't let him go Parents were supportive – eclectic record collection Playing in the Scaffold with Paul McCartney's brother Mike Forming The Elastic Band Playing in Miami and Bahamas – playing 2-3 shows per night Coming back to UK – the singer left Do the recordings with Mike McCartney still exist? The Elastic Band on Decca – 2 early singles Breakup of The Elastic Band Collectible records of Andy's career Sweet had varying set of hits in different countries Supporting and being supported by Bob Seger Different versions of “Desolation Boulevard” “Sweet Fanny Adams” wouldn't have worked in US “Desolation Boulevard” is like a greatest hits LP Cover shot of Sunset Boulevard, Designed by Hypnosis “Ballroom Blitz” was a massive hit around the world Brian Connolly's fight and throat injury Ronnie James Dio was once considered for vocals for Sweet Exposure and memories of early UK punk scene Working with early Iron Maiden recordings Where are tapes of Sweet? Is Andy involved with Sweet reissues? Vinyl can be a pain in the arse New album and upcoming Australian tour Interview wrap up See Sweet in Australia, here am the tickets & info. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Mac McCaughan of Superchunk and co-founder of Merge Records shares insights into the label, being a record collector, "Peak Vinyl" limited vinyl releases, vinyl production, Superchunk's upcoming tour in Australia and heaps more.  Topics Include: We welcome Mac McCaughan from Superchunk and Merge Records. Mac's upcoming tour in Australia to celebrate Foolish's 30th anniversary. Playing songs from multiple albums instead of full album sets, mixing up live performances. Mac's extensive vinyl collection and love for record collecting. Recent Japan trip, grabbing Japanese jazz records Record store treks while touring and discovering rare finds. Merge Records' inspirations from indie labels like Dischord and Sub Pop. Emphasizing affordable, fan-focused pricing for Merge releases. Mac's approach to managing Merge as an artist-driven label. Importance of creativity and quality in Merge's artist partnerships. Record label survival and growth strategies and adapting to changing music industry landscapes. Evolution of 7-inch singles over last 40 years Mac is kind of surprised on vinyl's comeback and staying power The rising costs of vinyl production. Navigating fan interest in coloured versus black vinyl releases. Merge's “Peak Vinyl” concept for collectors' special editions. Handling vinyl production challenges and partnerships with pressing plants. Vinyl costs are starting to slow down record purchases – capacity of vinyl pressing plants What was difficult about moving from musician to record label owner? Records that fell short of expectations How Mac and Merge team listens to artists for potential Merge engagement Listening past the budget/lo-fi qualities of demo recordings Mac's response to hearing Neutral Milk Hotel Reflecting on follow-ups to “In the Aeroplane Over the Sea”. Australian record stores / Mac's want list Interview wrap up See Superchunk in Australia, here be the tickets Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Steve Diggle of Buzzcocks shares stories from the early punk scene, the making of "Spiral Scratch", rare vinyl releases, the band's lasting influence and his new book "Autonomy." Topics Include: Steve logs on – golf shirt The new book “Autonomy” Steve was dismayed by prog rock – seeing Yes was discouraging Attending Sex Pistols Manchester gig Did Steve know about punk rock beforehand? Malcolm McLaren pulled Steve into the gig Steve met with the original person he was supposed to meet The story of the name “Buzzcocks” Howard leaving after 10 shows with Buzzcocks The story of “Spiral Scratch” EP Questions on sleeving and DIY on Spiral Scratch Photo on cover of Spiral Scratch How did the band sell and promote Spiral Scratch The name of record label “New Hormones” Test pressings of Spiral Scratch and other Buzzcocks records How the songs were selected for Spiral Scratch Controversies with the song “Orgasm Addict” Buzzcocks had most major record companies trying to sign them The role of the band in Buzzcocks record artwork The Hard-Ons homage to Buzzcocks album The error pressings of “Another Music in a Different Kitchen” Errors in the songwriting credits for “Fast Cars” Steve didn't take on a punk pseudonym Was there competition between Buzzcocks and Magazine? “Singles Going Steady” release in the US market – popularity in the states Steve called John Lennon to invite him to see Buzzcocks Still touring, playing with Descendents, NOFX and modern punk bands they influenced Buzzcocks coming to Australia, new book “Autonomy” Order Steve's book "Autonomy" here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Cook Craig of King Gizzard & the Lizard Wizard and The Murlocs discusses his new Pipe-Eye solo LP, early and rare recordings, KGATLW bootlegger series, touring & lots more. Topics Include: Name preference Cookie's record collection Touring plans, summer in Australia Any live dates for Pipe-Eye? Remembering dozens of songs What's the hardest song to play live? Challenges of microtonal songs Themes of King Gizzard and Pipe-Eye albums Starting an album with a theme vs a collection of songs “Pipe-Defy” has a lot of funk influences When does a song go to Pipe-Eye, King Gizzard or Murlocs? Some King Gizzard albums are driven by themes Origin story of the “Pipe-Eye” moniker Strong influences of 60 garage rock in Geelong Working with Stu in “Revolver & Sun” Pre-release CD from Revolver & Sun – ever be reissued? Cookie was on the Angelsea EP Early band names - reaction to “King Gizzard and the Lizard Wizard” Becoming aware of his ability to make a living from music How KGATLW, Murlocs & Pipe-Eye stay prolific and keep quality high The plan for 5 albums in 2017 Giving away “Polygondawanaland” – the gift economy Seeing, receiving and storing bootlegger products King Gizzard taped over many earlier recordings Recording at Daptone studios – recording on the road Overwriting and over-recordings to select the best tracks How Cookie writes on the road Pipe-Defy sounds less low-fi – higher quality production Doesn't guest on other projects Recording Cosmic Blip – recent reissues – relationship with Flightless The change from Gizzverse to “p(doom) records” Making the videos for Pipe-Eye Working with Jason Galea – albums and gig posters Involvement in poster and vinyl art More touring in 2025 – Europe residencies – maybe Australia What's left on the bucket list for KG? The Gorge in Washington State was quite surreal Working on new music over Christmas break – rapid turnaround Pipe-Eye interview wrap up Order "Pipe-Defy" vinyl here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Justin Trosper of Unwound discusses the band's resurgence, vinyl reissues, intergenerational fanbase, reflections on maintaining artistic integrity and what may be next for the band. Topics Include: Unwound's upcoming debut in Australia this November Thoughts on Unwound still generating excitement after all these years Younger fans connecting with Unwound's music, seeing it as new and relevant Artistic purity and maintaining integrity Other band's covering Unwound - obligatory Melvins reference Working with Kill Rock Stars and the freedom they had  Recording Leaves Turn Inside You - Making MagRecOne recording studio Working with Numero Group, developing boxsets Finding materials, tapes, artwork for vinyl reissues 4 boxsets: Kid Is Gone, Rat Conspiracy, No Energy, Empire - anything missing? Unwound has an archival ethic - UnwoundArchive.com Relationship with Vern after Unwound's breakup Lots of video and unexplored tapes What happened to the cover art for "Fake Train"? Is there the possibility of new material from Unwound? Does Justin still collect records? I'm sending Justin some records Playing the "Guess the Runout Groove Etching" game with Justin Interview wrap up Check Unwound Live dates & tickets Order Unwound vinyl Explore the Unwound Archive Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Jerry Cantrell, founder, songwriter, guitarist for Alice In Chains, talks about his new solo album "I Want Blood", upcoming vinyl reissues of solo work, Alice In Chains, his love for vinyl and how to make the vinyl records special for fans. Topics Include: Interview start – Will Jerry be down in Australia? I Want Blood, Jerry's new album, drops October 18, with a couple of tracks already streaming - pre-order vinyl editions of I Want Blood on jerrycantrell.com. That wall of vinyl from an old interview? Not Jerry's—just someone's house they filmed in. While his own collection has gotten smaller, Jerry still enjoys spinning vinyl at home. Vinyl's unique sound—compression, hiss, and all—keeps him hooked. Jerry's been involved in vinyl reissues, like Black Gives Way to Blue, and more are on the way. Vinyl reissue plans of Self-Titled/Three-Legged Dog/Tripod album – 30th anniversary reissues Prefers creating albums - a commitment to what and where the band is at the time “Boggy Depot” & “Degradation Trip” were created close together, as were “Brighten” and “I Want Blood” Is there a theme or through line for “I Want Blood”? What did he learn about himself from this album? Spoken-word versions of the songs specifically for the vinyl packages Rather than etchings on vinyl, he prefers to give fans music content. The spoken-word tracks were backed by music contributed by different musicians in his orbit - adds a unique flavour to the album. He still loves making albums – writes music and considers the format Other vinyl reissues – The Devil put Dinosaurs Here They've managed to keep track of most of their tapes and artwork, despite some industry losses over the years. Jerry confirmed that the self-titled album's master tapes are safe, debunking rumours they were lost. What's up with Alice In Chains LIVE, Unplugged, etc? When is a song for Alice in Chains and when is it a solo album track? After an album and tour cycle, Jerry often takes a break from playing guitar to recharge creatively. The next year – touring, solo shows, Alice In Chains dates, etc Interview wrap up Pre-order "I Want Blood" vinyl here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Legendary producer Eddie Kramer shares the history and legacy of Electric Lady Studios, the revolutionary space built for Jimi Hendrix's creative genius - from its groundbreaking design, Hendrix's final sessions, to the incredible impact this iconic studio had on rock music history. Topics Include: Electric Lady wasn't just a studio; it was Jimi Hendrix's creative sanctuary. Back in the ‘70s, having your own studio as a rock artist was unheard of—Jimi changed that. They transformed a basement nightclub into a cutting-edge studio, unlike anything else at the time. Jimi lived just blocks away—he'd walk over with his guitar and just dive into creating. The vibe at Electric Lady was pure Jimi—his vision made it an extension of himself. Eddie and the team prepped the studio for 24-tracks, even though it started at 16. The studio had custom innovations, like seating designed to keep friends out of sightlines. Hendrix loved working fast, and Electric Lady let him capture that energy in every session. Hendrix recorded there for four months before heading to Europe—and never returned. The documentary gives a glimpse of that magical time, full of outtakes and alternate mixes. Kramer talks about how they audited tapes and recorded new songs, blending old and new ideas. Fun fact: The round windows in the studio doors? Jimi's idea. He loved to keep things unique. The Village was Jimi's playground—he could walk around without being bothered. Eddie recalls marathon sessions with Jimi, cracking jokes between takes, always keeping it light. Hendrix was a master at balancing creativity and fun—there was always laughter in the room. Eddie mixed a lot of iconic music at Electric Lady, including tracks from David Bowie and Zeppelin. Hendrix wanted to expand his sound with strings and horns—his musical vision kept growing. The final sessions at Electric Lady were intense, but full of joy and excitement. Electric Lady still has the same vibe, with a layout that's barely changed in over 50 years. The five LP box set coming out captures the magic of those original sessions—essential listening. Hendrix built Electric Lady to be his personal space, and it became a landmark for music history. Order the movie and 5-LP boxset here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Steve Wynn of The Dream Syndicate reflects on his career, the resurgence of vinyl, the collectable nature of his rare vinyl releases and the creative process behind his latest album "Make It Right" and autobiography "I Wouldn't Say It If It Wasn't True".  Topic Include: Steve's experience moving from physical media (vinyl, CDs) to digital formats for convenience on the road. Nostalgia for his time working at Rhino Records and its influence on his music career. The unique music community and culture at Rhino Records, where Steve worked and networked. Steve's gradual shift away from collecting vinyl and embracing digital media. The evolution of the record industry from the 1980s to present, particularly how vinyl has returned. The role of music curation in record stores and its importance for music discovery. Steve's reflections on his long music career, ensuring his albums are still released on vinyl. The process behind finally releasing Sweetness and Light on vinyl after many years. How European record labels helped support Steve's career in the 1990s when U.S. labels were less involved. Curating and filtering music as a key element for making a record store stand out. The strategy behind releasing his new album Make It Right alongside his autobiography. Steve's thoughts on the practicality and challenges of touring with vinyl versus digital formats. The difficulties and satisfaction of managing his own music career independently for over 30 years. Experiences with bootleg releases of live performances and navigating music rights issues. Steve's approach to improvisation in music, particularly during live performances and recording sessions. The creative freedom Steve found in balancing spontaneous music creation with planned studio work. Inspirations behind Dream Syndicate's album covers, including their homage to classic jazz designs. Steve's take on recording technology, from analog to digital, and how it has influenced his process. The importance of capturing the immediacy of live music, and how it can surpass overproduced studio albums. Reflections on how Steve's songwriting process is influenced by his background in sports journalism, focusing on brevity and clarity. Steve's view on minimalism in songwriting, using fewer words to evoke more emotion and meaning. His thoughts on how jazz and rock influences shaped Dream Syndicate's sound and aesthetic. The evolution of his career, from making records in the 1980s to navigating the modern digital landscape. Steve's challenges with securing master rights to his older albums and his recent success in reclaiming Medicine Show. The role of collaboration in his music, particularly with new band members who bring fresh perspectives to his creative process. Steve's reflections on how the resurgence of vinyl impacts both artists and the music industry today. His thoughts on the balance between maintaining artistic integrity and the pressures from labels to produce commercially viable hits. The impact of the 2008 Universal Studios fire on master recordings and the uncertain status of some of his work. The importance of remaining adaptable in the music industry, especially with changes in distribution and technology. How Steve manages the intersection of being both a musician and his own manager, keeping both roles distinct yet complementary. The early records and mega collectibles of his career Interview wrap up Learn about Steve's releases and tours here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

John Flansburgh of They Might Be Giants discusses the evolution of the band's pioneering approach of music and technology to create innovative media and strengthen connections to their devoted fanbase. Topic Include: October Australia tour selling out TMBG's last tour of Australia John's car accident – broken ribs They Might Be Giants' unconventional approach Early adopter approach, the gift economy Pioneering technological approaches The importance of Dial-A-Song Daily updates, the Dial-A-Song machine behaviours Where are the Dial-A-Song machines? TMBG's impressions of Napster Challenges of the music industry in early 2000s Touring used to be a losing proposition Spotify and digital music returns for artists Vinyl is becoming a large return for TMBG What TMBG albums haven't been reissued on vinyl? Loss of album artwork TMBG tapes and digital files 8-track version of “Book” TMBG never did a CD-ROM or enhanced CD TMBG approach and involvement with AI Music genres that lend themselves better to AI BBL Drizzy AI track Strangest song: playing “Saphire Bullets of Pure Love” backwards Backwards “Saphire” coming out on special 7” TMBG Instant Fan Club This Might Be a Wiki – TMBW.net Managing product flippers from Instant Fan Club A friend who used to be in Skull & Bones The story of 1st release “Wiggle Diskette” Distributing and nailing Wiggle Diskette on lamp posts around NYC 1985 TMBG cassette – reviewed by People Magazine Interview wrap up Aussies get your TMBG tickets here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Lee Loughnane of Chicago shares memories of the band's early period, the Chicago Transit Authority debut, Chicago's live performances, rediscovered recordings and the band's enduring legacy. Topic Include: Lee Loughnane – intro Early days – memories of Jimi Hendrix Jimi wanted to play/jam with Chicago Terry Kath and Jimi got along well Learnings from Jimi and Janis Audience of high improvisation tolerance Chicago has so many hits, they can't play them all in a show Touring with Earth Wind & Fire Playing when the power goes out Recording the 1971 Kennedy Center show Common to debut material live before recording The process of writing Chicago songs Jimmy writing the Ballet The naming of albums with Roman numerals Changing band name from Chicago Transit Authority Origin story of the Chicago band logo Releasing a double album as a debut Recording/rehearsing and writing 1st few albums Band house under the Hollywood Freeway AM radio wouldn't play early Chicago material “Make Me Smile” single for AM radio Band was concerned about feasibility to do multiple albums Playing Carnegie Hall – recent remix and box set Remixing early Chicago records Challenge of playing live in early days Terry's amp position on live stage Did Chicago record many early gigs? The Kennedy Center gig was special and recorded as such Chicago put out a lot of records early on Current tour going to Japan but not Australia Rediscovering Kennedy Center recording Debuting the song “Saturday In The Park” at the Kennedy Center Unheard Chicago songs and tapes been archived Chicago tapes – multitracks and masters Lee enjoys modern CDs much more than vinyl What's Lee listening to these days? Lee never got into punk rock Interview wrap up Order "Chicago at the Kennedy Center" LP set here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Henry Rollins explores the intricacies of record collecting, sharing stories from his book series "Stay Fanatic!!!" and discussing his commitment to preserving rare music artifacts (Pt 2 of 2). Topic Include: Response for records that are costing thousands of dollars Buying original Misfits singles then getting them gifted from the band Obtaining Dischord and Black Flag records and artwork Preserving flyers at the time they were made Backing up Ian's recording of The Cramps gig – Ivy holding the tape Collecting all the Black Flag gig posters when playing on the road Skipping meals to purchase archival page protectors Henry owns flyers and material that is the only known copy The scarcity of materials is a large attractor for Henry Lenny Kaye's review acetate for Iggy & the Stooges “Raw Power” Henry keeps collections together for preservation “Do Not Sell At Any Price” by Amanda Petrusich Logic for spending lots on a record you want Robert Johnson song found by Alan Lomax Urban labels putting out music from Record Stores Page Hamilton reckons Be-Bop is the angriest music Henry takes no days off of writing Listening to The Damned “Machine Gun Etiquette” every Friday Drastic Plastic's reissues of The Damned and The Cramps Henry plays The Damned “Strawberries” once each August Minor Threat opening for The Damned on Strawberries tour Charles Lindbergh left notes for future biographers Writing information and keep with records for future listeners Frustration on former owners who write or stamp on their records Regional pressings are so limited that copies with writing on it are only option Henry has a photographic memory for his record collection and condition Increasingly using software and laptops to track record collection Keeping records that he has nicer copies of – When possible, get 2 Process for preparing a record for adding to his collection What are the white whales Henry is chasing? Competing against a mythical nameless “German guy” “Stay Fanatic!!!” books are the way to share his collectibles Interview wrap up Order "Stay Fanatic!!! Vol 4" here Henry photo by Maura Lanahan Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Henry Rollins dives into the fascinating world of record collecting, sharing insights through his book series "Stay Fanatic!!!" and discussing his passion for preserving & sharing music history. Topic Include: The origin story of “Stay Fanatic!!!” Writing about The Stooges Learning to scan, archive material Telling the stories with early band materials Transcribing from handwriting, then speech to text Henry doesn't get rid of records Acquiring individual and collections of records Bands that reinvigorated his interest: OSEES, Ty Segall, etc Label out of China – Old Heaven Books Seeing Keiji Haino in Tokyo Metallica closing a show for Iggy Pop Can Henry talk about his new project? What is Henry's tolerance for bootleg material? Going to “see” David Bowie and Joy Division through their bootlegs Aggravation with bad recordings sold on bootlegs Understanding band reluctance to put out some recordings Stopping releasing spoken word CDs as they end up on YouTube Signatures get put on eBay near immediately Henry no longer signs things Stopping people from bidding on fake signatures Henry's routine with Discogs and eBay The anxiety of chasing Discogs and eBay alerts Missing out on fresh listings of a holy grail Buying items that were misstated in the listing Educating inexperienced sellers on proper listing The 1st world problem of collecting records Breaking even on the “Stay Fanatic!!!” Books The genius of artists like John Coltrane and The Fall Henry's early years – His mother loved books and music Road Manager Ward brings a portable turntable on the road 15 feet on the unplayed records shelf Henry describes his home stereo system His system is set – very few changes Leveraging experts to work on the setup Collecting personal items from musical heroes The Adverts, UK Subs clothing are in Henry's collection Order "Stay Fanatic!!! Vol 4" here Henry photos by Jacob McCann IG @blokeyoucantrust and Heidi May Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

David Yow discusses "RACK", the first Jesus Lizard album in 26 years, his acting career, stage vs. screen, dangerous moments of live performances & more! Topic Include: David Yow meets Skater the cat Penny the cat meets Skater “Rack” is the first album in 26 years Releases on Touch and Go and Ipecac Inspiring bands and albums for David Being inspired by punk bands in Austin Taking inspiration from The Incredible Shrinking Dickies Starting with bass then moving to vocals with Scratch Acid Coming up in a scene alongside Butthole Surfers Avoiding a musical speed trap Skater asks David a question Mixing the vocals lower in the mix Steve Albini's awareness of new album Talk of having Steve Albini's ashes in space What is David's signature dish? Is David a good handyman? Does David miss performing in downtimes for his bands? Comparing playing live with acting An actor's job is to make the director's dream come true Good chance of tour dates in Japan and Australia Acting in FREE L.S.D. movie Does he have a different persona for the stage? Preparation for a live show – involves beers The most dangerous performance of his career The band thought David was dead Does David know his limits for performance? The Jesus Lizard show at Garden Amp – June 2024 Any apprehension about extending the Jesus Lizard catalogue with “Rack”? The process for song writing for “Rack” David isn't the person who tracks the master tapes Random find of Scratch Acid tapes in an Oklahoma warehouse Engineer/Producer SPOT part of the Austin scene Making all Jesus Lizard albums with 4-letter words What were alternative titles before “Rack” was decided There probably won't be another Jesus Lizard album Does David have a record collection? What does he collect? “Tonight You Look Like a Spider” Monolith edition Making physical items, sculptures The cover art of “RACK” Holes in the backstory of “Hide & Seek” It's good to have mystery in lyrics The story of the Nirvana / Jesus Lizard split 7” Interview wrap up Order the new Jesus Lizard LP "RACK" here. Order the "FREE LSD" Blu-Ray and CD package here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Dimitri Coats dives into the creation of OFF!'s groundbreaking film project "Free LSD". Hear the story behind the punk band's journey with punk legend Keith Morris and the eight-year odyssey that led to their ambitious cinematic swan song. Topic Include: Interview intro The inception of "Free LSD" How different is “Free LSD” from the original “Watermelon” plans? Learning how to write a script Buzz and Dale of Melvins played on some Free LSD demos Mario was originally written into the movie Early filming at live shows for movie prep OFF! almost didn't survive losing the rhythm section Dimitri's background in acting Greater confidence in acting than music Working with Malcolm McDowell Managing OFF! prepared him for movie production Jonathan P Shaw was attached very early on Sculpting the mood and emotion of the film Bringing in new fans to OFF! through the movie OFF!'s breakup and potential reanimation Keith and Dimitri's focus is diverging The community of friends that appear in the film Working with Jack Black – filming on an iPhone How DH Peligro saved “Free LSD” The passing of DH Peligro Participation of David Yow, Davey Havok, Don Bolles, Zander Schloss Coordinating concepts that carry through the album, movie and packaging Giving the band permission to try new things Retiring the band directly after their most ambitious project OFF! is exhausted and ready to move on Conflict and evolution of friendship and bandmates of Dimitri and Keith Keith and Dimitri helped one another reinvent themselves Big contributors to the film, revising the script to budget The meticulous details of the film The crew following Dimitri's vision The challenges during filming the movie The process of developing OFF! music There was a lot of extra songs/outtakes from the Free LSD sessions The Blu-Ray / CD package of “Free LSD” Potential additional theatre screenings & Q&A The Blu-Ray / CD will be the only place for fans can hear 2 of the outtakes Lots of easter eggs, details and additional layers to the movie Interview wrap-up Order the "FREE LSD" Blu-Ray and CD package here Stream "FREE LSD" to your home here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Blag Dhalia of Dwarves discusses band history, collectible records, the challenges of running a label and the balance of art and business, as well as new and reissued Dwarves vinyl. Topic Include: Dwarves should be a record collector's goldmine Blag's early memories of getting record collections Listening to rap, electronic, industrial – not much punk Dwarves records have an inherent collectability Making the various collectible Dwarves records Ralph Champagne album was a tough sell for Dwarves fans Why hasn't there been a proper Dwarves concept album? Blag is an author – lending those skills to a narrative in music Who is closer to the real person: Blag Dhalia or Ralph Champagne? The Greedy record imprint for Dwarves material The Burger Records scandal missed the Dwarves Blag is very hands-on with creating records He doesn't enjoy running the label – but good help is hard to find Being underwhelmed by publicists Blag would rather write and record and leave the rest to others Dwarves artwork – creating special covers, logos, etc Limited parody covers by John at PunkNews.org Record collectors love the parody covers Time is right for a Dwarves renaissance Hard to find a good booking agent Did any prior labels push back on the vision of Dwarves? Bad feelings about Sub-Pop Did Dwarves ever get approached by major labels in the early 90s Major labels missed aligning with a songwriter like Blag Marilyn Manson has a big budget and industry marketing A Dwarves rebirth would require a movie / documentary Blag controls majority of Dwarves materials Has there been serious discussion of a Dwarves movie? The most collectible Dwarves record Collectible Dwarves Sub-Pop variants Dwarves still do 7” records – not many bands still do Interview wrap up Get Dwarves records and merch Tix for upcoming Australian tour Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Hugh Cornwell takes us through early records of his life, rare records of the Stranglers, solo materials, analogue recording and more. Topic Include: Aussie tour, New Album Does Hugh have a record collection? Early music in the Cornwell household Hugh's early musical trainings Quitting PhD program to pursue music Formation and evolution of The Stranglers Recollection of the early UK punk scene Keyboards fill in a lot of sound United Artists investment in The Stranglers Bonus singles in early Stanglers albums Does Hugh have masters and tapes for post Stranglers material? Making materials available on vinyl Remixing and removing keyboards from recordings Running digital files to analogue provides improved sound Memories and learnings from Steve Albini Moments of Madness LP and road testing songs Leaving songs to be finished in the recording studio Song and lyric writing process Hugh's movie Podcast Discussion of Silent movies Interview wrap up Hugh Cornwell's Aussie tour info here Preorder new LP "All The Fun of the Fair" here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Society System Decontrol (SSD) self-released several landmark hardcore punk records in the early 80s. Out of print for over 4 decades, SSD has only recently reissued their two masterpieces "The Kids Will Have Their Say" and "Get It Away" on vinyl. Today SSD founder Al Barile takes us through the making of those records. Topic Include: Interview start The continued popularity of SS Decontrol music Al was a natural leader for the hardcore scene Naturally managing risk Jumping to an album – no singles for SSD 1900 units of “The Kids Will Have Their Say” Self-funding the album, selling the initial pressing Recording “The Kids Will Have Their Say” Was Al happy with the original recordings? Al doesn't enjoy listening to “The Kids Will Have Their Say” Comparing Trust reissue with original Xclaim Issues getting the tapes back from a label Original pressing of “The Kids….” goes for > $1k Why were there no repressings before the recent Trust reissue CD issue of “Power” Has Al hung onto his records? White cover of “The Kids Will Have Their Say” designed by Bryan Ray Turcotte Original concept & artwork for “The Kids Will Have Their Say” The difference in recording “Get It Away” Was “Get It Away” always envisioned as an EP? The cover songs that SSD performed Original 4800 copies of “Get It Away” Running the X-Claim! label/imprint All X-Claim! bands ran their own vinyl pressings What is the source of the “Get It Away” reissue Will there be reissues of “How We Rock” and “Break it Up” Al's health update Al wants everyone to get a colonoscopy The SSD book “How Much Art Can You Take?” Interview wrap up Order "The Kids Will Have Their Say" and "Get It Away" on vinyl here. Order the book "How Much Art Can You Take" here. Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

The Saints made history with the record "(I'm) Stranded" in 1976 - nearly 50 years later founder/songwriter Ed Kuepper is revisiting the early Saints material with some old bandmates and new friends, including Mark Arm of Mudhoney. Today Ed and Mark discuss the impact and legacy of The Saints with an upcoming tour and 4LP Boxset. Topic Include: How did Ed and Mark come to work together? How did Mark originally experience The Saints? Prehistoric Sounds didn't make it to the US Did Sire get behind The Saints? Promo copies of “Eternally Yours” seem to be plentiful Choosing “(I'm) Stranded” and “No Time” for the Fatal Records single Recording session for “(I'm) Stranded” & “No Time” Was there a 2nd mix before making the Fatal records single? Master tapes and multitracks have been lost Were there test pressings of the Fatal Records single? Sending singles around the world, getting 1st reviews Getting telegrams from record labels across the world Rare contents of the upcoming Saints boxset Original mix of the “(I'm) Stranded” LP – test pressings and remix The album was recorded in the same studio as the single Potential for technology to separate the instruments of the “(I'm) Stranded” single EMI's response to the updated album mix Mark's feeling good about upcoming tour The Saints Paddington Town Hall show recording Playful rivalry with Radio Birdman Ed and Chris Bailey were on good terms and jointly planning the boxset and reissues Present day contact with Kym Bradshaw Any discussion of Saints shows beyond the Australian dates? Will Mark be singing only or possible guitar as well? Hard-Ons version of “Know Your Product” The additional photography in the Saints boxset The original name of the album was “Erotic Neurotics” with a different cover Memories of the photo of The Saints and Nick Cave from Melbourne The status of the album cover location and artwork Interview wrap-up Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Jeff & Steven McDonald formed Redd Kross at a pivotal time in the LA music scene, playing their 1st gigs in their early teens and were mentored by Black Flag. Their influences are vast and their appreciation for musical artistry runs deep. Redd Kross is back with a new double album - "The Redd Album" - and we talk to the brothers about some of the music and memories that brought them to this moment. Topic Include: The Redd Album – lots of “red” components Memories with meeting Beatles Jeff wants to meet Bob Dylan Steven's story with George Harrison Impressions and moments within the Zappa Universe Memories of collecting records in their youth Jeff enjoyed finding strange/new music Finding music and sharing with others Perspectives on Jazz Runaways & Ramones were their entry point to punk Other young teenagers in the early punk scene Police brutality at early punk shows Memories of the Polliwog Park show with Black Flag Getting Raymond Pettibone artwork for the “Born Innocent” album Was Redd Kross ever approached to be on SST or New Alliance? Experiencing their music for the 1st time on vinyl The early Posh Boy “Red Cross” EP pressings The role that flyering played in early career Responses to “The Decline of Western Civilization Part II” Rare Redd Kross/White Flag single – 100 made “Teen Babes from Monsanto” – The Version Especial Gasatanka Records label and logo Redd Kross master tapes Wanting to remix Neurotica Modern remixes of classic records Creating the “forever” mixes, continuously improving Beatles The “Peter Jackson” version of “Raw Power” Creating the Redd Album Debating and arguing about song sequencing Interview wrap up Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8