Vinyl Emergency

Jay Ryan and Jason Harvey, bassists for the Chicago-area trio Dianogah, describe the route to -- and surprise release of -- their new, career-spanning 5LP box set. Visit landland.bandcamp.com to order this limited pressing, and follow @dianogah_official on Instagram for more updates.

Harvey Danger vocalist Sean Nelson makes a good case for his group being, in his words, "the last band through the door" of the alternative revolution: Though the quartet went gold thanks to the frenetic, inescapable "Flagpole Sitta" as the nineties closed, the landscape for them (and cohorts such as Cake, Semisonic or Fastball) would look much different a year later. By 2000, a sudden contingent of beefy backwards cappers, led by the likes of Limp Bizkit and Papa Roach, had commandeered arenas and the airwaves as an antithesis to pop radio. Paired with a massive label shake-up, this left Harvey Danger's expansive second album King James Version DOA. But like a lot of unsung masterworks, many have praised King James Version over the last quarter century for its dialed-in cacophony and sarcastic swagger -- enough to drum up major excitement for a first-ever vinyl pressing, which hit shelves as a Record Store Day exclusive recently from both Barsuk and Latent Print Records. Today, Nelson gives us the full arc of how King James Version was born, died and rose again, taking its throne on 12-inch format to mark the album's 25th anniversary. Follow @officialharveydangerarchive and @actualseannelson on Instagram for updates. You can also hear The Wonder of It All, Sean's engaging podcast on the blessings and curses of fame, via this link or wherever you listen.

After 15+ years on the road, Seattle's Minus the Bear said goodbye in 2018... but not for long. Marking two decades since the release of their second album, Menos El Oso -- heralded by both critics and fans alike -- the five-piece are back this year to play the album in full across the country. A sprawling, math-rock masterclass, Menos takes listeners on a globetrotting trail through Spain, Ireland, Los Angeles and more, while vocalist/guitarist Jake Snider inhabits characters seeking escape, be it from fever dreams, crime scenes or soul-crushing day jobs. Today, Jake is joined by guitarist David Knudson, as the pair breakdown Menos track-by-track. Along with host Jim Hanke, they dive into the meanings behind some of the band's most impactful songs twenty years later, and how the genre-bending experimentation of Danger Mouse and DJ Shadow influenced the LP. Catch Minus the Bear at this year's Best Friends Forever Fest in Las Vegas, or on tour cost-to-coast, this fall. Visit minusthebear.com for tickets, social media and more.

On the heels of a fiery new album (Here We Go Crazy), influential indie icon Bob Mould reflects on how record store culture informed Hüsker Dü's formation and why the jukebox singles of his youth still help him get out of the occasional songwriting stalemate. Visit bobmould.com for tour dates, social media and more. 

This is an encore presentation of a previous episode, originally airing in August 2023. --- The two sounds Tommy Prine says he remembers most growing up were having the AM radio on or his father (renowned singer/songwriter John Prine) workshopping tunes at the kitchen table. Journeying through adolescence, his eclecticism later manifested through acts like Outkast and System of a Down. But now, on the heels of This Far South — his debut album — Tommy has found his own unique voice that marries his mom's Irish wisdom and his dad's dry Midwestern/Southern wit. On today's show, Tommy shares why Radiohead's “Videotape” speaks to him, his experiences working with Nashville talents Ruston Kelly and Gena Johnson on This Far South, and how the artwork for this album feels like both an ending and a beginning. Visit tommyprine.com for your dates, socials and more.

Long before Hot Ones became a viral sensation, there was Man v. Food. Over four seasons on the Travel Channel, host Adam Richman cruised the country going toe-to-toe with fiery chicken wings, monster-sized pizzas, pizza-sized burgers and more. Though the Brooklyn native demolished eating challenges that boggled both the mind and the belly, the heartbeat of MvF was in the small sandwich shops and hole-in-the-wall diners that were suddenly given a national stage. Since then, he's remained an in-demand, jovial educator of eating -- whether helping demystify menus via the YouTube series Pro Moves, embracing UK cuisine through Discovery+'s Adam Richman Eats Football, or tracing the origins of our favorite culinary brands on The Food That Built America (now in its sixth season). On today's episode, Adam dissects the similarities between food and music culture, his vinyl collecting habits, the classic rock staples he first heard through Beastie Boys samples, and the connections he's made with world-class performers who just so happen to be huge MvF fans -- ranging from Warren G to Green Day. Follow @adamrichman on Instagram and watch The Food That Built America on the History Channel, Sunday evenings at 9pm EST/8pm CST. 

Oscar-nominated actor Michael Shannon (Knives Out, The Shape of Water, Boardwalk Empire, Groundhog Day) and acclaimed musician Jason Narducy (Split Single, Bob Mould Band, Superchunk, Verböten) discuss their friendship through song, and their current tour performing Fables of the Reconstruction -- R.E.M.'s third album -- which celebrates its 40th anniversary this year. Tickets are available at concertedefforts.com, and you can watch Michael and Jason perform “Driver 8” with their band on The Tonight Show here. Follow @jasonnarducy on Instagram, plus catch the drama Eric Larue -- Michael's first film as director -- arriving in theaters this spring. 

Championed over the years by the likes of Americana superstar Scott Avett and music mogul Seymour Stein, the music of Clem Snide mainstay Eef Barzelay has become an optimistic, yet matter-of-fact touchstone in a weary world, whether crafting his own musings or covering the inspirational hits of Journey. NPR dubs him "the most underrated songwriter in the business today, with a sneakily firm grasp on poignancy and humor," and while Eef's evocative tone is of a similar caliber to Jeff Mangum or John Darnielle, his sentimental and visual lyricism puts him in a unique category. On this week's program, Eef discusses embracing the unknown, diving back into vinyl with his adult son, and the quandary of carrying on the Clem Snide moniker. Plus, a run-in with a New Jersey state trooper while shooting the album cover for 1999's Your Favorite Music. Eef hits the road later this month; tour dates and tickets are available at clemsni.de. His latest album Oh Smokey is available digitally, or on vinyl from foreignleisure.com. Follow @clemsnidemusic on Instagram.

With high marks from The New York Times, Pitchfork and more -- plus overwhelming support from the indie record store community -- Jeff Parker's latest album The Way Out of Easy is inarguably one of the most discussed and heralded jazz LP's of the 2000's. Fully improvisational and recorded live to tape with the ETA IVtet, monikered after Parker and his bandmates spent nearly half a decade playing weekly at the Enfield Tennis Academy (a since-defunct Los Angeles cocktail bar), the album is a transcendent 80 minutes of hazy ambiance and nuanced exploration that rewards both devout jazz enthusiasts and genre newcomers at every turn. This week, Jeff speaks about his first time on vinyl with the influential Chicago collective Tortoise, paying tribute to his parents through two different albums, a recent exuberant conversation with Flea, and which rapper he dreams of working with. Follow @jeffparkersounds on Instagram and find The Way Out of Easy at intlathem.bandcamp.com or wherever you get music.

In 1995, a fervent and wry rapper (Sean Daley, aka Slug) and a dexterous deejay (Anthony Davis; Ant for short) helped co-found a platform to help put Midwest -- and more precisely, Minnesotan -- hip-hop on the map. Three decades later, Rhymesayers Entertainment is one of the most popular and influential modern rap labels in existence, releasing seminal LP's by MF Doom, Freeway, Aesop Rock, Brother Ali, and Atmosphere: Slug and Ant's infectious repartee that helped define the Rhymesayers aesthetic from the jump: While Daley puts the listener in a metaphorical chokehold -- thanks to a volatile delivery of vulnerable self-reflection -- Davis' textured musical milieu allows plenty of room for revelry within a hybrid of soul, gospel and rap's golden age. On this week's episode, the pair ponder how record shopping has actively made their lives better, why racially integrated album covers usually lead to great music, and when their first-ever appearance on vinyl became a time capsule of their first-ever collaboration. Atmosphere will commemorate the 20th anniversary of their landmark release You Can't Imagine How Much Fun We're Having by kicking off their aptly-titled Imagine The Fun tour in January. Tickets, social media and pre-orders for Ant's third volume of his Collection of Sounds series (dropping next month) are all available at atmospheresucks.com. 

Bruce Springsteen once said that the secret to good songwriting was striking a balance between the personal and the universal: Get specific with people and locations first before shading in the rest with the kinds of generalities that make your listener relate, and hopefully, feel something. Craig Finn -- leader of the rough-and-ready, Grammy-nominated outfit The Hold Steady -- has subscribed to this philosophy in spades, garnering a cult-like fandom over 20+ years. On critically-acclaimed albums like Separation Sunday and Boys & Girls In America, the band has wheeled-and-dealed jaw-dropping tales of overdoses, arrests, confessional debauchery, and post-party pathos on par with any binge-worthy crime drama. Yet, despite those circumstances, the most fervent fans of The Hold Steady often connect most with the undying optimism that lies within Finn's brash and bewildered characters -- many of which show up on multiple tracks. Recorded in front of a live audience at Pinwheel Records in Chicago, Craig spotlights a lyrical trick he learned from Paul Simon, the babysitter who schooled him on Led Zeppelin, and the intriguing plot of his next solo album, due in spring. Visit craigfinn.net and theholdsteady.net for news, social media, tour dates and more. You can also subscribe to That's How I Remember It -- where Craig examines the connections between art and memory -- wherever you listen to podcasts. Live sound engineer: Manny Medina

Between his father's banjo picking and his mother's love of Motown, Superdrag's John Davis eventually began writing tunes that would channel Stax's classic soul and Big Star-adjacent power-pop through the blurred guitar wall of My Bloody Valentine -- an eventual blueprint for the band's cult classic debut album Regretfully Yours in 1996. But between grueling tours and generous MTV airplay for the infectious "Sucked Out," John would discover a second home in local Knoxville, Tennessee music shop Lost & Found Records, where he says owners Mike and Maria Armstrong became like a surrogate aunt and uncle, further deepening his love of vinyl. On this episode, John chats about sobriety, Superdrag's future, and nostalgia's double-edged sword. His latest solo outing titled Jinx is now available digitally, on CD and wax via lostinohio.com. Follow @johndavisbrandmusic and @superdragofficial on Instagram for updates.

Full details on our upcoming live episode at Pinwheel Records in Chicago, with guest Craig Finn! Free tickets available here.

On a random night in August 1992, while DJ'ing at an Atlanta strip club, Cecil Glenn pops in a tape he and his musical counterpart Steve Gibson have been working on. Influenced by the pulsing Miami Bass scene, it's also layered with fast-paced Georgia swagger and an infectious call-and-response chorus. Immediately, patrons rush Cecil's audio booth to find out who made this track, and how they can get a copy. Record labels, MTV hosts and more also came calling, leading to "Whoomp! (There It Is)" quickly going platinum, a mere six weeks after he'd quit that same DJ gig, to focus on original music full-time. Fast-forward 30+ years and “Whoomp!" remains not just the best-selling rap single of all-time, but a ubiquitous pop culture reference, with Cecil (aka DC The Brain Supreme) and Steve (Roll'n) touring the globe and continuing to pump up crowds of all-ages. This week, DC discusses how "Whoomp!" continues to find new audiences, how he leans in to thinking backwards, and why a blizzard ended up being a perfect storm for the duo's early success. Follow @dcglennatl and @tagteamwhoomp on Instagram.

This is an encore presentation of a previous episode, originally airing in January 2022. --- Championed by some today's biggest names on the fringes of country music, singer/songwriter Amythyst Kiah released her breakthrough album Wary + Strange in 2021 to rave reviews. Upon its release, Pitchfork dubbed the record “an intensely personal document (that) examines the realities of being a Southern Black LGBTQ+ woman in songs both defiant and vulnerable.” One of those tracks in particular, the Grammy-nominated “Black Myself,” matches a hypnotic groove and gritty distortion with lyrics addressing the horrors of chattel slavery and the Brown Paper Bag Test, making for an unforgettable statement that channels both Odetta and Public Enemy. On today's episode, Amythyst discusses “Black Myself” in detail, as well as growing up with an audiophile father, being intrigued as a kid by a particular Santana album cover, and how an a cappella Tori Amos song inspired her to share her most personal struggles. Visit amythystkiah.com for tour dates, social media and more.

It's not out of bounds to say that the Smoking Popes began as a bit of a joke. Vocalist, guitarist and songwriter Josh Caterer deems the earliest incarnation of the band as “a Spinal Tap version of hardcore punk,” choosing song titles first and how those songs would actually go later. But after finding a propulsive drummer in a teenage Mike Felumlee, the quartet began showing true heart around 1993: no longer just goofing off in the garage, Caterer was penning some of the punchiest, most direct odes to lost love on the college radio dial, emphasizing all the best parts of the Smiths, Cheap Trick, Roy Orbison and the Ramones, while feeling wholly original. It's now been three decades since Born To Quit, the band's heroic half-hour featuring “Need You Around” and “Rubella,” put them on the map. And although an LP reissue dropped earlier this year (without the band's consent or knowledge), Josh and Mike decided that the Popes needed their own “Taylor's Version” of sorts, in order to take these songs back into their possession — even in the most modest of terms. So before a minimal audience in a small, central Illinois studio, the band chose to cut Born To Quit live, front to back, and a vinyl version comes out this week to put a stamp on the occasion. During this episode, Josh and Mike speak to their longevity as a unit, what we can expect from their brand new album this spring, and what it meant to control Born To Quit's legacy a bit, with this new approach. We also dive into Mike's tenure in Alkaline Trio, and Josh's solo performances pressed to wax during the 2020 lockdown. Visit anxiousandangry.com to pre-order the Born To Quit Live Session, and hit up smokingpopesmusic.com for tour dates, social media and more.

Today's guests are more than just bandmates. Friends since the first grade -- with matching tattoos to boot -- being founding members of the influential Kansas collective The Get Up Kids has taken Rob Pope and Jim Suptic (along with Matt Pryor and Rob's brother Ryan) to seemingly every corner of the world since their 1995 formation. This year marks the 25th anniversary of their breakthrough sophomore LP Something to Write Home About — an album layered in lovelorn distance and declarations of proving oneself. Back then, Jim and Rob say that getting the album out was a frustrating practice in learning who to trust; at the moment, currently on tour playing the album in full, the pair look at the release as a "coming-of-age" album, one that inspired and launched thousands of bands itself through its heroic melodies and relatable points of view. Recorded backstage at the legendary Great American Music Hall in San Francisco, Jim and Rob discuss the two-sided coin of nostalgia, what inspires them about each other, and why maple syrup isn't always a positive smell. The band's 2LP Something to Write Home About reissue, complete with demos and previously unheard material, is available now via digital platforms, and physically on September 20th. Tour dates and more can be found at thegetupkids.com.

Not everyone can say that both their first and last jobs were behind the counter of a record store. But that's how things ended up for Matthew Caws, before his beloved power-pop act Nada Surf became his main gig in the mid-2000's. Shifting time between New York City and Paris growing up, he points to an eclectic list of influences (classical, disco and late 70's NYC punk) that laid the groundwork for who he'd become as a musician and songwriter. Though their sneering, tongue-in-cheek alt-rock hit "Popular" became an MTV staple throughout 1996, the band has made a deeper impact as they've aged, through genuinely hopeful takes on the human condition like "Inside of Love" or "See These Bones." Today, Matthew talks about color coding his record collection, why double-tracking vocals feels like an act of fiction, the meticulous nature of Nada Surf's album covers, and connecting the dots between Bach and Blonde Redhead. Their new album Moon Mirror -- the group's first for Nashville label New West -- drops September 13th. More details are available at nadasurf.com.

A love affair with records has fueled Tracyanne Campbell for as long as she can remember: Before anyone else woke up in the morning as a kid, she'd already be spinning ELO; thanks to her grandmother, she became a devout listener of American country music and still has a profound memory of first hearing Tammy Wynette's groundbreaking "Stand By Your Man"; her mother even bought her a new 45 RPM single every weekend growing up -- spanning everything from Roxy Music to The Osmonds -- keeping her fervent curiosity alive. Fast forward to the mid-90's, and Tracyanne takes this bag of influences full-throttle, forming Camera Obscura. A band that's worn its AM radio influences proudly on its sleeve for nearly 30 years, they've created a rather timeless jangle that fits snugly between The Magnetic Fields and Carole King. The band's latest album -- Look to the East, Look to the West -- is available on Merge Records wherever music is sold. Visit camera-obscura.net for more info, social media and more.

Early in his career, John Moreland says he existed in a state of what he dubs "under-being": Living in perpetual humility to a fault, believing he wasn't deserving of appreciation for his art, let alone basic kindness. But in 2024, whether being championed by his Grammy-winning peers, or hailed by GQ as "the new face of folk rock,” he's finding being one of the most talked-about singer/songwriters today a little easier to take. And the last 12 months alone have given his fans multiple reasons to celebrate: On top of a raw, live-to-acetate recording at Nashville's Third Man Records and a 10th-anniversary vinyl reissue of his terrific sophomore LP, he suddenly dropped his latest album Visitor, without warning, back in April to wild acclaim. Today, the Oklahoma-based Moreland speaks about learning to love surprises, his infatuation with Sheryl Crow's harrowing hit “Strong Enough,” and how ditching his smartphone reconnected him with his record collection. Visit johnmoreland.net for tour dates, social media and more.

“Our old manager was always saying to me, ‘Artwork's not really that important. No one cares.' That's why he's our old manager.” That bit from this week's 200th episode, with Travis' Fran Healy, speaks to his genuine reverence for how music is presented. And though he's the voice and songwriter behind such anthemic rave-ups as "All I Wanna Do Is Rock" and "Selfish Jean," it's arguably the somber side of the foursome (with hits like "Why Does It Always Rain On Me?" and "Driftwood") that put them on the map globally, and eventually led to them going 14x Platinum in the UK. The band's new album L.A. Times drops this Friday, July 12th and on today's program, Fran discusses his obsession with the city's countless movie landmarks, how Coldplay's Chris Martin lent a small hand in sequencing the songs, and the Scottish quartet's embracing of the Internet age from the ground floor. Also, why Fran's been singing Womack & Womack around the house, and karaoke versions of his own material in Mexico. Tour dates, social media and more are available at travisonline.com.

This is an encore presentation of a previous episode, originally airing in September 2020. 4x Grammy-winning producer, engineer and mixer Vance Powell has worked with a wide range of artists and bands including Chris Stapleton, Buddy Guy and Phish. For vinyl collectors, he's arguably most known for being a consistent studio go-to for Jack White, not only being involved with proper studio releases from Jack and his various projects (The Dead Weather, The Raconteurs) but Vance is behind the boards of most every Live At Third Man Records LP, where bands record short sets in front of a couple hundred fans, direct-to-acetate. On this episode, Vance points to his favorite Third Man sessions he's recorded (including some mysterious Radiohead demos), how Chris Stapleton's famous cover of "Tennessee Whiskey" almost didn't happen, and why Vance's own barbecue kept him from his dream of recording U2. Visit sputniksound.com for more info on Vance's work, and follow him on Instagram and Twitter @vancalot.

While most music-focused kids picked up guitars or drums in the 60's and 70's, John Flansburgh says he was pulled toward the machinery that made art possible. With a reel-to-reel in hand before age 10 and an early love of graphic design, the detailed processes of printmaking, photography and analog recording seemed downright magical to his captivated, creative young mind. Once he reconnected with fellow singer/songwriter and high school pal John Linnell in the early 80's, the duo were off to the races as They Might Be Giants: an indescribable mix of surrealist humor, snappy history lessons, and power-pop sweetness. On today's show, John F. recounts catching one of Elvis Costello's earliest performances, inheriting a "profoundly haunted" record collection from a deceased cousin, and how a broken wrist and a ransacked apartment led to the groundbreaking launchpad for TMBG's storied career: Dial-A-Song. For tour dates, social media and more, visit theymightbegiants.com. 

"I don't have stage fright, I have life fright." Indiana native Timothy Showalter -- the mind and voice behind the moniker Strand of Oaks -- has pulled no punches when it comes to combatting his own childhood trauma and lifelong anxieties through music. And while he says that touring and performing puts him in his most zen state, he has experienced a death or sorts with the guitar-centered music Strand of Oaks has done until now. His upcoming album Miracle Focus finds him piloting synthesizers and crafting, what he calls, "a manual for my life. A soundtrack to connection." And despite a drastic instrumental shift, the core of Miracle Focus is still within the hopeful sonic palette that Showalter is known for. On today's second visit to Vinyl Emergency, he also discusses having a song go #1 in Belgium, what got him kicked out of Moby's restaurant, and his recent TV role on the Sons of Anarchy spin-off, Mayans MC. Visit strandofoaks.net for social media, tour dates and to pre-order Miracle Focus before it drops June 7th.

To say The Long Winters had some bad luck getting their music on vinyl would be an understatement: After a hurricane in the mid-2000's sent most copies of an exclusive box set into the Atlantic Ocean, the band struck a relationship last year with Bandbox -- an LP-subscription service doing limited, colored pressings of modern classics and out-of-print material -- only to have the company go suddenly belly-up, leaving the albums pressed, but under the ownership of Bandbox's investors, as collateral. Thankfully, Barsuk Records (the influential Seattle label which the band called home for their entire tenure) has come through with standard black pressings, allowing die-hard fans to finally add 2003's majestic and acclaimed When I Pretend to Fall and more of the catalog to their shelf. On today's show, Long Winters lead singer/guitarist and songwriter John Roderick dissects the Bandbox fiasco, his infatuation with acid rock at an early age, and how he recently ended up on a Las Vegas party bus with 90's rockers Ugly Kid Joe. Find more info on the Long Winters vinyl reissues at barsuk.com, check out the band's new rarities compilation So Good At Waiting wherever you stream music, and follow @johnroderick on Instagram and Threads.

Esquire editor-at-large and former MTV VJ Dave Holmes discusses how his ADHD allowed him to embrace the chaos of live television, why hitting up a NYC vinyl listening bar with The Mandalorian didn't go exactly as planned, and his new podcast docuseries examining MTV's cultural impact. Subscribe to Who Killed the Video Star?: The Story of MTV wherever you get podcasts, and follow @daveholmes on Instagram and Threads.

Hello! For my day job, I host and produce Looped In: Chicago, a podcast for WBBM Newsradio. And this week, they allowed me to make an episode all about the city's ties, past and present, to the record industry. So while it's different from your typical Vinyl Emergency episode, I hope you'll find this one to be an equally engaging listen, with guests including Evan Weiss of Into It. Over It., Smashed Plastic Record Pressing co-owner Steve Polutnik, Chicago Reader columnist Steve Krakow and music history TikTok sensation Patrick Hicks. Subscribe to Looped In: Chicago wherever you get podcasts, and new VE episodes will come your way soon.

This is an encore presentation of a previous episode, originally airing in December 2020. On today's show, keyboardist Derry deBorja (of Jason Isbell and the 400 Unit) talks about the musical influence of his older brother, his time as a member of Son Volt, how experimenting with a modular synth has changed how he views composition, and the 400 Unit's relationship with David Letterman. Visit jasonisbell.com for updates, and follow Derry on Instagram, @tin_pony.

Since his last visit to Vinyl Emergency in August 2020, Nashville singer/songwriter Ruston Kelly has narrowly escaped a fiery bus explosion, sold off nearly every physical stage piece from his last tour, and rehabbed an old Victorian bungalow with his own two hands. And while all of these experiences are worth talking about, today he says that being a better listener has been a focused priority as of late. This deliberate intention to say less and observe more has led to a run of rewarding collaborations over the last several years: Duets with Caitlyn Smith and Judah & the Lion, co-producing an LP for John Prine's son Tommy, and touring with the massively-popular Noah Kahan. On this week's episode, Ruston dives deep into the first album he remembers as a child, why he sequences songs specifically for vinyl, and his upcoming EP -- Weakness, Etc. -- a combination of new material and reworkings from his third full-length The Weakness, released last year. Plus, anecdotes on sharing toast with Jackson Browne, and debating Pop-Tarts with his fans. Ruston's upcoming solo acoustic tour begins later this month. Tickets, social media and more are at rustonkelly.com, with Weakness, Etc. dropping March 22.

In bands like Volcano Choir, Pele, Vermont and Collections of Colonies of Bees, guitarist Chris Rosenau has actively sought out a unique ambiguity. Whether through off-kilter tunings, a myriad of loop pedals or long-form improvisations in 130-degree heat, he says he finds his most interesting work comes from trusting others. And that trust has built fruitful creative relationships with enigmatic drummer Jon Mueller, Bon Iver's Justin Vernon and Sylvan Esso's Nick Sanborn, among others. But in a career of disarming listeners through unexpected approaches, Chris admits his most quizzical move might be in the form of a recently-released debut solo album, where he's stripped everything back to one acoustic guitar, for a tender salute to his late mother. The album, titled 'a light that cracks through,' is now available at chrisrosenau.bandcamp.com. Follow @rosno on Instagram.

While on the Milwaukee Brewers roster in 2011, major league pitcher John Axford created a buzz among indie-rock baseball nerds by forgoing the standard jock jams and using Refused's "New Noise" as his game entrance music. While exposing thousands to the Swedish hardcore band's chaotic screams and atonal, pummeling instrumentation, the choice also garnered some vocal complaints from opposing coaches and TV announcers. Nonetheless, Axford led the entire National League in saves that season, so who knows if some of the song's lyrics ("Good frames won't save bad paintings") don't indeed secretly speak to pitching. Around this same time, his interest in vinyl records began to blossom, leading him to hunt down Japanese Metallica pressings and connect again with his family's classic Christmas LP's. Since then "The Ax Man," as fans have dubbed him, has reached the World Series (with the 2013 St. Louis Cardinals), and done time with the Pirates, Dodgers and Blue Jays, among other organizations. Most recently, Axford represented his home country of Canada in last year's World Baseball Classic. On this episode, we explore how his dad's vintage Edison phonograph somewhat influenced Axford's current big budget stereo set-up, his fandom for LP subscription service Vinyl Me, Please and why he won't clean his grandparents' fingerprints off their old records. We also dive into John's recent trip overseas, to a quaint Dutch village where his great uncle's heroism during WWII is cemented and honored forever. Follow @johnaxford on Instagram. PLUS, music this week from Milwaukee band Dramatic Lovers!

At just 16 years old, Amy Fleisher Madden was contributing to her surrounding Florida punk rock scene like a wily veteran. Through booking and promoting national bands visiting the panhandle -- as well as her DIY zine Fiddler Jones -- she had introduced, connected and championed emo, pop-punk and hardcore bands from all over, eventually leading to the start of Fiddler Records, which gave us the first releasees from Dashboard Confessional and New Found Glory. Most recently, Amy is the author of a hefty book documenting a decade of the scene, titled "Negatives: A Photographic Archive of Emo (1996-2006)." Filled with stunning visuals, emphatic essays and more -- plus contributions from various photographers and musicians -- it's a must-have for anyone who spent time in this particular genre during these particular years, or since. Purchase "Negatives" via Amazon or wherever you get literature. More info can be found via @amyxmadden on Instagram, or at amy-madden.com.

"If Nevermind was a peek into Kurt (Cobain)'s psychological/emotional world, then In Utero was a wide-open window.” This comes from today's episode with author Michael Azerrad (Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991), who definitively knew better than most. Having extensive access to Nirvana between those two albums, Michael documented their rise for the best-selling 1993 biography Come As You Are: The Story of Nirvana, released just weeks before In Utero. Michael remembers today that Kurt's instructions to him in originally penning the book were fairly simple: "Just tell the truth. That will be better than anything else that's been written about me." And as In Utero recently got its own deluxe reissue to celebrate its three decades of influence, Michael's book has gotten a similar update: The Amplified Come As You Are is a heavily-annotated and must-own look back on the most examined band of the 90's. With thirty years of hindsight, Michael clarifies, expounds upon and extends the original story, making it a needed compendium to Nirvana's discography. Follow @michaelazerrad on Twitter, and purchase the book wherever you find literature. PLUS, enjoy exclusive performances of In Utero material this week by cellist Gordon Withers!

Starting as an NBC page in the mid-80's, Jim Pitt eventually landed a dream job, for many: music booker for Saturday Night Live. From Nirvana's debut on network television to Sinead O'Connor's impactful and headline-making performance, Pitt booked it all starting in 1990, including mega-star appearances from Whitney Houston, Bruce Springsteen and Neil Young. Three years in, Pitt took his talents to David Letterman's replacement at Late Night, a young upstart named Conan O'Brien. There, not only would Pitt give future Rock Hall inductees like Radiohead, Green Day and Sheryl Crow their first-ever US TV performances, but O'Brien's unique wit often led to household names like David Bowie and U2 participating in hilariously scripted bits. On today's show, Pitt recalls all of this and more, walking us through decades of amazing television memories, as well as his move from Conan to Jimmy Kimmel Live! in 2017, and when exactly hosts began holding up vinyl again for the home audience, versus compact discs. Follow Jim on Instagram @jimpitt13, and watch Jimmy Kimmel Live! on your local ABC affiliate.

Logistically and artistically, R.E.M.'s 1998 album Up marked a fork in the road for their trajectory: Prior to its recording, drummer and founding member Bill Berry had amicably left the band, having suffered a brain aneurysm while on stage three years earlier, leading the remaining trio of Michael Stipe, Mike Mills and Peter Buck -- for the first time in their career -- to create without a key piece of their dynamic. In the end, Up didn't sound like any of the group's previous eras, using keyboards, electronics, chamber-pop and white noise as a backdrop for some of the band's sweetest melodies and Stipe's most direct lyrics to date, the latter of which were finally printed for fans to comb over -- a first for any previous R.E.M. project, after ten albums of ambiguity. This week, we celebrate the 25th anniversary reissue of Up (available this Friday, November 10th) with returning guest Josh Modell (formerly of the AV Club, now of the Talkhouse Podcast Network) who wrote the package's liner notes. Together we examine how R.E.M.'s existential crisis without Berry, according to Modell, "gave everything (on the album) an undercarriage of vulnerability, sadness, and edge," making it Modell's favorite album in the group's catalog. Purchase the Up reissue at remhq.com or wherever you find music, and catch Modell moderating a live Q&A with Wilco's Jeff Tweedy in Milwaukee on Saturday, November 11th, with tickets available here.

North Carolina-based label Merge Records, inarguably one of America's most influential and prolific purveyors of indie-rock, is on the cusp of turning 35 -- a landmark that co-founders Laura Ballance and Mac McCaughan likely couldn't fathom when they started the label in 1989. Then, Merge was simply a DIY avenue to release tunes by their scrappy quartet Superchunk. But along the way, as the band's jangly but caffeinated power-pop caught on with an international audience, Merge evolved from a modest method of putting out music by Mac and Laura's friends into the beloved home of cult acts like Neutral Milk Hotel, Spoon, The Magnetic Fields and countless others, eventually becoming the first indie label to garner an Album of the Year Grammy, for Arcade Fire's 'The Suburbs' in 2011. On this week's show, Mac reflects on Merge's early years, the label's new vinyl-centric web series Digging For Something, as well as Superchunk's latest compilation of singles, demos and other oddities dropping this week, titled 'Misfits & Mistakes.' Visit mergerecords.com to shop for your favorite releases, and follow @macsuperchunk or @mergerecords on Instagram.

Enjoy this encore presentation of Episode 170, with rapper/poet Dessa, in honor of her new album Bury The Lede dropping last month. We'll be back with new episodes soon!

Since his first book twenty years ago, musician/author (and all-around music appreciator) Warren Zanes has deftly chronicled what it means to be a rock star without a road map. His acclaimed 2015 authorized biography on Tom Petty -- released just two years prior to his death -- gave readers an engrossing glimpse into the mind of one of rock's great everymen, and this year, Zanes has released a more granular look into arguably the darkest hour of perhaps rock's greatest everyman. 'Deliver Me From Nowhere: The Making of Bruce Springsteen's Nebraska' is a jaw-dropping read front-to-back, taking readers into the modest bedroom where the Boss recorded his most mysterious and talked-about work. From exclusive interviews with Springsteen, Steve Earle, Rosanne Cash and more, Zanes proves that what makes Nebraska so intriguing is not just the complete left-turn that it is musically, but how it's sandwiched between two career highs: His first number one album with The River in 1980, and the superstardom that Born in the U.S.A. would bring him in 1984.   On this week's episode, Zanes tackles Springsteen and Petty's similarities and differences, the hurdle of getting Springsteen's humble Nebraska demo tape transferred for vinyl and CD duplication, and the album's lasting impact over the last four decades. Visit warren-zanes.com for socials and other info. Plus, this episode features covers of Nebraska songs by Aoife O'Donovan. Click here to purchase them as a Bandcamp download. 

As bassist Mike Mills tells it, on the cusp of their formation in 1980, he and his fellow Athens, GA bandmates had a simple goal: To make a cool, 45 RPM single with a picture sleeve -- the kind they grew up on. And, if anything else (or nothing else) were to come of their band, so be it. What Mike along with guitarist Peter Buck, drummer Bill Berry and enigmatic vocalist Michael Stipe couldn't have predicted was how that single ("Radio Free Europe") and the many that followed through the next three decades on both indie and major labels ("Fall On Me," "Losing My Religion," "What's the Frequency, Kenneth?" and beyond) would shape the sound of American music.   R.E.M. inarguably created a foundation for what we now loosely call "indie rock," often buoyed by Mills' supreme knack for harmony vocals against Stipe's dramatic delivery.    On today's show, Mike discusses his latest LP as a member of the Baseball Project, the hours of airbrushing needed for one particular R.E.M. album cover, and his love for an Atlanta institution known only as "The Freeze." R.E.M.'s last four proper albums — which cover their final decade as a unit — were reissued on vinyl this summer. Visit remhq.com and baseballproject.net for more info on those releases.

The two sounds Tommy Prine says he remembers most growing up were having the AM radio on or his father (renowned singer/songwriter John Prine) workshopping tunes at the kitchen table. Journeying through adolescence, his eclecticism later manifested through acts like Outkast and System of a Down. But now, on the heels of This Far South — his debut album that dropped earlier this summer — Tommy has found his own unique voice that marries his mom's Irish wisdom and his dad's dry Midwestern/Southern wit. On today's show, Tommy shares why Radiohead's “Videotape” speaks to him, his experiences working with Nashville talents Ruston Kelly and Gena Johnson on This Far South, and how the artwork for this album feels like both an ending and a beginning. Visit tommyprine.com for your dates, socials and more.

In her family, Louise Post says that there have been three usual career paths: Join the clergy, practice medicine or become an artist. Thankfully she followed the latter. In 1992, Louise co-founded Veruca Salt with fellow vocalist/songwriter Nina Gordon, and the quartet became one of Chicago's biggest exports of the alternative-rock era. The duo's buzzsaw guitars pushed hit singles like "Seether," "All Hail Me" and "Volcano Girls" into the stratosphere, and despite some years apart, the full original lineup reunited for the much-heralded 2015 full-length Ghost Notes. This week, currently on tour promoting her new solo album Sleepwalker, Louise talks about harmonizing with her dad growing up, gravitating toward the women in her favorite bands, why she continually has "dreams of songs," and the inspiration for Veruca Salt's ode to vinyl, "Victrola." Stop by LouisePost.com for more info on Sleepwalker, social media and more.

From making multitrack recordings as a kid to DJ'ing at her high school radio station to fixing turntables for her college dormmates in the 80's, Lisa Loeb has always been wired for sound. She made music history in the next decade, when her mega-hit “Stay (I Missed You)” became the first song by an artist without a record label to go #1. The song's unique structure — bookending stretches of non-rhyming prose with an instantly recognizable chorus — still remains a marvel a generation later, with artists like Taylor Swift citing “Stay” as a gigantic inspiration for their own wordplay, musicality and poetic honesty. On today's episode, Lisa remembers trading 7” singles with friends growing up, and how the real-life antagonist in “Stay” was right there in the studio when it was recorded. Plus, from her own collection, Lisa shares one of the coolest and rarest pieces of vinyl ever discussed on the show! Visit lisaloeb.com for tour dates, socials and more. SiriusXM users can find her program Where They Are Now — where Lisa chats with fellow 90's-era stars — via the SiriusXM app.

As a child of the 1970's, vinyl records were intrinsic to Ben Harper's understanding of and approach to music. “If somebody came to the house and said 'We're gonna repossess either your refrigerator or your turntable,'" he states today, "they would've been hauling out the fridge.” Growing up, the 3x Grammy-winner and heralded lap steel guitarist/vocalist's taste jumped from Ozzy Osbourne to Robert Johnson to Funkadelic to Jackson Browne on any given day. To get to those places, he points to varied avenues of discovery, from the underground world of skateboarding to his family's folk music shop and museum. That same diverse recipe eventually led to an equally unique list of collaborators over the years, including Ringo Starr, Eddie Vedder, Harry Styles, Natalie Maines and The Blind Boys of Alabama. On today's program, Ben recounts an emotional day spent with soul legend Solomon Burke, finding the blues buried in hip-hop, and the importance of communicating with our former selves. Ben's latest album Wide Open Light is out now, wherever you get physical or digital music. Visit benharper.com for tour dates, socials and more.

Prior to releasing some of the most memorable songs to come out of the 90's, San Francisco's Counting Crows were subject to a major-label bidding war, thanks in part to something rather unheard of in the industry: a massive, 15-song demo tape. Not only did this show a deep well for vocalist and lead songwriter Adam Duritz to pull from, but this prototype already came with early versions of future bonafide hits like "Mr. Jones" and "Round Here." To an alt-rock audience who didn't necessarily grow up with Van Morrison, The Band or R.E.M., Adam and company filled that void and then some, with their first three albums selling over 10 million copies between them. Today, Adam spills why their upcoming co-headlining tour with Dashboard Confessional has been 20 years in the making, which records he spun every morning while recording the band's landmark debut album August and Everything After, and how that title track (which never made the original 1993 release) is now finally available, specifically for vinyl lovers. Counting Crows' latest -- Butter Miracle: Suite One -- is available wherever you find music. Visit countingcrows.com for live dates, socials and more. 

On his second album released earlier this year, Love You Anyway, Grammy-nominated and Nashville-based R&B artist Devon Gilfillian sets today's political activism against a backdrop of stunning soul music that finds inspiration both from the past and the future. Having gained acclaim touring with a genre-spanning list of icons (from Mavis Staples to Michael McDonald), he recently told NPR that his music could be viewed as "a pill wrapped in peanut butter": Sneaking in a message, while calling everyone out to the dancefloor. Before hitting the road this month on separate tours with My Morning Jacket, Grace Potter and Trombone Shorty, Devon spends today discussing his obsession with Pharrell's production work, why his love for vinyl flourished in his teens, and his recent performance in support of the Tennessee Three, on the steps of the state capitol. We also learn how a conversation with Chaka Khan led to him recording Marvin Gaye's legendary album What's Going On front-to-back, for a special vinyl-only release. You can find Love You Anyway wherever you get music, and visit devongilfillion.com for tour dates, socials and more.

Whether you hailed from Gainesville, Grand Forks or Green Bay in the late 90's, it wasn't rare to hear criss-crossing vocal shouts, razor-sharp guitars and drums with jazz-like precision, all blasting out of your local VFW hall. That's partly thanks to Braid, four modest Midwesterners who funneled their obsessions with Fugazi, Jawbox and Gauge through a roulette wheel of glorious rhythmic shifts and six-string swan dives. During their original run, the quartet were known to be workhorses, releasing new songs as immediately as they wrote them, and putting thousands of tour miles on the odometer. The culmination of these efforts took the shape of Frame & Canvas, their third album, released in 1998. Recorded and mixed in just five days, it became much more than a benchmark for Braid's then brethren; these twelve tracks grew to influence each punk rock generation (and variation) that followed, with Rolling Stone even listing it as one of the top five emo albums of all-time. On today's show, returning guests Bob Nanna (vocalist/guitarist), J. Robbins (engineer/producer) and Polyvinyl Records co-founder Matt Lunsford discuss the album sessions and original release, as well as the new 25th anniversary remix and remaster, along with mastering engineer Dan Coutant of Sun Room Audio. For social media, upcoming F&C anniversary tour dates, and to purchase this latest reissue, visit polyvinylrecords.com/artist/braid.

Releasing nearly 20 albums over 15 years, singer/songwriter Jason Molina penned "bruised and barren songs of longing and lost salvation" (NPR). Delivered with a soul-cutting, unadorned tenor, his discography continues to connect with a devoted fan base through varied incarnations -- whether in a group dynamic as Magnolia Electric Co. under his first solo moniker, Songs: Ohia or his own birthname -- despite his death in 2013, at the age of 39.   A particularly prolific period in the mid-00's saw the release of the 4-CD Magnolia box set Sojourner, encompassing full-band recordings with Steve Albini in Chicago, an alternate line-up in Virginia with Cracker frontman David Lowery producing, an EP's worth of tracks from Memphis' legendary Sun Studio, and Molina solo tapes from home. If the wide-range of performances weren't enough, Molina wanted to double-down on his mythological side by adding a ouija board and real chicken bones to the screen-printed wooden box. Eventually, label and artist settled on a celestial map and Magnolia medallion. They also put out a truncated version of this massive collection as the 10-track single LP, Fading Trails in 2006.   Today, former Magnolia bandmate Jason Evans Groth and Secretly Canadian label co-founder Ben Swanson discuss their memories of the sessions that make up Sojourner, the journey this project has taken to get to vinyl (released earlier this month, available via secretlystore.com), and how artists today continue to spread the gospel of Molina's canon a decade after his passing. Follow @jasonamolina on Instagram for archival content, and join the Molina fan community via staticanddistance.substack.com.   Secretly Canadian is also auctioning off vinyl test pressings of Molina's work and more via eBay, linked here. All proceeds are donated to housing non-profit New Hope for Families.

It would be tough to say any vinyl collector started out earlier than Jordan Kurland. Having already accumulated every Kiss album by age 6, he became an obsessive fan of The Who just four years later, and eventually parlayed his love of music into a career in large-scale event production — for example, the Noise Pop festival rung in its 30th birthday in February — and championing musicians on a professional level. While the likes of Pup, Toro Y Moi and Real Estate currently fall under Jordan's umbrella at Brilliant Corners Artist Management (which he co-founded in 2017), this year will see an unprecedented joint tour from a pair of the agency's largest draws: The Postal Service and Death Cab for Cutie, performing two of the most influential records of the 21st century in full (Give Up and Transatlanticism, respectively). Prior to that jaunt, Jordan discusses his favorite San Francisco record stores, Give Up's specific cultural impact, riding both the digital age and the vinyl resurgence from a business perspective, and the two major ways he's chosen to honor jazz legend Thelonious Monk. Find Jordan's social media and more at jordankurland.net.

Ahead of the March 31st release of their latest record -- Continue as a Guest -- New Pornographers ringleader and vocalist/songwriter A.C. Newman talks about imposter syndrome, finally putting out an album with the much-beloved Merge label, why his songwriting approach lies somewhere between The Pixies and Burt Bacharach, and how one particular garage sale set the stage for their critically-acclaimed debut LP, Mass Romantic. Follow @acnewman on Twitter and Instagram, and visit thenewpornographers.com for tour dates, music and more.

If any band personified a record collection with ADHD, it was The Dismemberment Plan. Connecting the dots between soul, post-punk and experimentalism, the quartet also brought dark humor, deep grooves and an appreciation for music history to the forefront, over five albums and millions of miles on the road. On today's show, vocalist Travis Morrison delves into the go-go scene of Washington DC, the artists that influenced his improvisational nature on stage, and a long-lost reel-to-reel that connected Travis' parents during the Vietnam War. The Dismemberment Plan's 2001 album Change will be reissued on sky blue vinyl for this year's Record Store Day, April 22nd. Follow both @travismmorrison and @thedplan on Instagram, and visit recordstoreday.com for more details.

Enjoy this encore presentation of a July 2020 episode of Vinyl Emergency.  --- Los Angeles native Robert Fisher has designed records for some of the most popular acts of the alternative rock boom, including Beck, Weezer and No Doubt. But starting with 'Nevermind' onward -- including all posthumous releases following Kurt Cobain's death -- Robert is most recognized for being Nirvana's sole art director, creating iconic album covers, sleeves for singles, box set packaging and anything else relating to arguably the most important band of the last 30 years. Recently, Robert launched the @NirvanaBucket Instagram feed, dedicated to his body of work for the group and showcasing rare flyers, tapes, scrapped ideas and even items Kurt provided him for inspiration throughout their partnership.  On today's show, Robert discusses how the final version of 'Nevermind' came to be, as well as stories surrounding Beck's 'Odelay' and Urge Overkill's 'Saturation'. His latest project for Nirvana is on the 'Live & Loud' 2LP set, released last summer, capturing the band's 1993 performance in Seattle for MTV. Visit flyingfishstudio.us to check out more of Robert's work.