Afleveringen
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Andy Scott of The Sweet discusses band history, rare records, various versions of "Desolation Boulevard", mega-hits like "Ballroom Blitz", "Fox On The Run", meeting Beatles, Australia tour & lots more!
Topics Include:
Andyâs moments with The Beatles Discovering The Shadows Andy becoming a musician since Footy didnât work out Early bands Andy was in Growing up in Wrexham â Seeing The Searchers Almost seeing The Silver Beatles â Dad wouldnât let him go Parents were supportive â eclectic record collection Playing in the Scaffold with Paul McCartneyâs brother Mike Forming The Elastic Band Playing in Miami and Bahamas â playing 2-3 shows per night Coming back to UK â the singer left Do the recordings with Mike McCartney still exist? The Elastic Band on Decca â 2 early singles Breakup of The Elastic Band Collectible records of Andyâs career Sweet had varying set of hits in different countries Supporting and being supported by Bob Seger Different versions of âDesolation Boulevardâ âSweet Fanny Adamsâ wouldnât have worked in US âDesolation Boulevardâ is like a greatest hits LP Cover shot of Sunset Boulevard, Designed by Hypnosis âBallroom Blitzâ was a massive hit around the world Brian Connollyâs fight and throat injury Ronnie James Dio was once considered for vocals for Sweet Exposure and memories of early UK punk scene Working with early Iron Maiden recordings Where are tapes of Sweet? Is Andy involved with Sweet reissues? Vinyl can be a pain in the arse New album and upcoming Australian tour Interview wrap upSee Sweet in Australia, here am the tickets & info.
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Mac McCaughan of Superchunk and co-founder of Merge Records shares insights into the label, being a record collector, "Peak Vinyl" limited vinyl releases, vinyl production, Superchunk's upcoming tour in Australia and heaps more.
Topics Include:
We welcome Mac McCaughan from Superchunk and Merge Records. Mac's upcoming tour in Australia to celebrate Foolish's 30th anniversary. Playing songs from multiple albums instead of full album sets, mixing up live performances. Mac's extensive vinyl collection and love for record collecting. Recent Japan trip, grabbing Japanese jazz records Record store treks while touring and discovering rare finds. Merge Records' inspirations from indie labels like Dischord and Sub Pop. Emphasizing affordable, fan-focused pricing for Merge releases. Macâs approach to managing Merge as an artist-driven label. Importance of creativity and quality in Merge's artist partnerships. Record label survival and growth strategies and adapting to changing music industry landscapes. Evolution of 7-inch singles over last 40 years Mac is kind of surprised on vinyl's comeback and staying power The rising costs of vinyl production. Navigating fan interest in coloured versus black vinyl releases. Merge's âPeak Vinylâ concept for collectorsâ special editions. Handling vinyl production challenges and partnerships with pressing plants. Vinyl costs are starting to slow down record purchases â capacity of vinyl pressing plants What was difficult about moving from musician to record label owner? Records that fell short of expectations How Mac and Merge team listens to artists for potential Merge engagement Listening past the budget/lo-fi qualities of demo recordings Macâs response to hearing Neutral Milk Hotel Reflecting on follow-ups to âIn the Aeroplane Over the Seaâ. Australian record stores / Macâs want list Interview wrap upSee Superchunk in Australia, here be the tickets
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Zijn er afleveringen die ontbreken?
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Steve Diggle of Buzzcocks shares stories from the early punk scene, the making of "Spiral Scratch", rare vinyl releases, the band's lasting influence and his new book "Autonomy."
Topics Include:
Steve logs on â golf shirt The new book âAutonomyâ Steve was dismayed by prog rock â seeing Yes was discouraging Attending Sex Pistols Manchester gig Did Steve know about punk rock beforehand? Malcolm McLaren pulled Steve into the gig Steve met with the original person he was supposed to meet The story of the name âBuzzcocksâ Howard leaving after 10 shows with Buzzcocks The story of âSpiral Scratchâ EP Questions on sleeving and DIY on Spiral Scratch Photo on cover of Spiral Scratch How did the band sell and promote Spiral Scratch The name of record label âNew Hormonesâ Test pressings of Spiral Scratch and other Buzzcocks records How the songs were selected for Spiral Scratch Controversies with the song âOrgasm Addictâ Buzzcocks had most major record companies trying to sign them The role of the band in Buzzcocks record artwork The Hard-Ons homage to Buzzcocks album The error pressings of âAnother Music in a Different Kitchenâ Errors in the songwriting credits for âFast Carsâ Steve didnât take on a punk pseudonym Was there competition between Buzzcocks and Magazine? âSingles Going Steadyâ release in the US market â popularity in the states Steve called John Lennon to invite him to see Buzzcocks Still touring, playing with Descendents, NOFX and modern punk bands they influenced Buzzcocks coming to Australia, new book âAutonomyâOrder Steve's book "Autonomy" here
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Cook Craig of King Gizzard & the Lizard Wizard and The Murlocs discusses his new Pipe-Eye solo LP, early and rare recordings, KGATLW bootlegger series, touring & lots more.
Topics Include:
Name preference Cookieâs record collection Touring plans, summer in Australia Any live dates for Pipe-Eye? Remembering dozens of songs Whatâs the hardest song to play live? Challenges of microtonal songs Themes of King Gizzard and Pipe-Eye albums Starting an album with a theme vs a collection of songs âPipe-Defyâ has a lot of funk influences When does a song go to Pipe-Eye, King Gizzard or Murlocs? Some King Gizzard albums are driven by themes Origin story of the âPipe-Eyeâ moniker Strong influences of 60 garage rock in Geelong Working with Stu in âRevolver & Sunâ Pre-release CD from Revolver & Sun â ever be reissued? Cookie was on the Angelsea EP Early band names - reaction to âKing Gizzard and the Lizard Wizardâ Becoming aware of his ability to make a living from music How KGATLW, Murlocs & Pipe-Eye stay prolific and keep quality high The plan for 5 albums in 2017 Giving away âPolygondawanalandâ â the gift economy Seeing, receiving and storing bootlegger products King Gizzard taped over many earlier recordings Recording at Daptone studios â recording on the road Overwriting and over-recordings to select the best tracks How Cookie writes on the road Pipe-Defy sounds less low-fi â higher quality production Doesnât guest on other projects Recording Cosmic Blip â recent reissues â relationship with Flightless The change from Gizzverse to âp(doom) recordsâ Making the videos for Pipe-Eye Working with Jason Galea â albums and gig posters Involvement in poster and vinyl art More touring in 2025 â Europe residencies â maybe Australia Whatâs left on the bucket list for KG? The Gorge in Washington State was quite surreal Working on new music over Christmas break â rapid turnaround Pipe-Eye interview wrap upOrder "Pipe-Defy" vinyl here.
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Justin Trosper of Unwound discusses the bandâs resurgence, vinyl reissues, intergenerational fanbase, reflections on maintaining artistic integrity and what may be next for the band.
Topics Include:
Unwoundâs upcoming debut in Australia this November Thoughts on Unwound still generating excitement after all these years Younger fans connecting with Unwoundâs music, seeing it as new and relevant Artistic purity and maintaining integrity Other band's covering Unwound - obligatory Melvins reference Working with Kill Rock Stars and the freedom they had Recording Leaves Turn Inside You - Making MagRecOne recording studio Working with Numero Group, developing boxsets Finding materials, tapes, artwork for vinyl reissues 4 boxsets: Kid Is Gone, Rat Conspiracy, No Energy, Empire - anything missing? Unwound has an archival ethic - UnwoundArchive.com Relationship with Vern after Unwound's breakup Lots of video and unexplored tapes What happened to the cover art for "Fake Train"? Is there the possibility of new material from Unwound? Does Justin still collect records? I'm sending Justin some records Playing the "Guess the Runout Groove Etching" game with Justin Interview wrap upCheck Unwound Live dates & tickets
Order Unwound vinyl
Explore the Unwound Archive
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Jerry Cantrell, founder, songwriter, guitarist for Alice In Chains, talks about his new solo album "I Want Blood", upcoming vinyl reissues of solo work, Alice In Chains, his love for vinyl and how to make the vinyl records special for fans.
Topics Include:
Interview start â Will Jerry be down in Australia? I Want Blood, Jerry's new album, drops October 18, with a couple of tracks already streaming - pre-order vinyl editions of I Want Blood on jerrycantrell.com. That wall of vinyl from an old interview? Not Jerry'sâjust someoneâs house they filmed in. While his own collection has gotten smaller, Jerry still enjoys spinning vinyl at home. Vinylâs unique soundâcompression, hiss, and allâkeeps him hooked. Jerryâs been involved in vinyl reissues, like Black Gives Way to Blue, and more are on the way. Vinyl reissue plans of Self-Titled/Three-Legged Dog/Tripod album â 30th anniversary reissues Prefers creating albums - a commitment to what and where the band is at the time âBoggy Depotâ & âDegradation Tripâ were created close together, as were âBrightenâ and âI Want Bloodâ Is there a theme or through line for âI Want Bloodâ? What did he learn about himself from this album? Spoken-word versions of the songs specifically for the vinyl packages Rather than etchings on vinyl, he prefers to give fans music content. The spoken-word tracks were backed by music contributed by different musicians in his orbit - adds a unique flavour to the album. He still loves making albums â writes music and considers the format Other vinyl reissues â The Devil put Dinosaurs Here Theyâve managed to keep track of most of their tapes and artwork, despite some industry losses over the years. Jerry confirmed that the self-titled albumâs master tapes are safe, debunking rumours they were lost. Whatâs up with Alice In Chains LIVE, Unplugged, etc? When is a song for Alice in Chains and when is it a solo album track? After an album and tour cycle, Jerry often takes a break from playing guitar to recharge creatively. The next year â touring, solo shows, Alice In Chains dates, etc Interview wrap upPre-order "I Want Blood" vinyl here
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Legendary producer Eddie Kramer shares the history and legacy of Electric Lady Studios, the revolutionary space built for Jimi Hendrixâs creative genius - from its groundbreaking design, Hendrixâs final sessions, to the incredible impact this iconic studio had on rock music history.
Topics Include:
Electric Lady wasnât just a studio; it was Jimi Hendrixâs creative sanctuary. Back in the â70s, having your own studio as a rock artist was unheard ofâJimi changed that. They transformed a basement nightclub into a cutting-edge studio, unlike anything else at the time. Jimi lived just blocks awayâheâd walk over with his guitar and just dive into creating. The vibe at Electric Lady was pure Jimiâhis vision made it an extension of himself. Eddie and the team prepped the studio for 24-tracks, even though it started at 16. The studio had custom innovations, like seating designed to keep friends out of sightlines. Hendrix loved working fast, and Electric Lady let him capture that energy in every session. Hendrix recorded there for four months before heading to Europeâand never returned. The documentary gives a glimpse of that magical time, full of outtakes and alternate mixes. Kramer talks about how they audited tapes and recorded new songs, blending old and new ideas. Fun fact: The round windows in the studio doors? Jimiâs idea. He loved to keep things unique. The Village was Jimiâs playgroundâhe could walk around without being bothered. Eddie recalls marathon sessions with Jimi, cracking jokes between takes, always keeping it light. Hendrix was a master at balancing creativity and funâthere was always laughter in the room. Eddie mixed a lot of iconic music at Electric Lady, including tracks from David Bowie and Zeppelin. Hendrix wanted to expand his sound with strings and hornsâhis musical vision kept growing. The final sessions at Electric Lady were intense, but full of joy and excitement. Electric Lady still has the same vibe, with a layout thatâs barely changed in over 50 years. The five LP box set coming out captures the magic of those original sessionsâessential listening. Hendrix built Electric Lady to be his personal space, and it became a landmark for music history.Order the movie and 5-LP boxset here
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Steve Wynn of The Dream Syndicate reflects on his career, the resurgence of vinyl, the collectable nature of his rare vinyl releases and the creative process behind his latest album "Make It Right" and autobiography "I Wouldn't Say It If It Wasn't True".
Topic Include:
Steveâs experience moving from physical media (vinyl, CDs) to digital formats for convenience on the road. Nostalgia for his time working at Rhino Records and its influence on his music career. The unique music community and culture at Rhino Records, where Steve worked and networked. Steveâs gradual shift away from collecting vinyl and embracing digital media. The evolution of the record industry from the 1980s to present, particularly how vinyl has returned. The role of music curation in record stores and its importance for music discovery. Steveâs reflections on his long music career, ensuring his albums are still released on vinyl. The process behind finally releasing Sweetness and Light on vinyl after many years. How European record labels helped support Steveâs career in the 1990s when U.S. labels were less involved. Curating and filtering music as a key element for making a record store stand out. The strategy behind releasing his new album Make It Right alongside his autobiography. Steveâs thoughts on the practicality and challenges of touring with vinyl versus digital formats. The difficulties and satisfaction of managing his own music career independently for over 30 years. Experiences with bootleg releases of live performances and navigating music rights issues. Steveâs approach to improvisation in music, particularly during live performances and recording sessions. The creative freedom Steve found in balancing spontaneous music creation with planned studio work. Inspirations behind Dream Syndicateâs album covers, including their homage to classic jazz designs. Steveâs take on recording technology, from analog to digital, and how it has influenced his process. The importance of capturing the immediacy of live music, and how it can surpass overproduced studio albums. Reflections on how Steveâs songwriting process is influenced by his background in sports journalism, focusing on brevity and clarity. Steveâs view on minimalism in songwriting, using fewer words to evoke more emotion and meaning. His thoughts on how jazz and rock influences shaped Dream Syndicateâs sound and aesthetic. The evolution of his career, from making records in the 1980s to navigating the modern digital landscape. Steveâs challenges with securing master rights to his older albums and his recent success in reclaiming Medicine Show. The role of collaboration in his music, particularly with new band members who bring fresh perspectives to his creative process. Steveâs reflections on how the resurgence of vinyl impacts both artists and the music industry today. His thoughts on the balance between maintaining artistic integrity and the pressures from labels to produce commercially viable hits. The impact of the 2008 Universal Studios fire on master recordings and the uncertain status of some of his work. The importance of remaining adaptable in the music industry, especially with changes in distribution and technology. How Steve manages the intersection of being both a musician and his own manager, keeping both roles distinct yet complementary. The early records and mega collectibles of his career Interview wrap upLearn about Steve's releases and tours here.
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John Flansburgh of They Might Be Giants discusses the evolution of the band's pioneering approach of music and technology to create innovative media and strengthen connections to their devoted fanbase.
Topic Include:
October Australia tour selling out TMBGâs last tour of Australia Johnâs car accident â broken ribs They Might Be Giantsâ unconventional approach Early adopter approach, the gift economy Pioneering technological approaches The importance of Dial-A-Song Daily updates, the Dial-A-Song machine behaviours Where are the Dial-A-Song machines? TMBGâs impressions of Napster Challenges of the music industry in early 2000s Touring used to be a losing proposition Spotify and digital music returns for artists Vinyl is becoming a large return for TMBG What TMBG albums havenât been reissued on vinyl? Loss of album artwork TMBG tapes and digital files 8-track version of âBookâ TMBG never did a CD-ROM or enhanced CD TMBG approach and involvement with AI Music genres that lend themselves better to AI BBL Drizzy AI track Strangest song: playing âSaphire Bullets of Pure Loveâ backwards Backwards âSaphireâ coming out on special 7â TMBG Instant Fan Club This Might Be a Wiki â TMBW.net Managing product flippers from Instant Fan Club A friend who used to be in Skull & Bones The story of 1st release âWiggle Disketteâ Distributing and nailing Wiggle Diskette on lamp posts around NYC 1985 TMBG cassette â reviewed by People Magazine Interview wrap upAussies get your TMBG tickets here.
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Lee Loughnane of Chicago shares memories of the bandâs early period, the Chicago Transit Authority debut, Chicagoâs live performances, rediscovered recordings and the band's enduring legacy.
Topic Include:
Lee Loughnane â intro Early days â memories of Jimi Hendrix Jimi wanted to play/jam with Chicago Terry Kath and Jimi got along well Learnings from Jimi and Janis Audience of high improvisation tolerance Chicago has so many hits, they canât play them all in a show Touring with Earth Wind & Fire Playing when the power goes out Recording the 1971 Kennedy Center show Common to debut material live before recording The process of writing Chicago songs Jimmy writing the Ballet The naming of albums with Roman numerals Changing band name from Chicago Transit Authority Origin story of the Chicago band logo Releasing a double album as a debut Recording/rehearsing and writing 1st few albums Band house under the Hollywood Freeway AM radio wouldnât play early Chicago material âMake Me Smileâ single for AM radio Band was concerned about feasibility to do multiple albums Playing Carnegie Hall â recent remix and box set Remixing early Chicago records Challenge of playing live in early days Terryâs amp position on live stage Did Chicago record many early gigs? The Kennedy Center gig was special and recorded as such Chicago put out a lot of records early on Current tour going to Japan but not Australia Rediscovering Kennedy Center recording Debuting the song âSaturday In The Parkâ at the Kennedy Center Unheard Chicago songs and tapes been archived Chicago tapes â multitracks and masters Lee enjoys modern CDs much more than vinyl Whatâs Lee listening to these days? Lee never got into punk rock Interview wrap upOrder "Chicago at the Kennedy Center" LP set here
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Henry Rollins explores the intricacies of record collecting, sharing stories from his book series "Stay Fanatic!!!" and discussing his commitment to preserving rare music artifacts (Pt 2 of 2).
Topic Include:
Response for records that are costing thousands of dollars Buying original Misfits singles then getting them gifted from the band Obtaining Dischord and Black Flag records and artwork Preserving flyers at the time they were made Backing up Ianâs recording of The Cramps gig â Ivy holding the tape Collecting all the Black Flag gig posters when playing on the road Skipping meals to purchase archival page protectors Henry owns flyers and material that is the only known copy The scarcity of materials is a large attractor for Henry Lenny Kayeâs review acetate for Iggy & the Stooges âRaw Powerâ Henry keeps collections together for preservation âDo Not Sell At Any Priceâ by Amanda Petrusich Logic for spending lots on a record you want Robert Johnson song found by Alan Lomax Urban labels putting out music from Record Stores Page Hamilton reckons Be-Bop is the angriest music Henry takes no days off of writing Listening to The Damned âMachine Gun Etiquetteâ every Friday Drastic Plasticâs reissues of The Damned and The Cramps Henry plays The Damned âStrawberriesâ once each August Minor Threat opening for The Damned on Strawberries tour Charles Lindbergh left notes for future biographers Writing information and keep with records for future listeners Frustration on former owners who write or stamp on their records Regional pressings are so limited that copies with writing on it are only option Henry has a photographic memory for his record collection and condition Increasingly using software and laptops to track record collection Keeping records that he has nicer copies of â When possible, get 2 Process for preparing a record for adding to his collection What are the white whales Henry is chasing? Competing against a mythical nameless âGerman guyâ âStay Fanatic!!!â books are the way to share his collectibles Interview wrap upOrder "Stay Fanatic!!! Vol 4" here
Henry photo by Maura Lanahan
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Henry Rollins dives into the fascinating world of record collecting, sharing insights through his book series "Stay Fanatic!!!" and discussing his passion for preserving & sharing music history.
Topic Include:
The origin story of âStay Fanatic!!!â Writing about The Stooges Learning to scan, archive material Telling the stories with early band materials Transcribing from handwriting, then speech to text Henry doesnât get rid of records Acquiring individual and collections of records Bands that reinvigorated his interest: OSEES, Ty Segall, etc Label out of China â Old Heaven Books Seeing Keiji Haino in Tokyo Metallica closing a show for Iggy Pop Can Henry talk about his new project? What is Henryâs tolerance for bootleg material? Going to âseeâ David Bowie and Joy Division through their bootlegs Aggravation with bad recordings sold on bootlegs Understanding band reluctance to put out some recordings Stopping releasing spoken word CDs as they end up on YouTube Signatures get put on eBay near immediately Henry no longer signs things Stopping people from bidding on fake signatures Henryâs routine with Discogs and eBay The anxiety of chasing Discogs and eBay alerts Missing out on fresh listings of a holy grail Buying items that were misstated in the listing Educating inexperienced sellers on proper listing The 1st world problem of collecting records Breaking even on the âStay Fanatic!!!â Books The genius of artists like John Coltrane and The Fall Henryâs early years â His mother loved books and music Road Manager Ward brings a portable turntable on the road 15 feet on the unplayed records shelf Henry describes his home stereo system His system is set â very few changes Leveraging experts to work on the setup Collecting personal items from musical heroes The Adverts, UK Subs clothing are in Henryâs collectionOrder "Stay Fanatic!!! Vol 4" here
Henry photos by Jacob McCann IG @blokeyoucantrust and Heidi May
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David Yow discusses "RACK", the first Jesus Lizard album in 26 years, his acting career, stage vs. screen, dangerous moments of live performances & more!
Topic Include:
David Yow meets Skater the cat Penny the cat meets Skater âRackâ is the first album in 26 years Releases on Touch and Go and Ipecac Inspiring bands and albums for David Being inspired by punk bands in Austin Taking inspiration from The Incredible Shrinking Dickies Starting with bass then moving to vocals with Scratch Acid Coming up in a scene alongside Butthole Surfers Avoiding a musical speed trap Skater asks David a question Mixing the vocals lower in the mix Steve Albiniâs awareness of new album Talk of having Steve Albiniâs ashes in space What is Davidâs signature dish? Is David a good handyman? Does David miss performing in downtimes for his bands? Comparing playing live with acting An actorâs job is to make the directorâs dream come true Good chance of tour dates in Japan and Australia Acting in FREE L.S.D. movie Does he have a different persona for the stage? Preparation for a live show â involves beers The most dangerous performance of his career The band thought David was dead Does David know his limits for performance? The Jesus Lizard show at Garden Amp â June 2024 Any apprehension about extending the Jesus Lizard catalogue with âRackâ? The process for song writing for âRackâ David isnât the person who tracks the master tapes Random find of Scratch Acid tapes in an Oklahoma warehouse Engineer/Producer SPOT part of the Austin scene Making all Jesus Lizard albums with 4-letter words What were alternative titles before âRackâ was decided There probably wonât be another Jesus Lizard album Does David have a record collection? What does he collect? âTonight You Look Like a Spiderâ Monolith edition Making physical items, sculptures The cover art of âRACKâ Holes in the backstory of âHide & Seekâ Itâs good to have mystery in lyrics The story of the Nirvana / Jesus Lizard split 7â Interview wrap upOrder the new Jesus Lizard LP "RACK" here.
Order the "FREE LSD" Blu-Ray and CD package here
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Dimitri Coats dives into the creation of OFF!'s groundbreaking film project "Free LSD". Hear the story behind the bandâs journey with punk legend Keith Morris and the eight-year odyssey that led to their ambitious cinematic swan song.
Topic Include:
Interview intro The inception of "Free LSD" How different is âFree LSDâ from the original âWatermelonâ plans? Learning how to write a script Buzz and Dale of Melvins played on some Free LSD demos Mario was originally written into the movie Early filming at live shows for movie prep OFF! almost didnât survive losing the rhythm section Dimitriâs background in acting Greater confidence in acting than music Working with Malcolm McDowell Managing OFF! prepared him for movie production Jonathan P Shaw was attached very early on Sculpting the mood and emotion of the film Bringing in new fans to OFF! through the movie OFF!âs breakup and potential reanimation Keith and Dimitriâs focus is diverging The community of friends that appear in the film Working with Jack Black â filming on an iPhone How DH Peligro saved âFree LSDâ The passing of DH Peligro Participation of David Yow, Davey Havok, Don Bolles, Zander Schloss Coordinating concepts that carry through the album, movie and packaging Giving the band permission to try new things Retiring the band directly after their most ambitious project OFF! is exhausted and ready to move on Conflict and evolution of friendship and bandmates of Dimitri and Keith Keith and Dimitri helped one another reinvent themselves Big contributors to the film, revising the script to budget The meticulous details of the film The crew following Dimitriâs vision The challenges during filming the movie The process of developing OFF! music There was a lot of extra songs/outtakes from the Free LSD sessions The Blu-Ray / CD package of âFree LSDâ Potential additional theatre screenings & Q&A The Blu-Ray / CD will be the only place for fans can hear 2 of the outtakes Lots of easter eggs, details and additional layers to the movie Interview wrap-upOrder the "FREE LSD" Blu-Ray and CD package here
Stream "FREE LSD" to your home here.
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Blag Dahlia of Dwarves discusses band history, collectible records, the challenges of running a label and the balance of art and business, as well as new and reissued Dwarves vinyl.
Topic Include:
Dwarves should be a record collectorâs goldmine Blagâs early memories of getting record collections Listening to rap, electronic, industrial â not much punk Dwarves records have an inherent collectability Making the various collectible Dwarves records Ralph Champagne album was a tough sell for Dwarves fans Why hasnât there been a proper Dwarves concept album? Blag is an author â lending those skills to a narrative in music Who is closer to the real person: Blag Dhalia or Ralph Champagne? The Greedy record imprint for Dwarves material The Burger Records scandal missed the Dwarves Blag is very hands-on with creating records He doesnât enjoy running the label â but good help is hard to find Being underwhelmed by publicists Blag would rather write and record and leave the rest to others Dwarves artwork â creating special covers, logos, etc Limited parody covers by John at PunkNews.org Record collectors love the parody covers Time is right for a Dwarves renaissance Hard to find a good booking agent Did any prior labels push back on the vision of Dwarves? Bad feelings about Sub-Pop Did Dwarves ever get approached by major labels in the early 90s Major labels missed aligning with a songwriter like Blag Marilyn Manson has a big budget and industry marketing A Dwarves rebirth would require a movie / documentary Blag controls majority of Dwarves materials Has there been serious discussion of a Dwarves movie? The most collectible Dwarves record Collectible Dwarves Sub-Pop variants Dwarves still do 7â records â not many bands still do Interview wrap upGet Dwarves records and merch
Tix for upcoming Australian tour
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Hugh Cornwell takes us through early records of his life, rare records of the Stranglers, solo materials, analogue recording and more.
Topic Include:
Aussie tour, New Album Does Hugh have a record collection? Early music in the Cornwell household Hughâs early musical trainings Quitting PhD program to pursue music Formation and evolution of The Stranglers Recollection of the early UK punk scene Keyboards fill in a lot of sound United Artists investment in The Stranglers Bonus singles in early Stanglers albums Does Hugh have masters and tapes for post Stranglers material? Making materials available on vinyl Remixing and removing keyboards from recordings Running digital files to analogue provides improved sound Memories and learnings from Steve Albini Moments of Madness LP and road testing songs Leaving songs to be finished in the recording studio Song and lyric writing process Hughâs movie Podcast Discussion of Silent movies Interview wrap upHugh Cornwell's Aussie tour info here
Preorder new LP "All The Fun of the Fair" here.
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Society System Decontrol (SSD) self-released several landmark hardcore punk records in the early 80s. Out of print for over 4 decades, SSD has only recently reissued their two masterpieces "The Kids Will Have Their Say" and "Get It Away" on vinyl. Today SSD founder Al Barile takes us through the making of those records.
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Interview start The continued popularity of SS Decontrol music Al was a natural leader for the hardcore scene Naturally managing risk Jumping to an album â no singles for SSD 1900 units of âThe Kids Will Have Their Sayâ Self-funding the album, selling the initial pressing Recording âThe Kids Will Have Their Sayâ Was Al happy with the original recordings? Al doesnât enjoy listening to âThe Kids Will Have Their Sayâ Comparing Trust reissue with original Xclaim Issues getting the tapes back from a label Original pressing of âThe KidsâŠ.â goes for > $1k Why were there no repressings before the recent Trust reissue CD issue of âPowerâ Has Al hung onto his records? White cover of âThe Kids Will Have Their Sayâ designed by Bryan Ray Turcotte Original concept & artwork for âThe Kids Will Have Their Sayâ The difference in recording âGet It Awayâ Was âGet It Awayâ always envisioned as an EP? The cover songs that SSD performed Original 4800 copies of âGet It Awayâ Running the X-Claim! label/imprint All X-Claim! bands ran their own vinyl pressings What is the source of the âGet It Awayâ reissue Will there be reissues of âHow We Rockâ and âBreak it Upâ Alâs health update Al wants everyone to get a colonoscopy The SSD book âHow Much Art Can You Take?â Interview wrap upOrder "The Kids Will Have Their Say" and "Get It Away" on vinyl here.
Order the book "How Much Art Can You Take" here.
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The Saints made history with the record "(I'm) Stranded" in 1976 - nearly 50 years later founder/songwriter Ed Kuepper is revisiting the early Saints material with some old bandmates and new friends, including Mark Arm of Mudhoney. Today Ed and Mark discuss the impact and legacy of The Saints with an upcoming tour and 4LP Boxset.
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How did Ed and Mark come to work together? How did Mark originally experience The Saints? Prehistoric Sounds didnât make it to the US Did Sire get behind The Saints? Promo copies of âEternally Yoursâ seem to be plentiful Choosing â(Iâm) Strandedâ and âNo Timeâ for the Fatal Records single Recording session for â(Iâm) Strandedâ & âNo Timeâ Was there a 2nd mix before making the Fatal records single? Master tapes and multitracks have been lost Were there test pressings of the Fatal Records single? Sending singles around the world, getting 1st reviews Getting telegrams from record labels across the world Rare contents of the upcoming Saints boxset Original mix of the â(Iâm) Strandedâ LP â test pressings and remix The album was recorded in the same studio as the single Potential for technology to separate the instruments of the â(Iâm) Strandedâ single EMIâs response to the updated album mix Markâs feeling good about upcoming tour The Saints Paddington Town Hall show recording Playful rivalry with Radio Birdman Ed and Chris Bailey were on good terms and jointly planning the boxset and reissues Present day contact with Kym Bradshaw Any discussion of Saints shows beyond the Australian dates? Will Mark be singing only or possible guitar as well? Hard-Ons version of âKnow Your Productâ The additional photography in the Saints boxset The original name of the album was âErotic Neuroticsâ with a different cover Memories of the photo of The Saints and Nick Cave from Melbourne The status of the album cover location and artwork Interview wrap-upExtended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Jeff & Steven McDonald formed Redd Kross at a pivotal time in the LA music scene, playing their 1st gigs in their early teens and were mentored by Black Flag. Their influences are vast and their appreciation for musical artistry runs deep.
Redd Kross is back with a new double album - "The Redd Album" - and we talk to the brothers about some of the music and memories that brought them to this moment.
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The Redd Album â lots of âredâ components Memories with meeting Beatles Jeff wants to meet Bob Dylan Stevenâs story with George Harrison Impressions and moments within the Zappa Universe Memories of collecting records in their youth Jeff enjoyed finding strange/new music Finding music and sharing with others Perspectives on Jazz Runaways & Ramones were their entry point to punk Other young teenagers in the early punk scene Police brutality at early punk shows Memories of the Polliwog Park show with Black Flag Getting Raymond Pettibone artwork for the âBorn Innocentâ album Was Redd Kross ever approached to be on SST or New Alliance? Experiencing their music for the 1st time on vinyl The early Posh Boy âRed Crossâ EP pressings The role that flyering played in early career Responses to âThe Decline of Western Civilization Part IIâ Rare Redd Kross/White Flag single â 100 made âTeen Babes from Monsantoâ â The Version Especial Gasatanka Records label and logo Redd Kross master tapes Wanting to remix Neurotica Modern remixes of classic records Creating the âforeverâ mixes, continuously improving Beatles The âPeter Jacksonâ version of âRaw Powerâ Creating the Redd Album Debating and arguing about song sequencing Interview wrap upExtended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Guitarist and music-gear mega-collector Joe Bonamassa joins us to talk about his new record label, collecting gear, his appreciation and approach to the art of vinyl records, his new LP "Live at the Hollywood Bowl" on Journeyman records and more.
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Joeâs record label âJourneyman Recordsâ Joe likes mentoring other artists Balancing being a musician and a businessman Joeâs appreciates music on vinyl Hearing music as designed by the artist Sequencing a record is like sequencing a live set The approach to Joeâs record collection Seeing the record collection of Claude Nobs Hard to find many recordings on CD or streaming What will happen to Joeâs music gear after heâs gone American built guitars and amps How does Joe maintain his collection? Joe wonât say which guitars heâs save Who would Joe like to collaborate with? Putting himself in the zone for a live show Playing the Hollywood Bowl Working with an orchestra vs an 8 piece band Interview wrapupExtended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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