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

• Ep491: Aussie Legend Tex Perkins - The Cruel Sea, The Beasts & Beyond

  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

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• Ep490: Saving Vinyl - Rescuing Australia's Last Record Press

  Despite having no manufacturing experience, Nick Phillips (The Breadmakers, Corduroy Records) impulsively bought Australia's last vinyl pressing equipment, not only saving it from the scrap heap, but creating an Australian vinyl legacy and spirit that continues through today's modern pressing plants. Topics Include: Introduction of Nick Phillips and his vinyl industry background. Early records on Mr Spaceman – label-mates with Cosmic Psychos How Nick impulsively bought a record factory in Sydney. Nick had no manufacturing experience before buying the equipment. The equipment cost approximately $6,000 in 1989-1990. Nick moved the vinyl pressing equipment to Melbourne. Finding an affordable factory space in McKinnon, Melbourne. The labor-intensive nature of hand-pressed vinyl record production. Description of the vinyl manufacturing process with electroplating. Need to import vinyl pellets from California after local supply ended. The machines were 1960s Swedish Alpha Toolex presses. Typical daily production of 500 albums or 800 seven-inches. Discussion of major artists pressed at Corduroy Records. Direct-to-acetate recordings as a significant part of operations. Sonic Youth's visit to record direct-to-acetate - "Melbourne Direct" record The White Stripes recording session that didn't go smoothly. How the White Stripes acetates were transferred to Third Man Records Corduroy's unusual business model of charging majors more. Employee requirement to run their own record labels. Nick's perspective on running a business more for passion. The origin of the Corduroy Records name. Why they added "& Detective Agency" to the business name. Their one failed detective case involving counterfeit Nike socks. Financial challenges of running the pressing plant. How EMI and other labels sued Corduroy for copyright infringement. The factory relocation costs that contributed to closing. Selling the equipment to Obese Records/future Zenith Records. How Hilltop Hoods went from customers to part-owners. The machines are still operating today at Zenith Records. Nick's band The Breadmakers has been active for 35 years. The Breadmakers' consistent 1960s R&B sound over decades. The new Breadmakers album "Lonesome Sundown." Nick's satisfaction at keeping vinyl alive in Australia. Directing listeners to thebreadmakers.bandcamp.com for music. Interview wrap up 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

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• Ep489: Wolfgang Flür (ex Kraftwerk) & Peter Duggal

  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

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• Ep488: Mike Kennerty - Record Collector - All American Rejects

  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

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• Ep487: Martin Rev - The Early Days of Suicide & beyond

  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

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