The Vinyl Guide

The Vinyl Guide: The Podcast for Fans & Collectors of Vinyl Records!

Ep557: The Secret Return of Neurosis with Steve Von Till 07/27/2026

Ep557: The Secret Return of Neurosis with Steve Von Till 's reveals how the band secretly rebuilt itself, creating a career-defining album and making future plans for the victory-lap that few thought possible. Topics Include: The Secret recording of Neurosis walked away seven years ago under uncertain circumstances Four remaining members reunited quietly at end of 2024 Aaron Turner brought in to help complete the musical puzzle Reunion tied to , a suicide-prevention nonprofit Heavy music framed as protective factor for indigenous mental health Steve reflects on tribal rhythms and humanity's forgotten earth connection Band knew instantly the new material had to be Neurosis Reunion forced confrontation with ego, identity, and aging as musicians Firekeeper Alliance's Fire in the Mountains offer pushed them forward Album written and recorded in secret across three studio sessions Secrecy maintained even among close friends touring together in Australia Fan reaction described as unexpectedly emotional, healing, and hope-filled Steve discusses reduced stigma around vulnerability in heavy music today Vinyl pressing strategy explained: budget-driven first run, quick sellout Running Neurot Recordings on a teacher's salary, tight cash flow Multiple color variants pressed across regional distributors and mail orders Debate over black vs. clear vinyl sound quality explored Steve's approach to buying vinyl: music over pressing obsession Talk turns to Melvins, Hazel Meyer, and DIY label camaraderie Where the line sits between fan service and variant exploitation Vinyl side-length considerations shaped decision to make a double LP Aaron Turner's artwork process detailed, sketched live in the studio Album title changed at the last minute, forcing new artwork Neurosis' visual style rooted in myth, symbolism, and Jungian archetypes Older catalog rights partly held by Relapse and other labels Steve wants a "forever version" repress of the band's earliest albums Original master tapes and artwork found corrupted or lost to time Talk closes on solo tour plans and hopes for Australia High resolution version of this podcast is available at: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/42211645

Ep556: Shapel Lacey - Punk, Comedy & Rising Above 07/20/2026

Ep556: Shapel Lacey - Punk, Comedy & Rising Above Comedian discusses the power of music, inspiration and how a 1981 Black Flag video sparked a lifelong punk obsession that shaped his identity, art, and resilience. Shapel Lacey | | Topics Include: Talks local record stores, Amoeba, old Sunset location Discovers deep-cut Swedish hardcore at Eastside Records, Arizona Reflects on pre-streaming era, hunting records in person Notices rosary on Crash's grave, debates his beliefs Traces punk discovery to junior high guitar class Friend introduces him to ska punk, then Black Flag Watches 1981 Target video of Rollins-era Black Flag Rise Above vocals trigger emotional, tearful revelation Explains Black Flag filled a void from turbulent childhood Contrasts Korn/Deftones' anger with punk's empowering message Credits Rollins with teaching self-understanding and personal growth Recalls performing onstage with Rollins at Ohio festival Anger management counselor used Rollins to redirect his aggression Growing up Black, punk, skateboarding in Arizona desert Faced criticism from all sides for musical taste Explored funk, hip-hop, grunge without genre boundaries Connects N.W.A. and Black Flag's shared themes of injustice Discusses punk and hip-hop confronting police brutality parallels Champions open-mindedness across seemingly opposite music scenes Describes local DIY scene at Mesa's Nile basement Panhandled for five dollars to attend all-ages shows Cheerleading came after punk, called "most punk rock" act Discusses tattoos, straight-edge culture, Minor Threat connection Shares personal encounters meeting Henry Rollins and Ian MacKaye Praises Rollins and MacKaye's discipline, historical knowledge, friendship Draws parallels between punk and comedy's DIY authenticity Talks band Mad Peaceful, growing sold-out comedy success Discusses Australia tour interest, interview wrap up High resolution version of this podcast is available at: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/42141065

Ep555: The Taj Mahal Interview 07/06/2026

Ep554: Everlast - From Rhyme Syndicate to Embers to Ashes 06/29/2026

Ep554: Everlast - From Rhyme Syndicate to Embers to Ashes 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41851095

Ep553: The Ghosts That Haunt Peter Hook 06/22/2026

Ep553: The Ghosts That Haunt 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41712970

Ep552: The Gospel According to Swamp Dogg 06/15/2026

Ep552: The Gospel According to Swamp Dogg opens up about his new album "," reflecting on death, faith, and a 70-year career that's produced over 2,000 songs. Extended and high resolution podcast at: Topics Include: New album, , 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41635045

Ep551: Lydia Lunch - Confrontationalist, Poet, No Wave Pioneer 06/01/2026

Ep551: Lydia Lunch - Confrontationalist, Poet, No Wave Pioneer 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41448135

Ep550: Black Flag Vocalist Max Zanelly 05/20/2026

Ep549: Dave Markey & The Secret Lives of Bill Bartell 05/18/2026

Ep549: Dave Markey & The Secret Lives of Bill Bartell Filmmaker discusses his documentary "", the punk scene's most fascinating, mysterious, and surprisingly influential behind-the-scenes figure. | 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41329805

Jack Douglas (1945-2026) - The Vinyl Guide interview 05/13/2026

Jack Douglas (1945-2026) - The Vinyl Guide interview 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41277215

Ep548: After the Astronaut - Butthole Surfers' Lost Album w Paul Leary & King Coffey 05/11/2026

Ep548: After the Astronaut - Butthole Surfers' Lost Album w Paul Leary & King Coffey and 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41242015

Ep547: Greg Ginn - Black Flag, SST Records 04/27/2026

Ep547: Greg Ginn - Black Flag, SST Records In a rare interview, Greg Ginn opens up about the latest lineup, the , the possibility of long-overdue reissues and the legacy of one of punk's most beloved bands. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/41012360

Ep546: One-Step Audiophile Vinyl w Tom Grover Biery 04/21/2026

Ep546: One-Step Audiophile Vinyl w Tom Grover Biery From funding the first Record Store Day to producing limited one-step pressings of , , and , 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 is releasing Terry Callier's Occasional Rain this June High resolution version of this podcast is available at: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40952850

Ep545: Zev Feldman Returns for Record Store Day 2026 04/13/2026

Ep545: Zev Feldman Returns for Record Store Day 2026 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 High resolution version of this podcast is available at: Photo by Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40824010

Ep544: Zakk Wylde - Ozzy's Final Chapter, Pantera's Future, and Black Label Society 04/08/2026

Ep543: Remembering Rozz Williams & Christian Death 04/07/2026

Ep542: Music Documentary Producer Jeanne Elfant Festa 04/02/2026

Ep542: Music Documentary Producer Jeanne Elfant Festa Documentary producer & record collector has made films about , , , and more. Today she discusses — revealing rare archive footage, Olivia Harrison's key role, and Eric Clapton's emotional on-camera tribute and a lot more. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40708195

Ep541: TV Smith - 50 Years of The Adverts 03/30/2026

Ep540: Swami John Reis - Record Collector 03/23/2026

Ep539: Dr Strange Records' Summer Bash Festival 03/18/2026

Ep539: Dr Strange Records' Summer Bash Festival Bill Plaster talks and the chaos of booking a festival, punk history, record collecting, , and how punk rock can genuinely change lives. | 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40522010

Ep538: John Flansburgh of They Might Be Giants Returns! 03/16/2026

Ep538: John Flansburgh of They Might Be Giants Returns! of 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 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40494975

Ep537: Bongo Fury at 50 – Zappa, Beefheart and the Vaultmeister 03/09/2026

Ep537: Bongo Fury at 50 – Zappa, Beefheart and the Vaultmeister 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40339030

Ep536: Danny Goldberg - Bumping Into Geniuses (Led Zeppelin, Nirvana, & more) 02/23/2026

Ep536: Danny Goldberg - Bumping Into Geniuses (Led Zeppelin, Nirvana, & more) 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. 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: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/40187010

Ep535: Making Music & Vinyl History w Producer Plug 02/10/2026

Chuck Negron (1942-2026) - The Vinyl Guide interview 02/07/2026

Ep534: Celebrating Chess Records with Steve Jordan 02/02/2026

Ep534: Celebrating Chess Records with Steve Jordan Legendary drummer & producer (The Rolling Stones, Bruce Springsteen, Jon Batiste, SNL & more), discusses the history and deep personal reverence for the music of and the . Topics Include: Steve Jordan discusses touring with John Batiste at Davos Economic Summit He's producing Robert Cray's new album at Fame Studios in Muscle Shoals JayVee Records finishing Willie Mitchell documentary, The Verbs album, and Tony Joe White posthumous record Chess Records called arguably the cornerstone of modern music New vinyl reissue campaign marks first proper Chess reissues in decades Steve's compilation "Let's Play Chess" features personally meaningful recordings The Dells were his first Chess records—Chicago's hardcore R&B answer to Motown Tommy Tucker's "High Heel Sneakers" on Checker was childhood obsession British Invasion reintroduced American blues that establishment had suppressed racially Etta James "At Last" originals fetch four to five hundred dollars Universal fire destroyed masters; some duplicates recovered from Europe thankfully Early stereo versions often poorly done with hard-panned instruments and fake echo Chess building preserved physically but control room was completely stripped of gear Steve brought API console and ribbon mics for 2010 session there Correctly guessed drum placement; Hubert Sumlin confirmed the next day Otis Spann's piano still vibrates sympathetically when musicians play the room Jack Wiener designed Chess gear and later mastered recordings in basement Mastering represents twenty-five percent of the mix, often overlooked historically Jamie Krentz alerted Universal to Chess catalog's 75th anniversary reissue potential Rarities campaign revealed extraordinary alternate takes including deep Lowell Fulsom version Willie Mitchell spent years perfecting Royal Recording's signature snare drum sound Keith Richards session led to lifelong friendship with Willie Mitchell Willie gave Steve one of Al Jackson's tom-toms from Al Green recordings Recording, overdubbing, and mixing in same room captures authentic studio sound John Lennon was his white whale—missed meeting him by five minutes Finally played with Paul McCartney on Rolling Stones' Hackney Diamonds album Blues Brothers debuted on SNL's third season finale with Saturday Night Live band Matt Guitar Murphy was a Chess session player—Steve's first Chess connection unknowingly John Belushi educated Steve nightly on deep Chess catalog from his Chicago roots Devo's SNL performance was a life-changing moment Steve witnessed firsthand High resolution version of this podcast is available at: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/39948955

Ep533: Exploring the Pusciverse with Carina Round 01/26/2026

Ep532: Lucinda Williams in a World Gone Wrong 01/19/2026

Ep531: Erik "Smelly" Sandin of NOFX 01/12/2026

Ep530: Tales of The Ramones with Monte A Melnick 01/05/2026

Ep530: Tales of The Ramones with Monte A Melnick influenced generations despite critical dismissal and radio absence. Ramones tour manager reveals insider history, promotional collectables, diplomatic strategies for handling volatile band dynamics and the journey of the revival and current cultural adoration of the band. Topics Include: Monte Melnick's bonus edition adds 40 pages to his Ramones road stories collection Full-color book features posters, tour passes, and interactive visual design beyond typical text Monte served as diplomat, psychologist, babysitter, and mediator between wildly different band personalities Managing crazy crews, promoters, and venues doubled the nutty people Monte handled daily He delayed writing until after Joey's death to avoid discussing uncomfortable personal problems Frank Meyer co-authored as musician and Ramones fan, earning full credit beyond ghostwriter Book structured as oral history combining new interviews with archived quotes from multiple sources Early reviews dismissed the Ramones as "crap" unlike today's celebrated 10/10 album ratings Sex Pistols' anarchy lumped Ramones into punk danger zone, killing radio station support Major acts like Talking Heads, B-52s, and Blondie opened for Ramones before surpassing The band never considered quitting despite frustration, constantly seeking new producers for radio Johnny Ramone insisted on maintaining consistent sound while others wanted musical growth experimentation The Ramones acted as "Johnny Appleseeds," inspiring kids worldwide to form their own bands 1996 Lollapalooza tour revealed Metallica and Soundgarden formed bands inspired by Ramones performances Record labels rarely interfered except removing "Carbona Not Glue" fearing potential lawsuits The Simpsons appearance was considered an honor with special studio recording and commemorative jackets John Holmstrom created Rocket to Russia artwork and illustrations later used for merchandise Monte immortalized in song lyrics: "Monty's driving me crazy, it's like being in the Navy" 1977 "It's Alive" album represents peak original four members captured in live perfection The Ramones legacy: showing kids worldwide they could form bands without virtuoso skills High resolution version of this podcast is available at: Apple: Spotify: Amazon Music: Support the show at /episode/index/show/vinylguide/id/39602520

The Vinyl Guide

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