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Metal vocalist Tim "Ripper" Owens shares his remarkable journey from tribute band singer to Judas Priest frontman, discussing rare vinyl, relationships with metal legends, and his upcoming Australian tour while revealing the humble attitude that helped him succeed in the world of heavy metal.
Topics Include:
Interview start, connections to Australia Valentine's Day show announcement for Melbourne 2025 tour Discussion of Australian touring band lineup Added new songs to setlist including KK's Priest material Memories of friendship and touring with Ronnie James Dio Early musical influences from father's rock record collection First exposure to Judas Priest through Screaming for Vengeance Early band experiences with Brainicide and Winter's Bane Formation of British Steel tribute band in 1990s How video of tribute performance reached Judas Priest Quick audition process with Judas Priest - got job after one line Recording “Jugulator” album with Judas Priest in 1997 Dealing with fan expectations replacing Rob Halford Relationship with Rob Halford over the years Discussion of rare Jugulator and Demolition vinyl releases Experience working with Yngwie Malmsteen, including "Beat It" cover Formation and recording of Charred Walls of the Damned Meeting Navy SEALs at charity events - feeling starstruck Working with various metal vocalists throughout career Dream collaboration wish: Tony Iommi and Geezer Butler Names Heaven and Hell as ultimate desert island album Current recording setup at home for various projects Details about upcoming 2025 Australian tour dates Discussion of potential merchandise for Australian shows Closing remarks about KK's Priest possible Australia tourlookie here for tickets for Tim "Ripper" Owens' 2025 Australian tour
Pictures by Jeremy Belinfante
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Daniel House of CZ Records had a pivotal role in the Seattle music scene of the 1980s and early 1990s, including his work with Skin Yard, his time as a key employee at Sub Pop Records, and working with influential bands like Nirvana, Melvins, Soundgarden, the "Deep Six" compilation and lots more.
Topics Include:
Introduction of Daniel House and CZ Records New Skin Yard seven-inch box set announced History of Ten Minute Warning band Formation of Skin Yard with Jack Endino Forming the seven-inch box set idea Deep Six compilation's initial release discussed UMen added to Deep Six compilation Chris Hanzsek starts CZ Records then transitions out Deep Six compilation initially sells poorly Daniel House takes over CZ Records operations A&M Records purchases Deep Six compilation masters Working simultaneously at Sub Pop and CZ Records Creation of Sub Pop's direct-to-retail store network House builds Sub Pop's international distribution connections Nirvana's Mexican Seafood track on Teriyaki Asthma Confrontation with Geffen Records over Nirvana tracks Missing songs on Bleach cassette recall story Sub Pop focusing marketing efforts on Mudhoney Early Seattle scene was small and intimate Current Skin Yard Select box set details Pink and red vinyl pressing information Production quality control issues at pressing plant Discussion of box set pricing and production costs Interview wrap upOrder "Skin Yard Select" box set here.
Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Saknas det avsnitt?
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Jeff & Steven McDonald join us to discuss the new documentary "Born Innocent - The Redd Kross Story", learnings from their lifelong musical partnership, memories of early punk days, David Bowie, Germs and more.
Topics Include:
Possible talk of touring Asia and the Pacific Rim Steven and Dale are road dogs Jeff more of a homebody than Steven Adjustment from touring back to home Steven and Mario seeing King Gizzard in early days Playing the L7 Fast & Frightening Festival Challenges of making the “Born Innocent” documentary Keeping the documentary to 90 minutes The dynamics of the brothers – getting under each other’s skin Earlier attempts to tell the story of Redd Kross What parts of the Redd Kross story were under-represented? Leveraging “devices” to tell the story and manage viewer expectations What did you learn about yourselves watching the documentary? Ability to view the unique partnership of the brothers Taking away learnings from the movie – relatable learnings from the brothers Brothers within a band – comparisons with Oasis Are the brothers enjoying the current state of their band Grateful for the movie and the book – most proud of the REDD KROSS album How did David Bowie show up for their 1st club gig? Punk in LA in late 70s was a small community The bill was UXA, Black Flag and Redd Kross Memories and experiences with Darby Crash The impact of Darby Crash’s death People who may misinterpret Germs Video of Germs performance for “Up In Smoke” The humour and comedy of punk Interview wrap-upWatch the "Born Innocent - The Redd Kross Story" Trailer here
Check for a "Born Innocent" screening near you
Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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A chaotic dive into the world of Kevin Rutmanis, Gina Skwoz, and Trevor Dunn as they discuss the new Lords & Lady Kevin + Trevor Dunn LP “Last Days at Hot Slit”, their experimental music-making process, the liberating unpredictability of their collaborations, the Cows "Peacetika" vinyl reissue and more.
Topics Include:
Kevin, Gina & Trevor log in Discussion about virtual backgrounds and Kevin’s creative experiments. Nostalgia about childhood posters, including Kiss and Farrah Fawcett. The importance of album releases aligning with other projects. Reflections on “Last Days at Hot Slit” album Kevin, Gina & Trevor sending tracks back and forth Collaboration during the pandemic sparks their experimental projects. How Jim Goodwin, aka Pseudo Beast, became their mixer. Alphabetical track sequencing Gina’s return to music and transition to drumming. Tribute to Dave Livingston in their musical process. Use of spirituals and blues lyrics in the album. Challenges of performing complex studio-created tracks live. Trevor’s saxophone debut Kevin’s experiments with unconventional sound recording techniques. Inspiration for titles, including Andrea Dworkin and old films. Discussion of upcoming vinyl releases and special editions. “Peacetika” reissue, Cows albums and their provocative themes. "Sick New World" festival cancellation Exhaustion with large festivals versus intimacy of smaller shows. Nostalgia for early 90s Cows tours and wild experiences. Contributions to “Burn Us Clean" box set. Multiple purchase links and other Bandcamp releases. Interview wrap upGet "Last Days at Hot Slit" vinyl here
Get the Cows "Peacetika" vinyl reissue here
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Lucas Harwood of King Gizzard and the Lizard Wizard discusses his new project Heavy Moss, their eco-conscious approach to vinyl production, the making of their album Dead Slow, life on tour, King Gizzard vinyl, posters, merch and more.
Topics Include:
U.S. and Australian coffee Heavy Moss’s album Dead Slow release details. Transition to vinyl production and sustainability discussion. Pioneering no-shrink-wrap, eco-conscious vinyl packaging. Challenges and benefits of cardboard vinyl sleeves. Good Neighbor Records' carbon-neutral vinyl innovations. Exploring recyclable compounds for vinyl pressing. Limited variants for Heavy Moss records Balancing aesthetics with eco-friendly vinyl production. Reflecting on King Gizzard's early vinyl pressings – Willoughby’s Beach & 12 Bar Bruise Stories of early struggles with vinyl production costs. University music program as a foundation for KGATLW. Eric focusing on Flightless was not a surprise Evolution of King Gizzard's collaborative band dynamic. Managing growing tour setlists & deep cuts Three-hour shows and adjusting setlists for each city. Fans’ dedication to King Gizzard merch and posters. Famous fans and being starstruck Heavy Moss formation and early recording process. Recording methods for Dead Slow: collaborative yet remote. Balancing touring, family life, and side projects. Plans for live performances and future Heavy Moss albums. Reflecting on record collecting and its evolving priorities.Get Heavy Moss' "Dead Slow" on vinyl here
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Yesness is a 2-piece featuring Damon Che (Don Caballero) and Tristan Dunn (El Ten Eleven). We discuss their formation, writing and recording their debut album "See You at the Solipsist Convention", math-rock, post-rock, other dirty words and lots more.
Topics Include:
Formation of Yesness Kristian and Damon struggle to find musicians to collaborate with The “California No” Making an album from different parts of the country Meeting for the first time in the recording studio Over recording and having a lot of material to work with Working with instrumentals vs music with vocals Album title origin story Songs start as riffs, song titles come much later Strange song titles Using extra songs for b-sides Origin of the band name “Yesness” The band almost became “Keister Island” What does Damon think of the title “Math Rock”? Genres become limiting Not listening to Post-rock or Math-rock What’s on heavy rotation and playlists? The Spotify algorithm still struggles to satisfy El Ten Eleven’s “New Years Eve” coming after 3-LP set “Tautology” “New Years Eve” and “Valley of Fire” were conceived together The “Yesness” debut always needed to be a full length LP Can the Yesness LP be played live? Yesness challenges playing live – equipment stuffups Will they tour overseas? Selecting the album cover Damon recently upgraded his vinyl system Looking for records Status of the Don Caballero master tapes and reissues Damon’s YouTube video channel Grab all the pressings of your favourite albums “Everything in between the speakers and stylus is snake oil” Interview wrap upVinyl copies of Yesness "See You at the Solipsist Convention" can be ordered here.
Photo by Berto Campus
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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:
Andy’s moments with The Beatles Discovering The Shadows Andy becoming a musician since Footy didn’t work out Early bands Andy was in Growing up in Wrexham – Seeing The Searchers Almost seeing The Silver Beatles – Dad wouldn’t let him go Parents were supportive – eclectic record collection Playing in the Scaffold with Paul McCartney’s brother Mike Forming The Elastic Band Playing in Miami and Bahamas – playing 2-3 shows per night Coming back to UK – the singer left Do the recordings with Mike McCartney still exist? The Elastic Band on Decca – 2 early singles Breakup of The Elastic Band Collectible records of Andy’s career Sweet had varying set of hits in different countries Supporting and being supported by Bob Seger Different versions of “Desolation Boulevard” “Sweet Fanny Adams” wouldn’t have worked in US “Desolation Boulevard” is like a greatest hits LP Cover shot of Sunset Boulevard, Designed by Hypnosis “Ballroom Blitz” was a massive hit around the world Brian Connolly’s fight and throat injury Ronnie James Dio was once considered for vocals for Sweet Exposure and memories of early UK punk scene Working with early Iron Maiden recordings Where are tapes of Sweet? Is Andy involved with Sweet reissues? Vinyl can be a pain in the arse New album and upcoming Australian tour Interview wrap 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. Mac’s approach to managing Merge as an artist-driven label. Importance of creativity and quality in Merge's artist partnerships. Record label survival and growth strategies and adapting to changing music industry landscapes. Evolution of 7-inch singles over last 40 years Mac is kind of surprised on vinyl's comeback and staying power The rising costs of vinyl production. Navigating fan interest in coloured versus black vinyl releases. Merge's “Peak Vinyl” concept for collectors’ special editions. Handling vinyl production challenges and partnerships with pressing plants. Vinyl costs are starting to slow down record purchases – capacity of vinyl pressing plants What was difficult about moving from musician to record label owner? Records that fell short of expectations How Mac and Merge team listens to artists for potential Merge engagement Listening past the budget/lo-fi qualities of demo recordings Mac’s response to hearing Neutral Milk Hotel Reflecting on follow-ups to “In the Aeroplane Over the Sea”. Australian record stores / Mac’s want list Interview wrap upSee Superchunk in Australia, here be the tickets
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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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 – golf shirt The new book “Autonomy” Steve was dismayed by prog rock – seeing Yes was discouraging Attending Sex Pistols Manchester gig Did Steve know about punk rock beforehand? Malcolm McLaren pulled Steve into the gig Steve met with the original person he was supposed to meet The story of the name “Buzzcocks” Howard leaving after 10 shows with Buzzcocks The story of “Spiral Scratch” EP Questions on sleeving and DIY on Spiral Scratch Photo on cover of Spiral Scratch How did the band sell and promote Spiral Scratch The name of record label “New Hormones” Test pressings of Spiral Scratch and other Buzzcocks records How the songs were selected for Spiral Scratch Controversies with the song “Orgasm Addict” Buzzcocks had most major record companies trying to sign them The role of the band in Buzzcocks record artwork The Hard-Ons homage to Buzzcocks album The error pressings of “Another Music in a Different Kitchen” Errors in the songwriting credits for “Fast Cars” Steve didn’t take on a punk pseudonym Was there competition between Buzzcocks and Magazine? “Singles Going Steady” release in the US market – popularity in the states Steve called John Lennon to invite him to see Buzzcocks Still touring, playing with Descendents, NOFX and modern punk bands they influenced Buzzcocks coming to Australia, new book “Autonomy”Order Steve's book "Autonomy" here
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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 Cookie’s record collection Touring plans, summer in Australia Any live dates for Pipe-Eye? Remembering dozens of songs What’s the hardest song to play live? Challenges of microtonal songs Themes of King Gizzard and Pipe-Eye albums Starting an album with a theme vs a collection of songs “Pipe-Defy” has a lot of funk influences When does a song go to Pipe-Eye, King Gizzard or Murlocs? Some King Gizzard albums are driven by themes Origin story of the “Pipe-Eye” moniker Strong influences of 60 garage rock in Geelong Working with Stu in “Revolver & Sun” Pre-release CD from Revolver & Sun – ever be reissued? Cookie was on the Angelsea EP Early band names - reaction to “King Gizzard and the Lizard Wizard” Becoming aware of his ability to make a living from music How KGATLW, Murlocs & Pipe-Eye stay prolific and keep quality high The plan for 5 albums in 2017 Giving away “Polygondawanaland” – the gift economy Seeing, receiving and storing bootlegger products King Gizzard taped over many earlier recordings Recording at Daptone studios – recording on the road Overwriting and over-recordings to select the best tracks How Cookie writes on the road Pipe-Defy sounds less low-fi – higher quality production Doesn’t guest on other projects Recording Cosmic Blip – recent reissues – relationship with Flightless The change from Gizzverse to “p(doom) records” Making the videos for Pipe-Eye Working with Jason Galea – albums and gig posters Involvement in poster and vinyl art More touring in 2025 – Europe residencies – maybe Australia What’s left on the bucket list for KG? The Gorge in Washington State was quite surreal Working on new music over Christmas break – rapid turnaround Pipe-Eye interview wrap upOrder "Pipe-Defy" vinyl here.
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Justin Trosper of Unwound discusses the band’s resurgence, vinyl reissues, intergenerational fanbase, reflections on maintaining artistic integrity and what may be next for the band.
Topics Include:
Unwound’s upcoming debut in Australia this November Thoughts on Unwound still generating excitement after all these years Younger fans connecting with Unwound’s music, seeing it as new and relevant Artistic purity and maintaining integrity Other band's covering Unwound - obligatory Melvins reference Working with Kill Rock Stars and the freedom they had Recording Leaves Turn Inside You - Making MagRecOne recording studio Working with Numero Group, developing boxsets Finding materials, tapes, artwork for vinyl reissues 4 boxsets: Kid Is Gone, Rat Conspiracy, No Energy, Empire - anything missing? Unwound has an archival ethic - UnwoundArchive.com Relationship with Vern after Unwound's breakup Lots of video and unexplored tapes What happened to the cover art for "Fake Train"? Is there the possibility of new material from Unwound? Does Justin still collect records? I'm sending Justin some records Playing the "Guess the Runout Groove Etching" game with Justin Interview wrap 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 – Will Jerry be down in Australia? I Want Blood, Jerry's new album, drops October 18, with a couple of tracks already streaming - pre-order vinyl editions of I Want Blood on jerrycantrell.com. That wall of vinyl from an old interview? Not Jerry's—just someone’s house they filmed in. While his own collection has gotten smaller, Jerry still enjoys spinning vinyl at home. Vinyl’s unique sound—compression, hiss, and all—keeps him hooked. Jerry’s been involved in vinyl reissues, like Black Gives Way to Blue, and more are on the way. Vinyl reissue plans of Self-Titled/Three-Legged Dog/Tripod album – 30th anniversary reissues Prefers creating albums - a commitment to what and where the band is at the time “Boggy Depot” & “Degradation Trip” were created close together, as were “Brighten” and “I Want Blood” Is there a theme or through line for “I Want Blood”? What did he learn about himself from this album? Spoken-word versions of the songs specifically for the vinyl packages Rather than etchings on vinyl, he prefers to give fans music content. The spoken-word tracks were backed by music contributed by different musicians in his orbit - adds a unique flavour to the album. He still loves making albums – writes music and considers the format Other vinyl reissues – The Devil put Dinosaurs Here They’ve managed to keep track of most of their tapes and artwork, despite some industry losses over the years. Jerry confirmed that the self-titled album’s master tapes are safe, debunking rumours they were lost. What’s up with Alice In Chains LIVE, Unplugged, etc? When is a song for Alice in Chains and when is it a solo album track? After an album and tour cycle, Jerry often takes a break from playing guitar to recharge creatively. The next year – touring, solo shows, Alice In Chains dates, etc Interview wrap 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 Hendrix’s creative genius - from its groundbreaking design, Hendrix’s final sessions, to the incredible impact this iconic studio had on rock music history.
Topics Include:
Electric Lady wasn’t just a studio; it was Jimi Hendrix’s creative sanctuary. Back in the ‘70s, having your own studio as a rock artist was unheard of—Jimi changed that. They transformed a basement nightclub into a cutting-edge studio, unlike anything else at the time. Jimi lived just blocks away—he’d walk over with his guitar and just dive into creating. The vibe at Electric Lady was pure Jimi—his vision made it an extension of himself. Eddie and the team prepped the studio for 24-tracks, even though it started at 16. The studio had custom innovations, like seating designed to keep friends out of sightlines. Hendrix loved working fast, and Electric Lady let him capture that energy in every session. Hendrix recorded there for four months before heading to Europe—and never returned. The documentary gives a glimpse of that magical time, full of outtakes and alternate mixes. Kramer talks about how they audited tapes and recorded new songs, blending old and new ideas. Fun fact: The round windows in the studio doors? Jimi’s idea. He loved to keep things unique. The Village was Jimi’s playground—he could walk around without being bothered. Eddie recalls marathon sessions with Jimi, cracking jokes between takes, always keeping it light. Hendrix was a master at balancing creativity and fun—there was always laughter in the room. Eddie mixed a lot of iconic music at Electric Lady, including tracks from David Bowie and Zeppelin. Hendrix wanted to expand his sound with strings and horns—his musical vision kept growing. The final sessions at Electric Lady were intense, but full of joy and excitement. Electric Lady still has the same vibe, with a layout that’s barely changed in over 50 years. The five LP box set coming out captures the magic of those original sessions—essential listening. Hendrix built Electric Lady to be his personal space, and it became a landmark for music history.Order the movie and 5-LP boxset here
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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:
Steve’s experience moving from physical media (vinyl, CDs) to digital formats for convenience on the road. Nostalgia for his time working at Rhino Records and its influence on his music career. The unique music community and culture at Rhino Records, where Steve worked and networked. Steve’s gradual shift away from collecting vinyl and embracing digital media. The evolution of the record industry from the 1980s to present, particularly how vinyl has returned. The role of music curation in record stores and its importance for music discovery. Steve’s reflections on his long music career, ensuring his albums are still released on vinyl. The process behind finally releasing Sweetness and Light on vinyl after many years. How European record labels helped support Steve’s career in the 1990s when U.S. labels were less involved. Curating and filtering music as a key element for making a record store stand out. The strategy behind releasing his new album Make It Right alongside his autobiography. Steve’s thoughts on the practicality and challenges of touring with vinyl versus digital formats. The difficulties and satisfaction of managing his own music career independently for over 30 years. Experiences with bootleg releases of live performances and navigating music rights issues. Steve’s approach to improvisation in music, particularly during live performances and recording sessions. The creative freedom Steve found in balancing spontaneous music creation with planned studio work. Inspirations behind Dream Syndicate’s album covers, including their homage to classic jazz designs. Steve’s take on recording technology, from analog to digital, and how it has influenced his process. The importance of capturing the immediacy of live music, and how it can surpass overproduced studio albums. Reflections on how Steve’s songwriting process is influenced by his background in sports journalism, focusing on brevity and clarity. Steve’s view on minimalism in songwriting, using fewer words to evoke more emotion and meaning. His thoughts on how jazz and rock influences shaped Dream Syndicate’s sound and aesthetic. The evolution of his career, from making records in the 1980s to navigating the modern digital landscape. Steve’s challenges with securing master rights to his older albums and his recent success in reclaiming Medicine Show. The role of collaboration in his music, particularly with new band members who bring fresh perspectives to his creative process. Steve’s reflections on how the resurgence of vinyl impacts both artists and the music industry today. His thoughts on the balance between maintaining artistic integrity and the pressures from labels to produce commercially viable hits. The impact of the 2008 Universal Studios fire on master recordings and the uncertain status of some of his work. The importance of remaining adaptable in the music industry, especially with changes in distribution and technology. How Steve manages the intersection of being both a musician and his own manager, keeping both roles distinct yet complementary. The early records and mega collectibles of his career Interview wrap 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 TMBG’s last tour of Australia John’s car accident – broken ribs They Might Be Giants’ 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? TMBG’s 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 haven’t been reissued on vinyl? Loss of album artwork TMBG tapes and digital files 8-track version of “Book” 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 “Saphire Bullets of Pure Love” backwards Backwards “Saphire” coming out on special 7” TMBG Instant Fan Club This Might Be a Wiki – TMBW.net Managing product flippers from Instant Fan Club A friend who used to be in Skull & Bones The story of 1st release “Wiggle Diskette” Distributing and nailing Wiggle Diskette on lamp posts around NYC 1985 TMBG cassette – reviewed by People Magazine Interview wrap upAussies get your TMBG tickets here.
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Lee Loughnane of Chicago shares memories of the band’s early period, the Chicago Transit Authority debut, Chicago’s live performances, rediscovered recordings and the band's enduring legacy.
Topic Include:
Lee Loughnane – intro Early days – 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 can’t 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 wouldn’t play early Chicago material “Make Me Smile” single for AM radio Band was concerned about feasibility to do multiple albums Playing Carnegie Hall – recent remix and box set Remixing early Chicago records Challenge of playing live in early days Terry’s 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 “Saturday In The Park” at the Kennedy Center Unheard Chicago songs and tapes been archived Chicago tapes – multitracks and masters Lee enjoys modern CDs much more than vinyl What’s 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 Ian’s recording of The Cramps gig – 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 Kaye’s review acetate for Iggy & the Stooges “Raw Power” Henry keeps collections together for preservation “Do Not Sell At Any Price” 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 “Machine Gun Etiquette” every Friday Drastic Plastic’s reissues of The Damned and The Cramps Henry plays The Damned “Strawberries” 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 – 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 “German guy” “Stay Fanatic!!!” 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 “Stay Fanatic!!!” Writing about The Stooges Learning to scan, archive material Telling the stories with early band materials Transcribing from handwriting, then speech to text Henry doesn’t get rid of records Acquiring individual and collections of records Bands that reinvigorated his interest: OSEES, Ty Segall, etc Label out of China – Old Heaven Books Seeing Keiji Haino in Tokyo Metallica closing a show for Iggy Pop Can Henry talk about his new project? What is Henry’s tolerance for bootleg material? Going to “see” 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 Henry’s 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 “Stay Fanatic!!!” Books The genius of artists like John Coltrane and The Fall Henry’s early years – 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 – very few changes Leveraging experts to work on the setup Collecting personal items from musical heroes The Adverts, UK Subs clothing are in Henry’s 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 “Rack” 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 Albini’s awareness of new album Talk of having Steve Albini’s ashes in space What is David’s signature dish? Is David a good handyman? Does David miss performing in downtimes for his bands? Comparing playing live with acting An actor’s job is to make the director’s 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 – 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 – June 2024 Any apprehension about extending the Jesus Lizard catalogue with “Rack”? The process for song writing for “Rack” David isn’t 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 “Rack” was decided There probably won’t be another Jesus Lizard album Does David have a record collection? What does he collect? “Tonight You Look Like a Spider” Monolith edition Making physical items, sculptures The cover art of “RACK” Holes in the backstory of “Hide & Seek” It’s good to have mystery in lyrics The story of the Nirvana / Jesus Lizard split 7” Interview wrap upOrder the new Jesus Lizard LP "RACK" here.
Order the "FREE LSD" Blu-Ray and CD package here
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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Dimitri Coats dives into the creation of OFF!'s groundbreaking film project "Free LSD". Hear the story behind the band’s 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 “Free LSD” from the original “Watermelon” 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 didn’t survive losing the rhythm section Dimitri’s 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!’s breakup and potential reanimation Keith and Dimitri’s focus is diverging The community of friends that appear in the film Working with Jack Black – filming on an iPhone How DH Peligro saved “Free LSD” 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 Dimitri’s 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 “Free LSD” 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.
Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide
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