The Vinyl Guide - Artist Interviews for Record Collectors and Music Nerds

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• Ep554: Everlast - From Rhyme Syndicate to Embers to Ashes 29.06.2026 44мин

  Everlast traces his journey from Rhyme Syndicate graffiti kid to House of Pain to solo artist, revealing how Jump Around's success gave him the freedom to never chase a hit again. New LP "Embers to Ashes" available here Topics Include: Everlast's new album Embers to Ashes drops August 28th with vinyl available He collects art and guitars, not records — leaves vinyl to the DJs His guitar collection spans vintage Fender Strats, Gretsch Falcons, and Martin acoustics Grew up immersed in graffiti culture, his kids are graffiti artists too His house is essentially a private gallery of graffiti and street art Music was always on — mom loved R&B and doo-wop, dad loved Southern rock His dad had a guitar; Everlast taught himself basic chords by watching TV Hip hop took over at 15, but guitar quietly stayed in his life He plays guitar like a drummer — rhythm-first, not melody-first The breakthrough came post-House of Pain: suddenly he could play and sing simultaneously Whitey Ford Sings the Blues was conceived as hip hop — "What It's Like" changed everything Jump Around's success gave him the financial freedom to never chase it again He and Muggs deliberately made each subsequent record darker and more distant from it Soul Assassins kept management out of sessions — artistic control was non-negotiable His first ever rhyme came from tagging alongside Divine Styler and the Rhyme Syndicate crew Danny Boy introduced him to punk — Bad Brains and the LA hardcore scene His debut solo record split between pure artistic vision and label-pleasing compromises Tommy Boy won his loyalty over bigger-money offers purely on cultural credibility Just Another Victim with Helmet emerged organically on the Judgment Night soundtrack Lethal sampled and slowed Helmet's track, then sandwiched both versions together After eight-plus years away, Yellow Wolf simply asked "why don't you make a record?" COVID, divorce, and losing his house shaped the emotional landscape of the new album Yellow Wolf pushed him to fully sing — his strongest vocal performance on record A near-miss connection to the Bataclan attack was redirected by a last-minute camera detour He's got shows booked and eyes a final solo acoustic tour as his ultimate bookend 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
• Ep553: The Ghosts That Haunt Peter Hook 22.06.2026 46мин

  Peter Hook reflects on 50 years of music, the emotional weight of performing Joy Division and New Order live, and the many memories and ghosts of his past. Tickets for Peter Hook & The Light, Australia 2026 Topics Include: New Order toured Australia as early as 1982, helped by Factory Australasia's local support. Hooky calls Australia the only place he never wants to leave — he still suffers leaving every time. Peter Hook and the Light played their seventh-ever gig in Melbourne on their first Australian tour. He is now working through every New Order and Joy Division album ever recorded live. Get Ready features songs never played live as New Order, with Steve Morris largely absent during recording. The band's Grammy came from Orgy's heavy metal cover of Blue Monday — Hook loves the weird covers most. He revealed a plan to stage a full New Order classical concert, eyeing the Sydney Opera House. Ian Curtis performed with absolute conviction every single night — something Bernard Sumner couldn't match early on. Hook recalls first seeing Ian smash up a venue at 2:30am, dancing through broken tables — terrifying and electrifying. That chaotic Stiff/Chiswick talent show led directly to Rob Gretton becoming Joy Division's manager. Ian's lyrics, Hook says, are heartbreaking up close — Love Will Tear Us Apart masks devastating words in euphoric music. Singing Ian's words himself has given Hook a profound new insight into what Curtis was actually expressing. Tony Wilson signed them with a handshake — no contracts — while other labels arrived with thick legal documents. Bernard Sumner found the Unknown Pleasures pulsar image in a textbook; nobody planned the iconic sleeve. Hooky was actually sued for bootlegging the Unknown Pleasures artwork — which Factory themselves had originally stolen. Ian Curtis reportedly wrote a letter complaining about how Closer sounded — a detail Hook only learned years later. During Closer sessions, Curtis was being torn apart: marriage collapsing, new love, epilepsy worsening, the band pushing forward. Hook deeply regrets not seeing Ian before his cremation — but a gravedigger privately told him where Curtis is actually buried. The inquest into Ian's death so disgusted the band they decided on the spot to continue as New Order. Joy Division was deliberately boxed away for 30 years; Bernard called playing those songs "miserable" and refused to continue. Bobby Gillespie suggested the album playback concept so Hook could faithfully recreate Martin Hannett's studio sound live. Watching his son learn Joy Division bass lines at the same age Hook was then felt like staring into the past. Performing these songs, Hook says he is "living surrounded by ghosts" of collaborators now gone. The K-93 sessions saw Killing Joke's Geordie Walker move into Hook's Manchester home for six weeks, causing complete chaos. Those lost K-93 tapes mysteriously surfaced after the label went bankrupt — and Jaz Coleman promptly went silent again. 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
• Ep552: The Gospel According to Swamp Dogg 15.06.2026 1ч 10мин

  Jerry "Swamp Dogg" Williams Jr opens up about his new album "Contemplates the Afterlife," reflecting on death, faith, and a 70-year career that's produced over 2,000 songs. Extended and high resolution podcast at: www.Patreon.com/VinylGuide Topics Include: New album, Swamp Dogg Contemplates the Afterlife, drops on S-Curve Swamp Dogg shares wild theories on what happens after death He opens up about faith, doubt, and fear of dying Reveals he's written over 2,000 songs across 31 albums His very first record came out way back in 1954 Stories of opening for Sam Cooke and Larry Williams Names the R&B legends who shaped his sound early on Louis Jordan's band once crashed at his childhood home Tells the story of the worst gig of his life A gorilla costume gets stabbed onstage — true story Joining a traveling sideshow for five dollars a night Discusses which Swamp Dogg records collectors hunt hardest today Bob Dylan secretly covered one of his songs years ago Bonds with the host over their shared Australia connection Reveals his wild Beatles-cover novelty record made in Australia Explains how the record business vanished almost overnight Teases new Trinidad soca album and Black Grass II Black Grass II will feature Steve Earle and Margo Price Talks new collaboration album with Eli "Paperboy" Reed Reflects on his Nixon protest era and Jane Fonda ties Looks back on going broke after getting rich fast Recalls producing hit records for Gene Pitney and others Shares fond memories of legendary producer Jerry Wexler The stopwatch story behind his studio recording ritual On Phil Spector's massive ego and Wall of Sound Reveals which British acts covered his songs in the '60s Talks favorite record stores and his 100-record jukebox Hunting down rare 45s worth up to $1,000 The story behind his dance hit "Let's Do the Wobble" Closes with favorite love songs and a wild birthday coincidence 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
• Ep551: Lydia Lunch - Confrontationalist, Poet, No Wave Pioneer 01.06.2026 52мин

  Lydia Lunch unpacks the raw origins of No Wave, her squatting-and-surviving New York story, and why after five decades of confrontational art, pleasure remains the ultimate rebellion. Australian tour tickets and show info here. Topics Include: Lydia Lunch is touring Australia and New Zealand in June She's performing Suicide and Alan Vega covers across multiple cities Australia holds deep personal meaning — Roland S. Howard, Tex Perkins, lifelong friends Lydia considers herself a comedian; most people are just too afraid to laugh Words are her primary art — music is just the machine gun She sleeps in two-hour shifts and wakes famished at 5am every day Creativity has no fixed time — she writes song lyrics in five minutes flat She self-publishes through 48-hour printing, selling books for $20, cost $4 True crime forensics and Matthew McConaughey in Magic Mike are her guilty pleasures Daily she rotates between war, politics, and apocalyptic comedy — Dear Ivanka included She's actively promoting new bands: Genra's Death, Bog Creeper, New City Slang Instrumental music — Budos Band, Yusef Lateef, Baba Zula — is her listening diet Suicide and Mars were already playing when she arrived in New York Suicide actually coined the term "punk rock" on flyers back in 1972 No Wave wasn't a movement — it was personal insanity in a decaying city The name "No Wave" just came out of her mouth in one interview If you couldn't play, you had to be brutally tight — or else She taught a homeless man she'd befriended to play drums for Teenage Jesus Teenage Jesus songs were written on a borrowed bass she barely understood She squatted an abandoned Tribeca building, running electricity from neighbours to rehearse Teenage Jesus singles on Migraine Records likely preceded the No New York compilation Beirut Slump was horror rock — described as a slug over a razor blade She arrived in New York with $200, a suitcase, and zero contacts Seeing Suicide at Max's Kansas City with ten people changed everything instantly Martin Rev gave teenage Lydia vitamins; Alan Vega was leather-bound and irresistible She boycotted Bowie and Iggy in Rochester — accidentally saving them from a drug bust Mick Ronson's Slaughter on 10th Avenue: the glam record Bowie quietly stole from Lou Reed — always a dick; Warhol — vapid, but his car crashes were great She owns every recording, every publishing right — everything she's ever made Her reward for a lifetime of rebellion: pleasure, rage, and zero regrets 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
• Ep550: Black Flag Vocalist Max Zanelly 20.05.2026 36мин

  Black Flag vocalist Max Zanelly shares how she went from waitressing to fronting one of punk's most legendary bands and how the new lineup is carving their own space in legacy of the band. Australian tour tickets and info here. Topics Include: Max Zanelly checks in from Toronto, post-Canada tour Black Flag heading to Australia: four cities in late May One year ago, Max had just started rehearsing with Black Flag Only prior music experience: saxophone in middle school band A longtime fan, Max attended a Black Flag show in Vancouver Greg Ginn noticed Max singing every word from the front row Numbers exchanged; Greg said he wanted to make music someday A month later: the vocalist left, Greg offered Max the role Max sent vocal demos and flew to Texas to rehearse Already knew the full catalog; My War was the gateway album Side two's slow, sludgy tracks resonated the most deeply Favourite songs to perform live New recordings underway, still at early instrumental stages Max currently writing lyrics for a potential new Black Flag record Big age gap with Greg, but the band dynamic gels well Lineup reveal photos triggered massive online backlash before any shows Live shows quickly won skeptics over, including 80s-era veterans Henry Rollins is Max's personal favourite past Black Flag vocalist First rehearsals: nervous and shy about screaming into a mic Fake-it-till-you-make-it; fully unleashed onstage by the fourth show Voice conditioned gradually; 24-hour rest between shows is enough Bassist David sparked Max's interest in record collecting on tour Grew up religious; told mum she was just selling band merch Mum eventually came around; Max now inspiring women to start bands 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
• Ep549: Dave Markey & The Secret Lives of Bill Bartell 18.05.2026 1ч 18мин

  Filmmaker Dave Markey discusses his documentary "The Secret Lives of Bill Bartell", the punk scene's most fascinating, mysterious, and surprisingly influential behind-the-scenes figure. Stream it now  |  Order the Blu-Ray Topics Include: Dave Markey has a large record collection but stopped buying recently. Vinyl prices have skyrocketed — once cheap records now cost thousands. Dave bought records directly from band members at punk shows. Ian MacKaye sold Dave a first press Minor Threat 7". Dave bought Minutemen and Descendents EPs from D-Boon for a dollar. Dave made the Bill Bartell documentary for people who don't know him. Bill Bartell was unknowable — different things to different people. Dave tried making this film in the 90s; Bill refused to cooperate. The film was made ten years after Bill passed away. Bill Bartell faked backstage passes to get into arena rock shows. Bill named the Iron Maiden live EP Maiden Japan. Bill gave Steve Harris his outfit, worn in the "Run to the Hills" video. Bill saw no distinction between the Scorpions, the Germs, and the Beatles. Bill would tell artists exactly what he thought — no filter whatsoever. Bill told Steve Perry he was responsible for the worst night of his life. Bill told Beck "I don't like you" upon their very first meeting. Bill tried out as guitarist for Public Image Ltd in 1981. Kiss circulated photos of Bill to security: do not let him in. Bill befriended Sean Lennon, which led to a friendship with Yoko Ono. Bill's 1988 Beatlefest noise performance nearly caused a riot. Bill talked Kiss manager Bill Aucoin into discovering Generation X. That connection indirectly launched Billy Idol's massive solo career. Billy Idol himself didn't know Bill Bartell's role until recently. Bill gave Kurt Cobain Os Mutantes tapes, reviving the band's career. Pat Smear and Drew Barrymore were sought for the film but unavailable. Dave's band Painted Willie did Black Flag's final tour in 1986. Dave preferred Painted Willie's early Spinhead Records releases over SST output. The Bill Bartell documentary and Love Dolls films are now on Criterion Channel. Bill Bartell's Flying V guitar now hangs in the Punk Rock Museum, Las Vegas. Bill's money, connections, and secrets largely died with him — still a mystery. 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
• Jack Douglas (1945-2026) - The Vinyl Guide interview 13.05.2026 2ч 11мин

  The legend himself Jack Douglas (1945-2026) shares stories from five decades of rock history — from producing John Lennon's final album to the memories Aerosmith, Cheap Trick, The Who, and his recent production of Silverplanes. Topics Include: Jack Douglas joins Nate from a snowy driveway, cigar in hand. Silverplanes' debut album Airbus is finally releasing after years of delays. Jack met Silverplanes' Aaron Smart through his college-age son. Aaron turned out to own the Sunset Boulevard studio Jack had worked in. Jeff Emerick mixed the album shortly before his sudden death in 2018. The pandemic added two more years of delay to the release. Jack and Aaron are now label partners with New York real estate billionaire Douglas Durst. Their label operates 50/50 with artists — no standard royalty deals. Signed artists include Robin Taylor Zander and the Detroit Youth Choir. Jack builds songs from a single acoustic guitar performance first. Aerosmith was different — built from the band groove up, lyrics last. Walk This Way had no lyric until a Young Frankenstein gag unlocked it. Jack started his career as a TV composer while janitoring at Record Plant. He worked on sessions that became The Who's Who's Next. Kit Lambert and Keith Moon were both, politely, out of their minds. Jack survived eccentric clients by being reliably sober and crazy simultaneously. John Lennon was the easiest artist Jack ever worked with. John would say: "I'm the artist, you're the producer — let's work like that." Jack engineered Imagine and stayed close to Lennon through the Lost Weekend years. He was in and out of the Fame sessions with Lennon and Bowie. John told Bowie: "I'm writing you the best hit you'll ever have." John knew about — and liked — Aerosmith's cover of "Come Together." George Martin gave Jack a flat in Kensington and a Morgan sportscar. Jack helped produce Ringo's "Grow Old With Me," hiding Here Comes the Sun in the strings. Double Fantasy was secretly recorded at Hit Factory, too far west for fans. John wanted a middle-of-the-road record aimed at people aged 28 to 40. Earl Slick was kept from rehearsals deliberately — a wildcard for fresh solos. Rick Nielsen discovered John's Shea Stadium Rickenbacker with the setlist still taped on. Rick later gifted John a custom all-white Rickenbacker, model 001, never cashed his check. Cheap Trick's "I'm Losing You" session was thrilling but too edgy for the album. Jack hid microphones throughout the sessions, gifting John cassettes on his birthday. Jack destroyed the tape of the last day — John had sworn him to secrecy. After John's murder, Jack and Yoko listened to vault tapes alone until dawn. Yoko later sued Jack; Phil Spector's incoherent testimony and a wig mishap followed. Jann Wenner called Jack a nobody — until Jack's lawyer read Wenner's own book aloud. The jury was out ten minutes. Jack won millions. The 2010 Stripped Down version was mixed in the exact same Record Plant room. Live at Budokan was actually Osaka — Budokan tapes were too poorly recorded. Jack rebuilt the Osaka drum kit using speaker-driven bass frequencies and filtered signals. Aerosmith's Live Bootleg was sent back to Sony unchanged after Jack faked a remix session. 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
• Ep548: After the Astronaut - Butthole Surfers' Lost Album w Paul Leary & King Coffey 11.05.2026 58мин

  Butthole Surfers' Paul Leary and King Coffey trace the band's unlikely major label journey — from America's top-grossing indie act to MTV hitmakers to a lost album finally resurrected after nearly three decades. Preorder "After the Astronaut" LP here Topics Include: After the Astronaut releases June 26 after sitting unreleased for 28 years. Capitol signed Butthole Surfers when they were America's top-grossing indie band. Label president Hale Milgram believed in them; his firing changed everything. Pepper was written on the spot after a producer demanded one more song. Pepper won radio call-in polls for a month and played MTV hourly. The hit turned them into a "follow-up band," which was never their thing. John Paul Jones produced Worm Saloon and taught Paul Leary how to produce. Jones and the band shared a Lagavulin obsession, running up a $20,000 scotch bill. Capitol's big budgets contrasted sharply with Touch and Go's approach. After the Astronaut was a deliberate return to experimental, art-school Butthole Surfers DNA. Mark Ryden painted the original cover; getting dropped handed it to Marcy Playground. Declining a Hellraiser soundtrack placement created the first real rift with Capitol. Their manager's heroin relapse coincided with the band getting dropped mid-promo cycle. Promo cassettes already pressed now sell for $800–$1,000 on the secondary market. Hollywood Records funded Weird Revolution; Rob Cavallo showed up once a week for ten minutes. Finding two-inch master tapes in a storage locker triggered the After the Astronaut remix. Documentary The Whole Truth and Nothing But took director Tom Stern five years to make. Rob Reiner called it one of the best music docs ever — hours before his murder. A potential box set looms, but Paul prefers naps, his cat, and his bicycle. 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
• Ep547: Greg Ginn - Black Flag, SST Records 27.04.2026 1ч 7мин

  In a rare interview, Greg Ginn opens up about the latest Black Flag lineup, the SST catalogue, the possibility of long-overdue reissues and the legacy of one of punk's most beloved bands. Tickets for Black Flag's 2026 Australian Tour Topics Include: Greg Ginn is based in Texas but currently in Long Beach after a tour. Black Flag is heading to Hong Kong and then Australia next. This will be Black Flag's third tour of Australia. Rumors of new recordings remain unconfirmed — Ginn stays tight-lipped. The current lineup has been together for about a year. Band plays nearly two hours a night across two full sets. Proximity of bandmates in Texas keeps the band constantly tight. Ginn discovered punk through the Stooges, MC5, and New York bands. Television, Ramones, Blondie, and The Damned were early major influences. Ginn identifies more with open, varied 70s punk than 80s hardcore. He never planned to be in a band — guitar was a personal outlet. Finding like-minded people in the mid-70s was genuinely rare and meaningful. Ginn started a business at 12 selling ham radio equipment he built. He published his own amateur radio magazine as a teenager. Black Flag's first EP was recorded as a demo, not a label release. Nobody wanted to sign them, so starting SST was a reluctant default. Ginn has applied the same DIY experimentation to an organic fertilizer brand. He gets bored easily and improvisation is central to keeping music alive. Ginn stays connected to a song's emotional meaning, not just its notes. Seven band members once lived in a single room during Black Flag's peak. Lineup changes were mostly practical — commitment and lifestyle demands were extreme. Ginn isn't interested in nostalgia-driven reunions; best music matters most now. Fans frequently thank him personally for helping them through difficult life periods. He avoids fiction, movies, and video games — prefers reality and constant learning. SST vaults are mostly bare — nearly everything recorded was officially released. Ginn is open to remastering but skeptical of padding albums with leftover cuts. He notes Dead Kennedys recently remixed Fresh Fruit — and wants to hear it. Ginn doesn't own a working turntable; portability matters more to him than format. SST catalog reissues — including Stains, Dicks, Overkill — are a genuine possibility. Ginn believes Black Flag's songs remain timeless, attracting both parents and their kids. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Picts by Edward Colver 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
• Ep546: One-Step Audiophile Vinyl w Tom Grover Biery 21.04.2026 1ч 18мин

  From funding the first Record Store Day to producing limited one-step pressings of Pet Sounds, Prince, and Dr. Dre, Tom "Grover" Biery is one of the most influential figures in modern vinyl culture - Hear all about his next adventures with the vinyl artform. Topics Include: Tom "Grover" Biery spent 20 years at Warner Bros. Records He pushed vinyl internally around 2004 when nobody believed in it His boss Tom Wally gave him the green light to proceed First pressings were Kevin Gray and Steve Hoffman catalog titles Warner's vinyl billing exploded from $300K to $5M in 18 months Failure's Fantastic Planet was among the earliest titles he championed Neil Young gave an impassioned in-office speech about the importance of sound That speech directly inspired the "Because Sound Matters" brand name BSM is Warner's audiophile imprint; DSS covers Interscope and Capitol Tom now operates as a consultant to both major label groups His own label, Slow Down Sounds, has been running nearly a decade One-step pressings go lacquer to stamper, skipping generational quality loss Each stamper yields only 500–750 pressings, requiring multiple lacquer cuts Neotech's D2 vinyl compound produces exceptionally quiet, revealing pressings Mastering costs alone run nine times higher on one-step projects Sources are vetted exhaustively — flat masters, tape, or high-res files Artists and managers approve every test pressing throughout the process A newly discovered 1972 Pet Sounds master changed everything for the reissue Chris Bellman confirmed the tape matched a 1972 white label perfectly Only 6,000 copies of the Pet Sounds DSS one-step will ever exist Tom has been transparent about sourcing since 2005, long before the MoFi controversy Quality now ranks second or third in why fans buy vinyl Beck's Morning Phase and Tom Petty's Wildflowers one-steps surprised even skeptics Soul Coughing's Ruby Vroom reissue came from original tapes at Warner Nate lobbies for Frusciante, Jellyfish, Beck's Sea Change, and Marilyn Manson reissues Dr. Dre's The Chronic from tape is among the first hip-hop one-steps Neil Young has still never done a one-step, despite inspiring the whole program Tom was one of the original funders who got Record Store Day off the ground Record stores are reporting their biggest-ever RSD sales figures this year His label Slow Down Sounds is releasing Terry Callier's Occasional Rain this June 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
• Ep545: Zev Feldman Returns for Record Store Day 2026 13.04.2026 1ч 5мин

  Zev Feldman returns to reveal 11 Record Store Day 2026 releases, including stunning discoveries from the legendary Joe Siegel Jazz Showcase tape archive featuring Ahmad Jamal, Yusef Lateef, Freddie King, and more never-before-heard recordings. Topics Include: Zev Feldman returns, now dubbed the "Jazz Attorney General" by Nate Feldman has 11 releases this Record Store Day — a personal record The Joe Segal tape archive is the foundation of five RSD releases Segal was an NEA Jazz Master and Chicago's greatest jazz impresario He presented legends like Lester Young starting back in 1947 Feldman first connected with Siegel around 2010-2011 via word of mouth A breakfast meeting with Siegel led to three follow-up Chicago trips The archive may be the world's largest collection of unissued jazz recordings Between 8,000 and 10,000 tapes discovered across reels, cassettes, and more Resonance is partnering with the Siegel family and Wayne Siegel on releases Joe Henderson's 1978 quartet at the Jazz Showcase is raw and electrifying Pianist Joanne Burkeen confirmed this captures exactly how the band really played Ahmad Jamal's 1976 Jazz Showcase run includes a full 26-minute Swahililand Jamal and Siegel shared a deep longstanding friendship spanning many years Yusef Lateef with Kenny Barron: a burning three-LP set from 1975 Lateef played the Jazz Showcase more than any other single artist Mal Waldron and Sonny Stitt reunite in an unusual 1979 bebop week Nate predicts Mal Waldron will be the sleeper hit of RSD 2026 Bill Evans at the BBC features performances Feldman first saw on laser disc This marks Feldman's 15th Bill Evans release — the catalog keeps growing Freddie King from the French INA archives is Nate's personal favourite of the batch Billy Gibbons of ZZ Top contributed to the Freddie King liner notes Cecil Taylor's 1969 Paris recordings premiere officially for the very first time Michel Petrucciani recordings surfaced from the Kuumbwa Jazz Center in Santa Cruz Petrucciani died young, making these rare live documents especially precious Terry Callier's 1967 solo guitar recordings came from the Earl of Old Town Roy Hargrove Quintet captured live and burning at Berne Jazz Festival 2000 Buster Williams' debut Pinnacle gets an all-analog AAA reissue on Time Traveler This batch marks Feldman's 96th Record Store Day release across his career Feldman previews a Don Schlitten jazz photography coffee table book on Fantagraphics High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Zak Shelby-Szyszko 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
• Ep544: Zakk Wylde - Ozzy's Final Chapter, Pantera's Future, and Black Label Society 08.04.2026 21мин

  Zakk Wylde opens up about Ozzy's final show, the 17 days that followed, Dimebag's unfinished recordings, and the making of Black Label Society's crushing new album Engines of Demolition. Topics Include: Zakk runs on 14 pots of Valhalla coffee every single day. He was invited to Back to the Beginning well in advance. Tony Iommi, Jimmy Page, and Ritchie Blackmore are mythical heroes to Zakk. No More Tears was rehearsed but Ozzy pulled it on the day. Ozzy was giddy meeting Axl Rose — couldn't believe it was happening. Zakk watched Sabbath's final set alongside Axl Rose and Sharon Osbourne. Just 17 days after the show, Ozzy passed away unexpectedly. They'd been texting memes and planning another record together right until the end. Zakk envisioned a global Back to the Beginning charity tour series. A sober Zakk and Ozzy watched their blasted crew destroy a Tokyo restaurant. Dimebag left hours of unfinished song ideas on tape for potential release. Playing Dime's solos means staying faithful — like Stevie Ray covering Hendrix. Zakk and Eddie Van Halen's amp, calling it life-altering history. Engines of Demolition was built across several years alongside the Pantera Celebration tour. Zakk confirms BLS, Zakk Sabbath, and more Pantera shows are all coming. 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
• Ep543: Remembering Rozz Williams & Christian Death 07.04.2026 48мин

  Rikk Agnew, James McGearty, and David Glass share stories about Rozz Williams & Christian Death, the making of Only Theater of Pain, and completing his final recorded wish with the new song Flowers. Tickets for April 18 movie premiere and music reunion event Topics Include: Rikk Agnew, James McGearty, and David Glass remember Rozz Williams together. Rozz described as mysterious, enigmatic, and a deeply misunderstood artist. Rozz excelled across poetry, music, visual art, and assemblage work. He scratched images into 8mm film cells as experimental art. Rozz was a chameleon, constantly reinventing his look and sound. Christian Death began as a punk band before Rikk joined. Rikk's arrival catapulted Rozz's darker, more mystical artistic vision. Much of Only Theater of Pain was created spontaneously in-studio. Rozz unveiled his poetry to the band for the first time recording. A violent storm set an eerie tone during the vocal sessions. Rozz recorded in a candlelit booth — a truly otherworldly performance. The vocal track was lost; nobody could explain why it didn't record. The released vocals paled against what was actually performed that night. The entire album artwork and layout was hand-drawn by Rozz himself. Lisa Fancher of Frontier financed the record; the band were teenagers. Catastrophe Ballet launched in Europe first; Death Wish emerged mysteriously unauthorised. Only Theater of Pain's influence grew gradually, now considered truly seminal. Rozz's final wish was a full-band studio recording of Flowers. Rikk, James, and David completed Flowers separately, finding it deeply emotional. Romeo's Distress documentary premieres April 18th with a live reunion performance. 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
• Ep542: Music Documentary Producer Jeanne Elfant Festa 02.04.2026 56мин

  Documentary producer & record collector Jeanne Elfant Festa has made films about The Beatles, Foo Fighters, Pavarotti, Bee Gees and more. Today she discusses her latest movie on Billy Preston — revealing rare archive footage, Olivia Harrison's key role, and Eric Clapton's emotional on-camera tribute and a lot more. Check outtrailer and documentary screenings here Topics Include: Jeanne lost her entire vinyl collection in the Palisades fire. Her family and animals all escaped the fire safely. A custom-built, mathematically designed sound room housed the collection. Rebuilding takes time — the turntable alone hasn't been replaced yet. Music passion began with her Brooklyn-raised parents' rich jazz collection. Her dad snuck into the Apollo Theater via the fire escape. He carried a saxophone, jamming with musicians at the loading dock. The family soundtrack: Billie Holiday, Dinah Washington, Miles Davis, Charlie Parker. Jeanne and her dad bonded over Bruce Springsteen's sax player. Her father did house calls exclusively for one patient — Miles Davis. Storytelling instincts came from parents who loved plays, movies, and performance. Her own record collection ranged from Rage Against the Machine to Supertramp. Vinyl's tactile magic: liner notes, textures, and each album's unique smell. Albums are movies — side one plays straight through, no skipping. Documentary filmmaking is passion-driven, not a path to big money. The Foo Fighters doc came from being in the right place. Business partner Nigel Sinclair's credits include Bob Dylan and George Harrison docs. Billy Preston first entered her life through her parents' living room stereo. Filming subjects who've passed requires diaries, archives, and extraordinary research teams. A granddaughter's undeveloped home movies transformed the Beach Boys documentary entirely. A stranger's undeveloped Beatles footage, found under a childhood bed, changed everything. Olivia Harrison unlocked archive footage and connected the team to Ringo and Clapton. Eric Clapton opened up in a way rarely seen on camera. Documentary ethics: three sources minimum, no gossip, no stunt casting ever. The Billy Preston film explores forgiveness, contradiction, and the full human condition. 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
• Ep541: TV Smith - 50 Years of The Adverts 30.03.2026 42мин

  TV Smith joins Nate to discuss the 50th anniversary of The Adverts, an Australian tour backed by The Hard-Ons, and a career full of great songs and terrible label luck. Topics Include: TV Smith is touring Australia in April with The Hard-Ons. The tour celebrates the 50th anniversary of The Adverts. The Hard-Ons are already learning the surprisingly complex Adverts songs. TV finds it odd but joyful to still be performing. He got back into vinyl to quality-check his own releases. Bowie, Roxy Music, and reggae were key early influences for TV. The Sex Pistols made TV believe he could actually do this. The Roxy Club punk scene started with just 30 people. Brian James of The Damned personally recommended The Adverts to Stiff. They recorded One Chord Wonders in a single afternoon at Pathway. Stiff misspelled the title and controversially centred Gaye Advert on the cover. Gary Gilmore's Eyes was TV's satirical response to exploitative media coverage. The BBC was deeply reluctant to air Gary Gilmore's Eyes on TV. Anchor Records collapsed mid-momentum, leaving The Adverts suddenly without a label. Crossing the Red Sea was recorded at Abbey Road with John Leckie. Gary Gilmore's Eyes was left off the album deliberately — vinyl runtime constraints. RCA signed them against their own A&R team's wishes — chaos followed. Cast of Thousands suffered a botched mix, a terrible cover, label indifference. Channel 5 was finally properly remastered after the producer found a safety tape. TV is bringing vinyl to the merch table — especially the Handwriting LP. 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
• Ep540: Swami John Reis - Record Collector 23.03.2026 1ч

  Swami John Reis of Rocket from the Crypt and Drive Like Jehu digs deep on record collecting, the thrill of the hunt, running Swami Records, and why the next release always matters most. Get yer tix to the Punk Rock Museum's 3rd Anniversary Show here Topics Include: Swami John Reis joins to talk record collecting and Punk Rock Museum. His collection is evolving — trading old hardcore for more desired records. Collection is 95% 45s, driven by a lifelong musical pursuit. Early punk led him to hunt for MC5, Stooges, Velvet Underground. The thrill: records still exist that nobody knows about yet. Digging through boxes feels calming, healthy, and satisfying every time. Hawaii vintage shop surprise — radio station collection hidden outside for decades. Detroit and Pittsburgh are his highest strike-rate cities for finds. Always ask the clerk — the best stuff is never on the floor. Styrene vs vinyl: the label sticker is the definitive tell. Making records informed his collecting — plain white sleeves, big hole 45s. Pressing plant relationships are everything; affordability is the biggest challenge. Customs delays under the current administration are wrecking release schedules badly. Major labels scrapped their own pressing plants — now everyone competes for time. Marketing records stopped making sense; the artist always drives interest anyway. Every record is essentially limited and out of print from day one. Smaller runs mean no unsold closet stock and more collector value later. Hot Snakes packaging and Rick Griffin's creativity still inspire him deeply. Upcoming: Sultans reissue, Mrs. Magician LP, new Swami John Reis record. Schizophonics collaboration in the works — the next thing is always the thing. 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
• Ep539: Dr Strange Records' Summer Bash Festival 18.03.2026 50мин

  Dr. Strange Records' Bill Plaster talks Summer Bash and the chaos of booking a festival, punk history, record collecting, Live Strange, and how punk rock can genuinely change lives. Get Summer Bash tix here  |  Follow Dr Strange for Live Strange here Topics Include: Bill Plaster of Dr. Strange Records joins to discuss the upcoming Summer Bash. Punk Rock Bowling's cancellation — visa bans, politics, venue loss — created the opportunity. Bill connected with Gallo, who runs the Fox Theater and the Cathedral in Pomona. The Cathedral: a stunning, refurbished 1921 four-story YMCA venue hosting the event. A massive two-day lineup — 30-plus bands across punk, hardcore, and old-school SoCal. Notable acts include the Effigies, Channel 3, the Skulls, featuring Kevin from Green Day. Every band asked said yes — Bill takes no money, purely doing it for the community. Dealing with booking agents was the biggest headache of organising the festival. Planning started in November; Bill hopes Summer Bash becomes an annual event. The Punk in the Park cancellations discussed — Bill argues protest with your vote, not boycotts. Bill credits Rod for building Dr. Strange's social media profile and making the festival possible. Bill's mentorship philosophy: punk rock can genuinely change lives for the better. The Dr. Strange "family" ethos — making fun of people with love, never punching down. Bill's book discussed — early punk discoveries via Damned, Buzzcocks, and XTC seven-inches. The brutal gang violence at early 80s LA/SoCal punk shows — constantly watching your back. A close call at Spanky's: the guy next to Bill got stabbed during a Guttermouth gig. Biggest missed show regret: skipped Oingo Boingo due to peer pressure from girls in line. Never saw Black Flag — their reputation for brutality genuinely scared him off. Eight years of mail order before opening the store; Voodoo Glow Skulls his biggest-selling record. Live Strange runs Wednesdays and Fridays — the cowbell is Bill's money-back guarantee. 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
• Ep538: John Flansburgh of They Might Be Giants Returns! 16.03.2026 55мин

  John Flansburgh of They Might Be Giants talks rare vinyl rarities, the chaotic story behind the new album's cover art, why re-recording old music is almost always a mistake and lots more Order the new album "The World Is to Dig" here Topics Include: Flansburgh owns roughly 2,000 records across three turntable setups at home He doesn't identify as a collector — just a serious listener His rarest record: an Andy Warhol-autographed Sticky Fingers with wild provenance photos He also owns a peeled-banana Velvet Underground and a Blonde on Blonde rarity Deep dive into what makes each of those pressings so collectible TMBG's new album title comes from a Maurice Sendak-illustrated children's book That led to a fascinating detour on painter Ad Reinhardt's secret black-on-black canvases Flansburgh has been TMBG's de facto art director for 35 years The new album's cover art was nearly a Washington Post-licensed sinkhole photo Washington Post's mass layoffs killed the deal at the last possible moment A Hudson Valley School painting of Yosemite became the actual cover Flansburgh and Linnell don't stockpile songs — cuts are made for specific artistic reasons He once had to shelve a song because Linnell came in with a nearly identical opening line TMBG song titles are uniquely searchable — except the new one referencing Wu-Tang Flansburgh is firmly against re-recording old material — cites Zappa as a cautionary tale Great discussion on remastering: Beatles got it right, Hendrix remaster was disorienting TMBG evolved from NYC performance art venues to rock clubs — crowd energy changed everything Their boutique 8-track manufacturer couldn't keep up when TMBG needed a thousand units Dolby Atmos debate: Flansburgh is skeptical, Nate makes the case for spatial audio Nate's most collectible record is a Nevermind test pressing — rejected pressings are worth more Extended & 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
• Ep537: Bongo Fury at 50 – Zappa, Beefheart and the Vaultmeister 09.03.2026 1ч 1мин

  Zappa Vaultmeister Joe Travers discusses the Bongo Fury box set, the Frank and Beefheart origin story, Frank's cutting edge approach and what may be next from the Zappa Universe. Order the Zappa/Beefheart Bongo Fury 50th Anniversary editions here Topics Include: Joe and Nate bond over the Stooges and unreleased raw recordings Bongo Fury turns 50 with 48 previously unheard tracks Two complete Armadillo shows finally presented unedited in sequence Portuguese Lunar Landing emerges from rehearsal tapes—a true nugget Frank kept tour itineraries but few detailed production notes Joe worked solo digitizing tapes for decades under Gail's direction Universal now controls the vault—the process has changed significantly Frank's Mac had one gigabyte—they dumped mixes to tape constantly Kennedy backup tapes and Synclavier data may be unplayable forever Racing against tape decay and obsolete machines that can't be replaced Heartbreak: 1630 tapes getting stuck and destroyed inside malfunctioning machines Early history of Frank and Captain Beefheart The Soots recorded together—Tiger Roach released, two covers still unreleased Frank invited Beefheart to join tour to get him some money Beefheart was unpredictable—lyrics in paper bags, sketching onstage mid-show "Born to Suck" captures spontaneous studio magic with Snoop tape banter Frank constantly taped everything—jokes often sparked future song ideas Post-tour darkness: Herb Cohen fallout left Frank uncertain about everything Frank and Beefheart reconnected—hour-long phone calls in Frank's final months Warner Brothers failed to promote One Size Fits All and Bongo Fury Cheaper Than Cheap footage sat in vault for decades—sync issues unresolved Joe finally identified the mystery tapes; Universal funded the restoration More Atmos projects coming—Joe teases a big announcement next month Extended & 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
• Ep536: Danny Goldberg - Bumping Into Geniuses (Led Zeppelin, Nirvana, & more) 23.02.2026 1ч 2мин

  Danny Goldberg shares insider stories from his 50-year career as Led Zeppelin's publicist and Nirvana's manager, revealing Kurt Cobain's creative genius and the first-hand dynamics behind rock's biggest bands. Order Danny's book "Bumping Into Geniuses" here Topics Include: Danny discusses the 2026 reissue of "Bumping into Genius" Admits his turntables are mostly for show, prefers streaming now Kept about 100 vinyls including The Fugs on ESP Records Answered a Billboard ad not knowing music business existed Found his calling through enthusiasm and sensitivity to artists Became Led Zeppelin's US publicist in 1973 for Houses of the Holy The biggest band in the world had never gotten positive press Peter Grant described them as "just mild barbarians" Bonzo would arrive early to tune drums for each room's acoustics Jimmy Page avoided TV—felt it couldn't deliver Zeppelin's true sound Physical Graffiti era: Danny became Swan Song Records vice president His blues tribute pitch rejected—later repurposed for Foghat Robert Plant was eloquent and handled most press duties willingly Jimmy's Crowley interest rarely came up in day-to-day interactions Met Ringo, never John or George—All Things Must Pass is essential Nirvana's 92 Australian tour produced the Rolling Stone cover shoot Kurt's "Corporate magazines still suck" shirt was pure tightrope genius He storyboarded every Nirvana video shot by shot himself Appeared on Headbangers Ball in a dress to subvert metal culture Nevermind hit five radio formats simultaneously—unprecedented crossover success Kurt agreed to edit In Utero packaging for Walmart-only kids Fame invaded his privacy—tabloid coverage of Courtney infuriated him Depression and heroin predated fame—confirmed by Chris Novoselic Danny dismisses conspiracy theories—Seattle PD had no coverup motive Sub Pop planned "Cash Cow"—Kurt licensed it back as Incesticide Incesticide liner notes rank among Kurt's most remarkable creative statements Danny calls In Utero Kurt's best songwriting, his personal favorite Bonnie Raitt's Nick of Time gave Danny credibility to expand management John Silva brought Redd Kross, leading to Sonic Youth, then Nirvana Born Innocent documentary on Redd Kross earns Danny's recommendation 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