The Vinyl Guide

Shooter Jennings reveals the story of hundreds of unreleased recordings his father Waylon made between 1974-1984, including stunning covers now being released as "Songbird" - plus more musical stories from the lives of the Jennings family. Order the new "Songbird" LP here. Topics Include: Shooter Jennings discusses upcoming Songbird release featuring his late father Waylon's unfinished recordings Most songs were actually complete with vocals and instruments already recorded professionally Waylon privately recorded after 1974 RCA battle, keeping hundreds of tapes unlabeled Tapes digitized in 2008 but sat untouched until Shooter systematically catalogued everything recently Discovery process was emotional journey revealing Waylon's constant studio experimentation and joy Found treasure trove including Fleetwood Mac's "Songbird" cover and multiple complete albums worth Shooter mixed everything on vintage 1976 analog console maintaining authentic original sound Three planned album releases starting with Songbird, featuring different themes and flavors Tony Joe White plays harmonica, Jessi Colter sings, original band members returned Cataloging required detective work, Googling lyrics, consulting surviving band members for identification Growing up as Waylon's son meant different childhood, touring summers, recognizing fame Family record collection included Beatles, Harry Nilsson, later Waylon bought entire collections Teenage Shooter brought home Nine Inch Nails, Nirvana; parents showed concern but support Waylon's deep friendship with Buddy Holly, plane crash guilt haunted him for years Eventually found closure visiting crash site, could finally look at wreckage photos Parents advised being authentic, not copying others; mother worried about rough crowd Shooter's career shows risk-taking from country to experimental electronic and industrial music Produced diverse artists from Duff McKagan to Marilyn Manson, always seeking creative challenges Early collaboration with father on Fenixon project mixed country with industrial influences Vinyl remains important, frequent Amoeba Records visits, special Record Store Day releases planned Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Australian guitarist Davey Lane discusses his new album 'Finally, a Party Record', joining You Am I at 18, meeting Paul McCartney & nerding out on vinyl! Listen to the new album here. Topics Include: Davey Lane discusses his new album "Finally, a Party Record" and the ironic title choice Originally titled "The Great Unraveling" but changed to something more approachable and chipper Despite upbeat title, songs deal with dark subject matter that inspires his songwriting Finding peace with mental state and place in world as he's gotten older Always includes glimmer of optimism even when writing about romantic catastrophes going wrong Makes music as compulsion, not for career goals - realistic about posthumous appreciation Big Star, Nick Drake - artists appreciated later in life Avid record collector who browses sections aimlessly rather than shopping with lists Discovers new bands like Comets on Fire by hearing them playing in record stores Vinyl is primary listening format - meditative experience that keeps him focused and level Thinks about album sequencing early, including crossfades between songs on new record Beatles were gateway drug, fascinated by production techniques on Sgt Pepper's at age seven Met Paul McCartney in 2017 backstage in Melbourne through Jimmy Barnes and Michael Gudinski Took Valium beforehand, talked about McCartney's jacket instead of asking musical questions Started transcribing You Am I songs as teenager, sent tabs to drummer Rusty Got invited on stage at 16 to play with You Am I at all-ages show Returned to high school as local hero after performing with established rock band Tim Rogers called offering solo tour opportunity, left university after two days to tour Officially joined You Am I in 1999 at age 18 after proving compatibility on tour Took years to feel like full band member rather than nervous new guy Learned importance of authenticity over networking and career-focused schmoozing in music industry Collaborated on The Rites project covering Stevie Wright's "Evie" to raise money for legend Recorded with Saints' Chris Bailey on what became his final album before passing Created experimental Dual Monophonic vinyl with Tim Rogers and King Gizzard's Stu McKenzie Each vinyl channel contains different arrangement of same song, can be heard separately Technical challenges getting proper stereo separation on vinyl pressing required multiple attempts New album on Cheer Squad Records features striking red and yellow vinyl pressing Cover art deliberately references Rod Stewart despite not particularly liking that album Record designed to catch browser's eye in record stores like albums that attracted him Interview wrap up Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Lifelong Elvis collector Ian McQuillan discusses the rarest records of Elvis Presley - from Sun Records worth $10,000+, international rarities, even shares insider tips for spotting counterfeits, and explains why young collectors are driving a thriving market for the King's rarest vinyl. Topics Include: Ian McQuillan introduces himself as 55-year Elvis fan since age 2 Scottish parents in New Zealand exposed him to Elvis on record player "Big Hunk of Love" was his first memorable Elvis song obsession RCA distributed Elvis records globally, making them widely available worldwide Elvis market remains strong while other 50s rockabilly artists declined significantly Elvis cornered teenage markets in UK, Australia, New Zealand more than US Parkes, Australia hosts massive annual Elvis festival with 20,000+ attendees Elvis Week celebration started small, now draws 50,000+ fans to Memphis Elvis has bigger catalog depth than any other recording artist Sun Records represent collectible pinnacle - only five official 45/78 releases 78rpm records rarer due to shellac brittleness, 95% destroyed over time Sun 209 "That's All Right" commands $10,000-12,000 in mint condition Sam Phillips used multiple pressing plants, creating interesting variants and rarities Initial Sun pressings probably 20,000-30,000 copies, reaching 200,000 total eventually Early distribution concentrated in American South, spreading through Elvis touring Promotional Sun records exist with distinctive red stamps, worth significant premiums Jack White famously paid $300,000 for unreleased Elvis acetate recording RCA reissues sound much cleaner than original hissy Sun pressings Sam Phillips likely pressed extra inventory after selling Elvis to RCA Counterfeit Sun records identifiable by shiny vinyl, wrong dates, label gaps Pre-army Elvis albums (1954-1960) remain most collectible among LP collectors SPD promotional EPs from first album worth $1,200-4,000 in good condition Australian gold label first album worth $1,500-2,000, extremely hard to find Colored vinyl "Moody Blue" pressings command $2,000-3,000 from collectors 8-tracks, reels, cassettes now collectible after being worthless for decades Follow That Dream label produces high-quality Elvis reissues for serious fans New Elvis footage and recordings still surface regularly from private collections Young professionals in 20s-40s driving current strong collector market demand Elvis Week features conventions, tributes, candlelight vigil at Graceland annually Colonel Parker's merchandising legacy created massive collectible memorabilia market today Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Nick Aguilar of Frankie and the Witch Fingers and Slaughterhouse is a vinyl maniac! Today we discuss his collection, his obsession, the rarities and a life of music & record collecting. Topics Include: Nick Aguilar plays drums in multiple bands including Frankie and the Witch Fingers Currently focusing mainly on Frankie due to busy touring schedule ahead Extensive tour dates planned through end of year across US and Europe Considers himself a music fan first, musician second since childhood Dad played tapes during Nick's colic as baby, introducing classic rock Father went to San Pedro High School with future Minutemen members Dad chose commercial fishing over music after graduation in 1976 San Pedro's shipping port culture shaped the local music scene Nick has surpassed his dad's music knowledge over the years Started collecting at age 11 when neighbor gave away record collection First records included Rolling Stones "Some Girls" and Led Zeppelin "Physical Graffiti" Still regrets not taking Buzzcocks "Singles Going Steady" from that collection Casual collecting through school, seriously ramped up after high school graduation Pandemic period 2020-2022 massively accelerated his collecting and cataloging habits Taught himself DJing during lockdown to play records for people Discovered new genres like soul, funk, kraut rock through deep diving Got lucky buying expensive records cheap before current inflated market Focuses on 45s and 12-inches that work well for DJing Extreme organization needed to juggle multiple bands, touring, collecting, DJing Record store strategy: always hit new arrivals section first Holy grail wants include The Litter and James Knight records Uses both Discogs hunting and in-person digging at stores Thrift store finds getting much rarer as market knowledge spreads Appreciates reissue labels like Numero Group for discovering rare music Limited record shopping time while touring due to tight schedules Favorite shops include Breakaway in Austin and Academy in NYC Most expensive purchase: Helen Smith soul record for $2,900 on credit Most sentimental record: The Frighteners, reminds him of deceased friend Keeps multiple copies of key records for DJing versus home listening Band creates multiple vinyl variants through their Greenway Records label See Frankie and the Witch Fingers and order their vinyl here. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Obsessive vinyl collector and radio & MTV legend Matt Pinfield discusses his music collection, holy grails, music industry stories, his recent health scares and sharing stories at the Punk Rock Museum. The Punk Rock Museum info and tickets are here  Matt's book "My Insane Improbable Rock Life" is here Topics Include: Matt discusses his post-stroke meal plan after months without solid food Friends like Mike Ness from Social Distortion visited him in hospital Stroke happened at drummer John Tempesta's house, remembers calling EMS Had both stroke and meningeal pneumonia with 85% mortality rate Daughters told he would die, was touch and go situation Lost feeling on right side, still numb but walking with cane Previous near-death experiences: aneurysm at 15, car accident, sobriety struggles Recovery includes acupuncture from former punk drummer and intense physical therapy Currently doing tours at the Punk Rock Museum in Las Vegas Favorite museum artifact is rare Germs concert footage never released Stories of interviewing Iggy Pop who once knocked microphone from hands Hosted Wayne Kramer tribute concert at Sing Sing prison for inmates Getting punk acts on MTV 120 Minutes easier than expected Started in college radio at Rutgers, only 13 alternative stations existed CBGBs regular, Athens Georgia born with B-52s/R.E.M. connections there Kevin Bacon joked there's only two degrees of separation with Matt Neil Young remains his interview "holy grail" Matt is a serious 45 RPM collector Lived in Paul Kantner's old apartment with psychedelic laser showerhead DJed at clubs where James Gandolfini was regular Friends with Don Bolles from Germs, both love 70s glam records Personal rule: must buy something from every record store visited Also supports opening bands by buying their vinyl and t-shirts Postal service recently stole entire box of rare 45s shipment Still searching for holy grail records like Panic Squad 12-inch single Tom Petty acetate test pressing gift from friend Chuck Rocha Found rare Cherry Slush single that climbed charts before label folded Optimistic about vinyl's future as young people discover physical music Believes vinyl offers irreplaceable warmth and "whole other world" experience Plans Vegas record shopping and Australian record exchange with Nate 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

Gibby Haynes discusses his upcoming EU/UK tour, the completed Butthole Surfers documentary, early punk memories, near-death stage experiences, vinyl reissues and lots more. EU/UK Tour Tickets here  Topics Include: Gibby discusses upcoming European & UK tour with Scott Thunes and musical kids Tour dates are limited, zero chance of expansion beyond Europe/UK Scott Thunes was Frank Zappa's former bassist and "clone meister" Gibby confirms he's a Frank Zappa fan, particularly loved "Apostrophe" album Lost interest in Zappa after "Apostrophe" due to scatological humor focus Initial confusion about Scott Thunes - Gibby doesn't know who he is Clarifies he works with Paul Green's School of Rock for 20 years Scott Thunes may be coming on tour, is friend of Paul Green Gibby has no direct connection to Scott Thunes, only knows Paul Green Sometimes tours individually with kids, different kids each time Butthole Surfers once toured Europe with School of Rock as opener Kids' performance quality varies - sometimes really good, sometimes not Gibby lost entire record collection when engineer sold it during tour Collection was 3-4 feet of curated vinyl, mostly punk and hardcore Had valuable Buzzcocks singles collection among other rare records Met record dealer in San Antonio mall who introduced great albums Dealer showed him Devo's first album when it came out Key collection moment was hitchhiking trip to LA in summer 1979 Saw early LA punk shows including Go-Gos opening for Fear LA was only US city where audience spit at bands Witnessed massive amounts of phlegm on Belinda Carlisle during show John Belushi was standing next to him at the Go-Gos show Almost saw the Dickies' "last show" but it was cancelled Dickies are apparently still performing, contrary to expectations Gibby wrote memoir "Me and Mr. Cigar," wants to do sequel Criticizes most musician memoirs as ghostwritten, prefers authentic voices Cites Bob Dylan and Patti Smith as examples of self-written memoirs Discusses looking at legacy, mentions end being closer than beginning Still painting but doesn't do regular gallery shows or solo exhibitions Questions whether rockers are musicians or entertainers, favors entertainment label Believes rockers make better actors than actors make musicians Cites Childish Gambino and Lady Gaga as successful crossover examples Mentions Russell Crowe's band "50 Odd Foot of Grunts" dismissively Did artwork for several album covers including "P" and other releases Sold all artwork at LA gallery show while Sonic Youth members sold none David Yow pointed out his success, making him particularly happy Maintains friendships with successful musicians like Red Hot Chili Peppers Gets VIP access to major shows, brings 15-year-old son along Son says he loves Gibby but frequency might be concerning Kids don't appreciate backstage access until they can drink alcohol Mentions Dwarves show where son enjoyed the beer more than music Discusses Eagles of Death Metal and Queens of Stone Age name quality David Crosby once asked why they chose "Butthole Surfers" as name Responded that "Haynes, Walthall, Pincus and Coffey were already taken" Band appeared on Beavis and Butthead with respectful introduction Used different band names for every show, including outrageous ones Paul Leary nearly died from electrical shock at CBGB performance Sound engineer failed to warn about dangerous electrical outlet Butthole Surfers documentary "The Hole Truth" is completed, seeking distribution Twenty percent of documentary viewers cry during screenings, usually same moment Band controls all their catalog rights across different labels Potential vinyl box set in works, discusses remastering philosophy 50+ Minutes Extra-Extended and 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

Chris Ashford of What Records? discusses releasing the first LA punk single "Forming" by the Germs, rarities, tapes, memories of Darby Crash and early punk scene stories. Topics Include: Chris Ashford founded What Records? and knew Germs members George (Pat Smear) and Paul (Darby Crash) He worked in record stores through high school and was fascinated by record labels Chris decided to start a label while his friends formed the Germs band He had no formal education about making records, learned from Richard Fuse at Rhino "Forming" was recorded in a garage with two-track deck and two microphones The single had multiple takes but most were erased years ago B-side used cassette recording from Germs' Cheech & Chong "Up in Smoke" audition Master tape for "Forming" is missing, possibly in Canada, but Chris owns rights Cheech & Chong footage shows Germs performing "Sexboy" - same version as B-side They kept the cassette source secret initially to avoid potential lawsuits Lou Adler excluded Germs from movie because audiences wouldn't believe they were real Chris missed the "Up in Smoke" taping because he had to work his day job He financed all What Records releases including "Forming" himself Black rectangle on sleeve was intentionally ambiguous, meant as tongue-in-cheek band photo Address on record was Chris's parents' house where he lived He quickly moved to P.O. Box and removed address to protect his mother First pressing had wrong labels on wrong sides due to Monarch pressing plant error About 1,000 copies were made, most of original pressing was destroyed 600-700 defective records were thrown down hill as frisbees for fun None of them expected anything significant to happen with the record "Forming" was technically the first independent DIY punk single from Los Angeles The record served as legitimizing calling card for the Germs Darby Crash was gifted lyricist despite his troubled background and demons Chris received Germs burn from Michelle Ghaffari at the Whiskey without warning Germs burns became insider thing in summer 1977, wider trend came later Darby never fully matured, died at 22 before becoming complete person Germs often performed as chaotic train wreck, unlike disciplined bands like Stooges Darby had difficult childhood and family problems that created his demons David Bowie was Darby's favorite outlet, influenced his dreamy/nihilistic worldview Chris saw potential for Darby to become writer beyond just being lyricist Extended and 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

Descendents have reclaimed their music catalog with pre-orders of 'Milo Goes To College' starting today - Bill and Milo give us updates on ALL, FLAG, new music and more. Topics Include: "Milo Goes to College" reissue announced for September 19th via Org Music Limited vinyl variants available including special "punk note" Blue Note-style packaging Both band members report good health, Bill has been hitting gym regularly Milo had recent heart attack despite being most athletic member historically Coffee remains firmly on the menu for both musicians despite health focus Band regained rights to their back catalog once held by SST All original SST releases will be reissued including Bonus Fat, Enjoy Master tape ownership involves multiple parties, topic too sensitive to discuss New Alliance originally issued record, later transferred to SST seamlessly South Bay punk scene was tight-knit community with handshake deals Reissues will be exact replicas except for special punk note variants Fat EP might get separate reissue, Ride the Wild included Milo retired from corporate science job in 2016 for full-time music Band played around 90 shows last year, planning 70 this year Bill balances drumming with fewer Blasting Room studio production projects Bill struggles with songwriting perfectionism, has 75 unfinished song ideas Band has 25 new songs recorded, planning 2026 album release deadline Soundcheck covers help "sanitize" big venue stages, played entire Germs album Haven't performed new songs live yet, prefer trashy covers at soundcheck Australia tour likely after new album, great crowds and venues there China tour required submitting all lyrics for government approval beforehand Minister of Culture attended Beijing show, made drummer put shirt back FLAG reunions may be happening more regularly at select festivals All playing Canadian shows with Scott and Chad alternating on vocals Milo stepped in for lost-voice Chad at sold-out New York show Tony Lombardo still close friend but officially retired from playing bass Milo still buys vinyl records despite not having a record player Pre-order the 'Milo Goes To College' vinyl reissue here 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

Comedian, Actor, Author Craig Ferguson discusses his early punk days, making music and comedy records, avoiding David Bowie and many musical moments that influenced his path. Topics Include: Discussion begins about Craig's new vinyl release "I'm So Happy" Craig has released most of his comedy specials on vinyl His first album was vinyl in 1986 when that was standard Vinyl became the poor cousin during the CD era Craig's vinyl collection is currently boxed up after moving Used red sleeves for expensive records when kids were young First owned record: Monkees "Headquarters" from uncle James First purchased: Brian Eno "Here Come the Warm Jets" 1976 Son experienced vinyl for first time with Mogwai album Son said he felt "robbed" by digital music quality Modern music feels overproduced and digitally assembled to Craig Artists release music before it's properly developed or ready His first concert: Blue Oyster Cult 1975 Nassau Coliseum Still shops at record stores with tour manager Thomas Prefers tactile experience over buying vinyl records online Has couple of precious singles from his own bands Missed lots of music during blackout drunk years 15-30 Now discovering missed artists like John Cale collaborations Doesn't consider himself musician but thinks like one musically Stand-up comedy has tempos, moods, feels like musical performance Music and comedy both require audience participation for value Paul Weller didn't want interview despite initial tour requests Never invited David Bowie due to being too in awe Never spent time with Iggy Pop except seeing performances Drummed for Nico briefly when young and impaired Last public drumming was disastrous Rock Bottom Remainders performance Billy Connolly's vinyl albums were forbidden contraband as kid Vinyl comedy creates different atmosphere than digital formats Watch "I'm So Happy" on YouTube & order the vinyl here. 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

Melbourne band Umlaut discuss their upcoming heartbreak-themed album "Desolë”, inspirations and reflections on Mr Bungle memories and performances. Topics Include: Vinyl Guide podcast video episode with Melbourne band Umlaut Band members: Bär McKinnon, Shane, Angus, Danny introduced New album "Desolë" coming out July 25th/21st "Desolë" means "sorry" in French, originally song title Track became album title after Angus suggested it Album themes center around heartbreak and personal material Bär moved toward more earnest songwriting recently Danny wrote some lyrics, band becoming more collaborative Bär describes creative process while driving, cycling melodies Recording these personal songs felt embarrassing for Bär Songs existed for some time before band recorded Bär historically very controlling, now trying to relinquish Most songs originated with Bär, others contributed sections Danny brings different drumming ideas than just copying Peter Jackson Beatles documentary inspired collaborative approach Final track created spontaneously in rehearsal room Bär and Danny worked together 25 years ago Different now because they're actually playing together Previously recorded separately, rarely rehearsed together More open to other ideas and input now "Vinny" track completely transformed from Bär's original demo Band has revolving door history with members Current quartet setup works well for these songs All members play multiple instruments during live shows Mr. Bungle 2024 Melbourne show at Festival Hall happened Only had 12 minutes to work out songs Performed "Travolta" with Danny and Bär rejoining Teased "Carry Stress in the Jaw" then stopped Angus sang backing vocals on Travolta performance Security almost didn't let them on stage Bär wore boiler suit and scarface shirt Extended saxophone solo during the performance Considered doing secret sideshow but didn't happen Recent health issues caused tour cancellations in October Danny considered quitting drumming due to physical concerns Band refused to play without Danny Health issues resolved, Danny can play again Cold Sore is cover of unreleased Mr. Bungle song Unreleased Bungle recordings exist on two-inch tape Album took about year and half to complete Pre-order vinyl here and here. Watch the VIDEO version here 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

Ed Colver discusses his iconic punk rock photography career, including shooting legendary album covers like Black Flag's "Damaged" and Circle Jerks' "Group Sex," as well as his passion for collecting strange "crackpot records".  Topics Include: Ed Colver known for punk photography, also collects strange records Calls his collection "crackpot records" - religious, political, spoken word Started buying records at 14 in 1964, Pretty Things album Always liked heavy underground psychedelic music growing up Collected antiques, spent time at flea markets and thrift stores Would hide good records behind Sean Cassidy albums Put Herb Alpert records in front to fool other collectors Music and art were everything to him growing up Exposed to avant-garde classical in 1967 by art teacher Learned Stockhausen, John Cage, Edgar Varèse, Toru Takamitsu Called electronic music "your grandfather's punk rock" George Antheil's Ballet Mechanique caused riots in 1923 Hated high school, dropped out at 18 for junior college Studied all kinds of applied art classes and woodworking Made skateboard in 1963, year Kennedy was shot Beatles on Ed Sullivan made no impact on him Preferred Pretty Things over Beatles and Rolling Stones Never tried playing instruments, glad didn't buy drum kit Started photography in late 1978 at punk shows Took friend Robert Hill to shows, now works national security Couldn't afford much film, had to be selective Used manual focus with small flash, paid attention constantly Shot rhythm-timed photos, watched for dramatic moments Lost lens in right eye 30 years ago Famous Chuck Berk stage dive photo taken July 1981 Met Chuck next night, never saw him again since Chuck gets paid when photo is licensed commercially Levi's and Vans perfect product placement in photo Circle Jerks "Group Sex" cover shot at Marina skate park Was there specifically to shoot album cover, not spontaneous Used color film, took more than one roll High contrast printing saved the mediocre color photo Black Flag "Damaged" cover concept was Ed's idea Shot near La Bianca murder house location coincidentally Made fake blood from ink, coffee, and dish soap Red-eyed Henry photos were rejected as "too demented" Original red-eye photos lost for 35 years Channel 3 Pure Life photo originally for Damaged insert Typeset layout ruined the backward gun photograph's power How to Overcome Discouragement record from early 1970s Played it as soundtrack at art walk event Has broken glass on cover, similar to Damaged Wild in Streets cover shot during San Francisco parade Circle Jerks crashed parade, Ed ran ahead shooting Parade doesn't show in final photo, just street Shot Darby Crash mohawk photo backstage at Starwood Darby died about two months after that photo Ice Cube portrait shot in one minute, ten frames Used medium format camera with professional lighting setup Extended and 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

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