andrew "falco" falkous discusses the reformation of his band mclusky after a nearly 20-year hiatus, their upcoming album on ipecac recordings, the rare catalogue of vinyl releases and more!

Topics Include:

• falco confirms mclusky's new album "the world is still here and so are we."
• album will be released on may 9th on ipecac recordings.
• falco feels ipecac is the perfect label home for mclusky.
• he hopes this is just the end of "act one" for their reunion.
• falco approaches life expecting problems but finding humor in them.
• humor is essential to mclusky's songs without becoming a joke band.
• falco keeps files of potential song titles for future use.
• songs usually emerge from playing together in the same room.
• first takes often contain the magic that makes songs special.
• falco writes most lyrics but damien wrote lyrics for two songs.
• "your mother is a ballpoint pen thief" came naturally in writing process.
• falco describes songwriting as writing 1000 bad songs to get 10 good ones.
• performing gives falco confidence he doesn't have in other social settings.
• the current mclusky lineup consistently delivers intense live performances.
• "mclusky do dallas" remains their most popular album by far.
• steve albini recorded both "do dallas" and "the difference between me and you..."
• "lightsaber cocksucking blues" started as a throwaway whole lotta rosie parody.
• the line "flying is fearful of me" just emerged while performing.
• "she will only bring you happiness" had radio potential until "sex criminal" line.
• self-sabotage is part of mclusky's essence, even when unintentional.
• falco considers swearing an essential part of rock music.
• australia has been mclusky's strongest market since early in their career.
• melbourne, sydney and brisbane show strongest streaming numbers for mclusky.
• the band has toured australia approximately ten times since 2002.
• prescriptions music is falco's label for future of the left and christian fitness.
• falco considers mclusky "mostly my band" but credits all members' contributions.
• damien sayell (current bassist) recently recovered from a health scare.
• jack egglestone (drummer) has jazz training and remarkable listening skills.
• mclusky reunion began with charity shows for venues like le pub in newport.
• the current lineup feels like a distinct band, not future of the left playing mclusky songs.
• recording the new album was spread across three weekends over 18 months.
• bob weston remastered "mclusky do dallas" giving it a different sheen.
• future of the left albums and more christian fitness reissues are planned.
• their favorite songs on the new album are those recorded most recently.
• the name "mclusky" came from a character in british tv show "grange hill."

order the new mclusky album here

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Damian Kulash of OK Go discusses his evolution from punk music fan, working with Dischord records, and creating boundary-pushing music, vinyl packaging and viral videos

Topics Include:

• New album "And The Adjacent Possible" available for streaming now.
• Discussion about physical media's role in OK Go's output.
• OK Go primarily known for videos that "live in the ether."
• Damian was into physical record packaging during college years.
• First record was Herbie Hancock's "Rockit," bought at Tower Records.
• Young Damian damaged the record trying to scratch like DJ.
• Later played with Herbie Hancock at Obama's 50th birthday party.
• Musical journey from hip-hop through Prince, Beatles, Led Zeppelin.
• DC punk scene was influential, with bands playing in cafeterias.
• Started Level Records at age 15,with funding from Dischord Records.
• Ian MacKaye lent teenager Damian money to start label.
• Level Records produced 7-inches and compilation CDs for friends' bands.
• College made running a record label difficult for Damian.
• Studied art semiotics at Brown University.
• Worked as NPR radio engineer and Photoshop retoucher after college.
• Indifferent to Napster's rise during OK Go's early days.
• Band finances operated like "roadrunner off the cliff" cartoon.
• Discussion about gift economy model working for the band.
• Belief that making things you love matters most, not success.
• Music sometimes gets overshadowed by video's visual impact.
• Videos gave OK Go longevity beyond typical radio-hit bands.
• New album theme explores Stuart Kaufman's "adjacent possible" concept.
• OK Go doesn't have unified sound; band is "like a mixtape."
• Treadmill video was originally made for "nerdiest fans" only.
• Videos aim to create real events that connect with viewers.
• Physical pressings of OK Go albums are costly in secondary market.
• New vinyl features elaborate pop-up sphere in custom packaging.
• Hidden track on second album deliberately blocked copy-protection software.
• Record label "Paracadute" means parachute in Italian.
• Ten-year album gap wasn't intentional; life and pandemic happened.
• Directed "The Beanie Bubble" film with his wife for Apple.
• Film directing different from making music videos; less adrenaline-driven.
• Video production typically takes 3-6 months from concept to completion.
• Some video ideas abandoned when technology made them commonplace.

Order the OK Go LP "And The Adjacent Possible" on vinyl here

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Private Function frontman and instigator Chris Penney discusses the rare, collectable and controversial vinyl art of the band and reveals some details of their new album.

Topics Include:

• Chris Penney injured himself at a house party.
• Private Function opened for Green Day recently.
• Bassist Milla broke her ACL during a show.
• Band got stuck in a cyclone for six days.
• New album has a shrugging emoji as its title.
• Album features 2,590 microscopic album covers on the sleeve.
• Each album copy comes with a magnifying glass.
• Album name is hidden somewhere in the artwork.
• Available for pre-order April 23, shipping May 23.
• Being released in Australia, America, and Europe.
• Chris started in a band called Mesa Costa.
• Private Function began with demo recordings at home.
• First release: "Six Smoking Songs" cassette (100 copies).
• Reissued with "bin night" sounds layered over it.
• Another reissue with Christmas carol audio added.
• Released fake pregnancy tests as band merchandise.
• "St. Anger" album named after controversial Metallica album.
• Had to change Spotify artwork due to Metallica similarity.
• Released an obscure 8-track version of the album.
• "Whose Line Is It Anyway?" album had Queen-themed artwork.
• Special "Mystery Bag" vinyl contained bags resembling drugs.
• Their song "Aubrey Wodonga" became strangely popular in Spain.
• Released "The First Two Tapes on a 12-inch."
• Included Subway job applications with the album.
• 10 copies included handwritten letters of recommendation for Subway.
• "370HSSV0773H" album featured scratch-off lottery ticket material.
• Winner received $2,999 and their face on reprints.
• Needed special gambling exemption to sell in South Australia.
• Special "gold" edition contained the band members' urine.
• Another special edition contained beer-making ingredients.
• Upcoming album will have 100 special variant copies.
• Chris was banned from America for six years.
• Recently received American visa for touring.
• Australian tour in June, European tour in July.
• Planning potential U.S. tour later this year.

Preorder the new Private Function album here

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TV writer & Record Collector Andrew Reich discusses his decade-long journey creating a documentary about Los Angeles music legends Redd Kross and the McDonald brothers' musical partnership.

Topics Include:

• How Andrew made the leap from TV writing to filmmaking.
• Wife's suggestion sparked the documentary idea.
• Heard Steve McDonald's abduction story on a podcast.
• TV writing different from documentary making - can't control narrative.
• Documentary structure doesn't follow traditional storytelling beats.
• Director learned new storytelling techniques through editing.
• Documentary required extensive collaboration with editor Aaron Elders.
• Filming spanned approximately 10 years (2015-2025).
• Jeff McDonald's hairstyle changed dramatically throughout filming.
• Andrew discovered Redd Kross through "Teen Babes from Monsanto" album.
• Became fan at 13, requesting records for radio station.
• Redd Kross connects diverse bands from Black Flag to Go-Go's.
• Director considers Redd Kross one of Los Angeles' greatest bands.
• Documentary coincided with band's current renaissance and revival.
• Making the movie spurred new Redd Kross creative activity.
• Band created "Born Innocent" song specifically for the film.
• Initial filming was sporadic until Kickstarter provided funding.
• Created oral history structure from interview transcripts.
• Collected extensive archival material throughout production process.
• Film deliberately kept under 90 minutes for accessibility.
• Cut "Desperate Teenage Love Dolls" section despite importance.
• Film focuses on brothers' relationship rather than complete history.
• Steve's abduction possibly influenced band's fantasy/dress-up aesthetic.
• Andrew admires documentaries like "Anvil" and "Dig."
• Avoids rock critics in documentaries, preferring eyewitness accounts.
• Parents' interview about abduction was emotionally challenging.
• Wishes he had footage of certain legendary shows.
• New photographs emerged after film completion for eventual Blu-ray.
• Describes record collecting journey starting in New Jersey.
• Now focuses on first pressings of albums he loves.
• Sold unnecessary records to fund first pressing purchases.
• Australian bands currently producing best new punk music.
• Prefers seeing smaller shows over expensive arena concerts.
• Purchased rare Redd Kross/White Flag split single.
• Film rentals now available worldwide at reddkrossfilm.com/rent

Rent "Born Innocent: The Redd Kross Story" here.

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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.

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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

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Photo by Jean-Louis Atlan

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Replay of our 2024 interview with hardore legend Al Barile of SSD and X-Claim! Records.

Photos by Alison Braun

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Society System Decontrol (SSD) self-released several landmark hardcore punk records in the early 80s. Out of print for over 4 decades, SSD has only recently reissued their two masterpieces "The Kids Will Have Their Say" and "Get It Away" on vinyl. 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.

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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.

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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

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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

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