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

Nuggets curator Lenny Kaye joins Brown Acid creators Lance Barresi and Daniel Hall to celebrate their 20th volume of rescuing forgotten proto-metal singles from the early 70s, discuss rare vinyl discoveries, and preserving music that would otherwise be lost to time. Topics Include: Introduction of Lance Barresi, Daniel Hall, and Lenny Kaye. Lenny explains discovering Brown Acid at Other Music in Manhattan. Lenny compares Brown Acid's impact to how Nuggets defined garage rock. Discussion of what makes Brown Acid unique in music archaeology. How Jac Holzman gave Lenny the original idea for Nuggets. Daniel and Lance never expected Brown Acid to reach 20 volumes. Track-by-track discussion of Brown Acid Volume 20 begins. AfterFlash's "Cookbook" was originally a B-side. 500 copies was typical minimum pressing quantity in the early 70s. Lenny mentions pressing 1500 copies of Patti Smith's first single. Most Brown Acid records didn't come with picture sleeves. Discussion of Polvo, the first Mexican band on Brown Acid. Other international acts include bands from Australia, Sweden, UK, Canada. Three primary regions for Brown Acid music: Youngstown, Detroit, Texas. Osage Lute from Missouri is Lance's hometown connection. Osage Lute drummer Mike Lusher preserved extensive band history materials. Frozen Sun's "Jamm Pt 1" was from original master tape. Some records are so rare they have no Discogs sales history. Many original artists don't remember details about their recordings. Lenny mentions difficulty finding information when creating original Nuggets. The Banana Bros record isn't even listed on Discogs. Surprising connection: Banana Bros member was father of Permanent Records performer. Many Brown Acid discoveries happen through impossible coincidences. A horror movie soundtrack led to discovering one Brown Acid track. B-sides often better fit the Brown Acid aesthetic than A-sides. Lance must track down artists for proper licensing for each song. Some negotiations take years to complete. Nick Townsend credited for consistent audio mastering across compilations. RTI pressing plant provides consistent quality for Brown Acid vinyl. Paul Major writes the colourful track descriptions for Brown Acid. Lenny wrote the foreword for Brown Acid Volume 20's deluxe edition. Brown Acid 20th anniversary release party happening at Permanent Records Roadhouse. DJ Mr. Dibs creating special Brown Acid mixtape to celebrate milestone. Brown Acid preserves songs that would be lost without the project. The team has enough material licensed for many future volumes. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Renowned archivist & record producer Zev Feldman, "The Jazz Detective", returns to discusses the Record Store Day 2025 releases of lost jazz recordings from Freddie Hubbard, Charlie Mingus, Bill Evans, Patsy Cline & more!  Topics Include: Introduction of Zev Feldman, nicknamed "the jazz detective" Status of finding lost jazz recordings - feeling optimistic Live recordings create a "renaissance" for jazz enthusiasts Concern about aging jazz colleagues with undiscovered tapes Feldman works with multiple record labels simultaneously Record companies are selective about which projects to release Concerns about tariffs affecting vinyl manufacturing costs Vinyl jazz releases often operate on slim profit margins Resonance Records uses Canadian pressing plant Le Vinylist Six Record Store Day releases coming from Feldman Patsy Cline "Imagine That" was most difficult release to assemble Patsy Cline release required coordinating multiple rights holders Country Music Hall of Fame involved in Patsy Cline project Feldman's personal connection to record stores and vinyl collecting Freddie Hubbard "On Fire" recorded at Blue Morocco (1967) Bernard Drayton engineered the Blue Morocco recordings Blue Morocco club owned by Sugar Hill Records founders Kenny Dorham recordings from same Blue Morocco venue Dorham's recordings especially rare and significant to Feldman Dorham was also a writer who contributed to DownBeat magazine Charles Mingus in Argentina - recordings from 1977 concerts Second Argentina concert added due to popular demand Mingus recordings made less than year before his ALS diagnosis Wes Montgomery with Wynton Kelly Trio reissue with new mastering Original Montgomery release now selling for $100+ in stores Time machine question - which historic jazz gig to attend Discussion of legendary venue Slugs and its important shows Feldman's collection of music memorabilia and venue posters Bill Evans live in Finland recordings (1964-1969) Feldman's 13th Bill Evans production with the Evans Estate Finland recordings feature three different Evans trio lineups Record Store Day helping introduce Evans to younger audiences Plans for Record Store Day Black Friday releases Value of releasing previously unheard music versus reissues EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Jean-Louis Atlan Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Replay of our 2024 interview with hardore legend Al Barile of SSD and X-Claim! Records. Photos by Alison Braun ------- 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. SSD founder Al Barile takes us through the making of those records. Topic Include: 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 – no singles for SSD 1900 units of “The Kids Will Have Their Say” Self-funding the album, selling the initial pressing Recording “The Kids Will Have Their Say” Was Al happy with the original recordings? Al doesn’t enjoy listening to “The Kids Will Have Their Say” Comparing Trust reissue with original Xclaim Issues getting the tapes back from a label Original pressing of “The Kids….” goes for > $1k Why were there no repressings before the recent Trust reissue CD issue of “Power” Has Al hung onto his records? White cover of “The Kids Will Have Their Say” designed by Bryan Ray Turcotte Original concept & artwork for “The Kids Will Have Their Say” The difference in recording “Get It Away” Was “Get It Away” always envisioned as an EP? The cover songs that SSD performed Original 4800 copies of “Get It Away” Running the X-Claim! label/imprint All X-Claim! bands ran their own vinyl pressings What is the source of the “Get It Away” reissue Will there be reissues of “How We Rock” and “Break it Up” Al’s health update Al wants everyone to get a colonoscopy The SSD book “How Much Art Can You Take?” Interview wrap up Order "The Kids Will Have Their Say" and "Get It Away" on vinyl here. Order the book "How Much Art Can You Take" here. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Australian icon Tex Perkins takes us through his legendary career, from The Cruel Sea & The Beasts recent works, to wild ARIA award nights, his atrocious habits with vinyl records, reissuing his works on vinyl and lots more.  Topics Include: Tex Perkins rehearsing with The Cruel Sea for upcoming gigs. Bringing back "deep cuts" from 30 years ago. Band already prepared the songs before his arrival. Feels like "personal karaoke" returning to old material. Gains fresh perspective on older songs with time. Sometimes writes songs instinctively, not from personal experience. Song "Hard For You" channeled rage he hadn't experienced. Recorded with Kid Congo Powers from Bad Seeds. ARIA Awards incident clarified - didn't stab anyone. Hit someone with a glass at an after-party. Molly Meldrum was present during the altercation. Lived with Jules Normington of Phantom Records. Paid rent by washing Jules' dishes. Had access to Jules' extensive record collection. Especially enjoyed 60s punk and garage rock records. Met John Foy, who was pedantic about record handling. Music scattered across many different record labels. Controls some albums, but not all. Universal owns The Cruel Sea and some Beasts albums. Axeman's Jazz recorded and mixed in six hours. Recent album "Ultimo" recorded differently - basic tracks then laptop. Modern recording allows more experimentation without studio costs. Prefers vinyl album lengths around 18-20 minutes per side. Three Legged Dog being released on three vinyl sides. Spanish reissues were "handshake deals" with unclear accounting. Appreciates unashamedly Australian content in newer bands. Newer bands don't hide their Australian accents. Never experienced censorship of his music. Had releases in different regions without his knowledge. No accounting from Big Time label after bankruptcy. Performed with The Legendary Stardust Cowboy in 1985. "Ledge" known for having "world's worst record" - Paralyzed. Backed Ledge with James Baker, Spencer Jones, Lachlan McLeod. Ledge progressively stripped during his performance. Threw Frisbee paper plates with drawings into the audience. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Nick Phillips, a musician from The Breadmakers and owner of Corduroy Records, shares his remarkable journey of rescuing Australia’s last vinyl pressing plant. He impulsively bought the equipment without manufacturing experience, creating a unique legacy. Nick discusses the labor-intensive process of making vinyl, including direct-to-acetate recordings with notable artists like Sonic Youth and The White Stripes. He also highlights the challenges of maintaining vintage machinery and the passion behind preserving the art of vinyl production.

Wolfgang Flür, formerly of Kraftwerk, and musical collaborator Peter Duggal, discuss musical journeys, memories from the Kraftwerk years, collaborating with members of Daft Punk and Joy Division for the new LP "Times" and much more. Topics Include: Introduction of new album "Times" release details First 200 vinyl copies include signed postcards Peter's role as Wolfgang's longtime collaborator since 2015 Peter's musical background in 1980s electronic music Previous collaboration on album "Magazine" released in 2022 Collaborators on "Times" including Boris Blank and Daft Punk Modern vs. old technologies for music production Wolfgang's frustration with German music industry Cherry Red Records supporting Wolfgang's career in England EMI's mishandling of Wolfgang's earlier album "Time Pie" Peter's personal relationship with vinyl records Production quality of the vinyl pressing in Czechoslovakia Mastering process with different approaches for vinyl vs. CD Collaborating with Emil Schult, former Kraftwerk visual artist The track "Planet in Fever" originally written in 1993 Wolfgang's approach to revisiting and evolving older songs How Peter and Wolfgang know when a song is "done" Comparing music creation to cooking a meal Process of collaborating with Boris Blank on "Global Youth" Wolfgang's childhood in post-WWII Germany First record purchase: Khachaturian's "Sabre Dance" at age 10 Musical influences from his mother and grandmother First musical instrument was a mouth organ Discovering drums at school at age 16 Designing electronic drum pads for Kraftwerk Wolfgang's friendship with Florian Schneider until his passing Their emotional final meeting at a brewery Working with Thomas from Daft Punk Planned joint appearance at a Chicago film festival Live performance concept "Musiksoldat" as anti-war statement Wolfgang and Peter completed their 60th show together Wolfgang's last visit to Australia in 1981 Karl Bartos' importance to Kraftwerk's musical compositions Plans for future performances and promoting the album EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Mike Kennerty of All American Rejects is a serious record nerd! Here he shares about his hobby, his collection, the rarities, the grails and the vinyl catalog of The All American Rejects, Screeching Weasel and more! Topics Include: Introduction to Mike Kennerty of All American Rejects Whether Mike considers himself a "record nerd" Mike's history of collecting vinyl since the 1980s Valuable records in Mike's collection His purchase of Misfits records in the mid-2000s Mike's extensive collection of seven-inches and LPs Finding rare No Effects record in Japan for $12 Mike's approach when visiting record stores His focus on punk records and international versions Whether Mike buys duplicate copies of records Multiple versions of Misfits' "Walk Among Us" in his collection Mike's collection of memorabilia beyond records (zines, flyers) Custom record shelving from closed Hastings stores Holy grail records Mike still wants (Misfits' "Cough/Cool") Most he's paid for a record ($600 for Fear) Thinking about vinyl during recording and production process Creating different masters for digital versus vinyl releases Experience with rejecting test pressings that aren't satisfactory Trouble with recent Screeching Weasel record pressing Update on All American Rejects' current status Their cover of "Flagpole Sitta" as first new material Band dynamic after not recording together since 2017 Upcoming singles "Sandbox" and "Easy Come Easy Go" Availability of All American Rejects albums on vinyl Status of master recordings following Universal Music fire Challenge of finding 24-bit masters for vinyl reissues Working with other producers in All American Rejects Mike's early band Mr. Crispy and DIY label Saving Taco Bell wages to release 7-inch records The Oklahoma punk scene in the 1990s Mike's love for All and Descendants Favorite record shops around the world Rarest items in Mike's collection His home audio setup for playing records Future plans for All American Rejects in 2025 EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Martin Rev shares stories of the early days of Suicide, the acetates, recording the debut album, audience reactions, continually creating solo music and more. Topics Include: Discussion of Rev's current relationship with vinyl records Early influences on Suicide's sound Inspiration of Tony Williams Rev's transition from drums to electronic instruments Early Suicide performances with minimal equipment Origins of using "punk" term in early marketing Story of "Rocket USA" acetate at Max's Kansas City Henry Rollins acquiring one of the original acetates Recording process of first Suicide album Equipment used: Farfisa organ and Seagram's rhythm machine Creation of first album's cover art Response to negative early reviews Early tours with Elvis Costello & The Clash Audience reactions and controversies during shows Different versions of "Frankie Teardrop" Rev's creative partnership with Alan Vega Gap between Suicide albums Creation of "Clouds of Glory" solo album Current approach to composing music Discussion of "Demolition Nine" album Rev's process for creating new material How familiarity affects perception of one's work Rev's current artistic aspirations Upcoming UK shows and festivals Early Suicide set lists Rev's pre-Suicide musical background The band's evolution from chaos to acceptance Rev's perspective on collaboration Creating without commercial expectations The endless nature of musical discovery Rev's focus on continuing to create new work EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Three vinyl nerds – Billy Fields from Warner Music Group, Dillon Smith of Noble Records and Nate Goyer of The Vinyl Guide - discuss the state of vinyl collecting in the year 2025 - trends, changes, evolution and thoughts and predictions on what's to come in the near future. Topics Include: Introduction of Billy Fields as vinyl expert at Warner Music Group Dillon Smith introduced as Noble Records owner Initial discussion of 2024 vinyl market trends Billy mentions focus on maintaining subscriptions with Third Man Records Discussion of discovering Lee Dorsey records through social media Impact of online discovery versus traditional record store hunting Dillon reflects on personal collection growth in 2024 Store inventory mix discussion: 70% used, 30% new Dillon describes efforts to prevent burnout through regular collection buying Changes in modern vinyl collections coming to market Impact of overpressed modern releases on secondary market UK vinyl market showing strongest growth internationally Release schedule alignment with digital affecting market success Taylor Swift's impact on vinyl sales globally Discussion of fewer bands in current charts versus solo artists Evolution of vinyl market since 2006-2008 Economic factors affecting entertainment spending during tough times Local UK pressing plants helping market stability Changes in used record collections coming to market Impact of deceased collectors' collections entering market Discussion of subscription service impact on used market Original pressings versus reissues value discussion Impact of Tone Poet series on Blue Note original prices Quality improvements in modern pressing techniques Availability of better playback equipment today Discussion of collecting original pressings versus reissues Dillon's perspective on psychopathic collector mentality Voice of America collection acquisition mentioned Discussion of historical pressing quantities versus modern numbers Billy's approach to collecting versus hunting original pressings Impact of audio system quality on listening preferences Youth market engagement with vinyl discussion Different collecting approaches between generations Modern retail challenges with Target/Walmart pricing Discussion of variant pressings and market saturation Impact of FOMO buying on market Sustainability in vinyl production discussion PET vinyl alternatives being developed Plant efficiency improvements and environmental considerations Declining genres discussion - 1950s rock and traditional pop Rising interest in country music records Discussion of 90s country potential on vinyl Garth Brooks box set marketing strategy failure Predictions for 2025 vinyl market Direct-to-consumer strategy concerns Sustainability developments in record pressing Personal collection management strategies Discussion of recent records giving participants "goosebumps" Discussion wrap up Video version available on the Noble Records YouTube channel Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Australian punk pioneer Kim Salmon details his journey from discovering punk in isolated Perth to making extraordinarily rare and collectible records with The Scientists, The Beasts of Bourbon, Smoked Salmon and more! Topics Include: Kim Salmon has new “Smoked Salmon" album coming February 2025 Discovered punk through NME magazine articles in 1975 First heard Ramones after ordering album from Perth record store Formed The Cheap Nasties, one of Perth's first punk bands The Victims formed after watching Cheap Nasties perform Scientists formed when James Baker joined after Victims broke up "Frantic Romantic" single: 1000 copies made on DNA Records Bomp Records in USA ordered 500 copies, never paid Chris Robinson paid $800 for "Frantic Romantic" copy Scientists gained popularity touring Australia's east coast Band appeared on Countdown TV show, refused staged motorcycles Salmon painted original Scientists logo by hand Early Perth punk scene was isolated from eastern Australia Creedence Clearwater Revival influenced young Salmon's musical development Scientists' "Pink Album" recorded as band was breaking up "Weird Love" album re-recorded songs due to copyright issues Numero Group now handles Scientists' reissue campaign More archival Scientists recordings planned for future release Salmon stopped writing songs during Melbourne's 2020 lockdown Recorded pandemic song "Self Replicator" within 5km radius Smoked Salmon started as bushfire fundraiser project Recent Beasts album "Ultimo" features collaborative songwriting James Baker and Salmon still write songs together "Ballad of Rock and Roll" inspired by Mott The Hoople Creates watercolor artwork for Smoked Salmon releases Perth's isolation affected access to new music Scientists performed different styles before settling on sound Currently balancing multiple bands and visual art career Order the new "Smoked Salmon" album from Cheersquad Records EXTENDED, commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8