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

In an extraordinarily rare interview, artist Raymond Pettibon discusses his journey, from early punk rock works to present day artistic themes, technique and rhythms, the Getty archives and more.

Topics Include:

• Raymond Pettibon has been drawing constantly since childhood, "always with a pen in hand"
• Started with crayons, pastels, pencil - India ink came later as too messy
• Early influences included Albrecht Dürer, etchings, and comic book art equally
• Self-taught artist who learned through trial and error, never attended art school
• Studied economics in college, bringing analytical thinking to his art practice
• Approaches work as fine art, not commercial art, values creative freedom
• Rarely takes commissions - the more constraints, the less he likes it
• Band artwork usually selected from existing drawings rather than commissioned pieces
• Black Flag's "Nervous Breakdown" images came from his "Captive Chains" book
• Artwork inspired by "Blackboard Jungle" film - students destroying teacher's jazz records
• Has experience teaching, can identify with teacher-student conflicts from that period
• Left SST Records in 1985-86 due to oppressive environment
• Describes certain subjects he returns to repeatedly over the decades
• Works on multiple drawings simultaneously, some remaining unfinished for years
• Enters a meditative "fugue state" when drawing or writing
• Never experiences artist's block - blank paper doesn't intimidate him
• Believes he can write about any subject with natural fluency
• Doesn't plan series - they develop organically through returning to themes
• Sometimes works directly on gallery walls during exhibitions for coherence
• Used to work all day and night when deeply engaged
• Dislikes deadlines - they make work harder, not easier for him
• Sees deadlines as triggering psychological rebellion despite wanting to please collectors
• Hates when people suggest ideas - it "breaks the spell"
• Admits he's not the greatest draftsman but learned on the job
• Recently donated personal archive to Getty Research Institute for scholarly access
• Participated in Getty's research scholar program, one artist among academics
• Program reconnected him with economics after years away from the discipline
• Still has unfinished drawings in studio, some over 30 years old
• Currently creating less due to frustrations with art world dynamics
• Values complete artistic freedom - no curator has ever asked him to change

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

Photo by John Newsom

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Toody Cole of Dead Moon discusses their vinyl rarities, the DIY ethic of the band, owning a mono cutting lathe, refusing major labels, inspiring a generation of musicians around the world.

DeadMoonUSA.com | Zipper LP Reissue | Melbourne 2025 shows

Topics Include:

• Toody Cole rushing to airport to retrieve guitar from Spain before Australian tour
• November 2025 Melbourne shows - jumping on Jenny Don't and the Spurs tour dates
• First time in New Zealand described as most fun tour ever - prehistoric landscapes
• Missed Nirvana tour opportunity due to Fred's rule: never cancel committed gigs
• Fred restored a 1954 mono cutting lathe from pieces using xeroxed manual
• Machine had tubes like mason jars that dimmed house lights when powered up
• First 45 cut on the lathe was "Hey Joe" and "Parchment Farm"
• The Weeds played Vegas Teen Beat Club in the hullabaloo/shindig TV era
• Teen Beat Records pressing was probably only 300-500 copies maximum
• Fred never owned original Weeds single - got it back from younger sister
• Lollipop Shop nightmare: Fred sold publishing for $1, forced into pink sweater
• Manager claimed Fred Cole was stage name, real name "Freddy Colletti" - totally false
• Zipper lived in their house, practiced in basement - "70s butt rock" era
• Captain Whizeagle store name came from Fred's children's story about Snake Troopers
• 1970 Yukon homesteading attempt broke down outside Whitehorse, changed everything
• Dead Moon started after splitting business partnership, opening Tombstone Music in 1986
• Kelly Manahan drew logo through dozen iterations - Fred kept demanding "gnarlier!"
• Fred hand-cut moon into graveyard photo for first album cover artwork
• All early Dead Moon records were mono because lathe couldn't cut stereo
• Major labels approached during grunge explosion - Fred refused after Lollipop Shop experience
• Seattle grunge bands were young kids attending Dead Moon's late-80s shows
• Fred embarrassed by "godfather of grunge" label despite obvious influence on scene
• Everything DIY: owned stores, cut masters, designed covers, kept all control
• Portland celebrates Dead Moon Night annually on October 5th with cover bands
• Fred handpicked songs for Echoes compilation - now 4LP vinyl box set
• 2017 final European tour with Fred already sick from bone cancer
• Fred passed November 2017 leaving unfinished songs Toody can only hear mentally
• House is unofficial Dead Moon museum: lathe, stampers, posters, worn cowboy boots
• New documentary coming with backstage footage showing band's view of audiences
• Toody's favorite Dead Moon song "My Escape" was never performed live

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

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Record nerd Harry Portnof started Greenway Records, revived Reverb Appreciation Society, and now leads Levitation's label operations - today we discuss the elaborate vinyl variants and the clear passion for music the Levitation festival inspires.

Topics Include:

• Harry Portnof runs Greenway Records, Levitation, and Reverberation Appreciation Society labels.
• Dad blasted southern rock and Allman Brothers at excessive volumes throughout childhood.
• Discovered dad's CD collection, dove deep into classic rock discographies.
• Taught himself guitar in high school after getting kicked off tennis team.
• Found grandmother's records in attic with broken turntable playing in mono.
• Mesmerized by grooves holding information, felt more futuristic than digital files.
• Got Project turntable in college, started seriously collecting vinyl records.
• College dorm had file sharing programs to download everyone's music collections.
• Became obsessed with seven-inch singles and exclusive B-side hunting on Discogs.
• Studied accounting, got CPA, worked Manhattan while spending money on records.
• Brooklyn DIY scene 2010-12: Death by Audio, Glasslands, 285 Kent venues thriving.
• Third Man Records inspired with collectible releases, impossible to get from New York.
• Playing in surf rock cover band The Midnight Snacks around Long Island.
• Started Greenway with friend Joey's pop punk band, 300 hand-screened seven-inches sold.
• Online forum of ten new labels supporting each other, Greenway only one remaining.
• Artist Dan Curran created lino cut covers for first thirty Greenway releases.
• Met LA Witch outside Music Hall, promised European tour records in two months.
• LA Witch success led to more touring bands wanting Greenway releases.
• Met Levitation founder Rob Fitzpatrick backstage at Desert Daze festival in California.
• Pandemic hit, launched Levitation Sessions producing concert films with thirty bands.
• Suddenly working with dream artists like Ty Segall and The Oh Sees.
• Levitation started as Austin Psych Fest in 2008, became major three-day festival.
• Flash flood disaster canceled festival one year despite bands and fans arriving.
• Austin's psych legacy rooted in 13th Floor Elevators and Rocky Erickson era.
• Levitation Sessions are filmed concerts; Live at Levitation are actual festival recordings.
• King Gizzard bootleg program allows labels to press their live shows freely.
• Learned vinyl manufacturing hands-on at New Jersey plant, experimenting with color pours.
• Most proud of Frankie and the Witch Fingers KEXP recording for Record Store Day.
• Market tightened post-pandemic, had to adjust pressing quantities and strategy accordingly.
• Creates regional variants for Australia, UK, EU retailers using Precision Record Pressing.

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

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Paul Riedl and Morris Kolontyrsky of Blood Incantation discuss the incredible 1st year of the album "Absolute Elsewhere", how it's transformed their lives and art, the creation of the record, the band's deep interest in vinyl collecting and lots more.

Enter to win a signed vinyl copy of "Absolute Elsewhere" by becoming a sponsor at Patreon.com/VinylGuide

Topics Include:

• Absolute Elsewhere transformed their lives: bigger venues, mainstream press, entirely new audiences.
• Album allows new stage production; band already writing faster than ever before.
• Now headlining shows in US; Europe tours were always headliners, just smaller.
• Forbes called it one of most important death metal records in history.
• Record serves as gateway, exposing listeners to extreme metal and progressive influences.
• Vinyl LP format is their artistic endpoint; last two albums are side-long tracks.
• Twenty-minute sides provide perfect breathing room for their narrative-driven compositions and riffs.
• Maxed out Pro Tools voices at Hansa Studios during Absolute Elsewhere recording sessions.
• First three records recorded live on analog tape; complete takes, minimal punch-ins.
• Absolute Elsewhere used hybrid approach: drums on tape, then built digitally with Arthur.
• Recording live on tape creates collective synergy and tension they want captured.
• Band uses Oblique Strategies cards; asks "what would Trey, Chuck, or Eno do?"
• Paul designs all layouts; collects test pressings and creates prototype covers himself.
• Searching for roughly 200 more records; has specific rare pressings in mind.
• Weakling's Dead as Dreams LP extremely rare; basement flood destroyed most copies.
• Double album versus double LP distinction: complementary discs versus interrupted single work.
• Songs start with riffs that suggest where to go; excitable band keeps moving.
• Timewave Zero was critical palate cleanser enabling more holistic collaborative approach forward.
• Tangerine Dream collaboration manifested unexpectedly; Thorsten used vintage Edgar Froese Mellotron samples.
• Future dreams include Brian Eno, Steve Roach; already have secret collaborations lined up.

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

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• Support the show at Patreon.com/VinylGuide

Mastering Engineer Dave Gardner & Audio Archivist Catherine Vericolli discuss the preservation of the Westbound Records audio catalogue, including the masters of legendary recordings by Funkadelic, The Counts, Ohio Players & more.

Topics Include:

• Dave Gardner (mastering engineer) and Catherine Vericoli (archivist) introduce their specialized roles
• Mastering serves as link between creative process and manufacturing standards
• Catherine transfers analog tapes to highest possible digital quality preservation
• Physical restoration work includes extensive mold and splice remediation tasks
• Much archival work involves "audio archaeology" detective work with clues
• Working backwards from incomplete information when documentation is missing completely
• Common assumption that old records were always done "the right way"
• Reality reveals beloved records often weren't made using proper methods
• Got rare access to examine entire Westbound Records collection together
• Westbound Records started late 1960s by distributor Armin Bolodian in Detroit
• Detroit-based independent label achieved regional success with multiple hit records
• Funkadelic, Ohio Players, Detroit Emeralds were among their major successful acts
• Complete catalog reissue approach rather than cherry-picking just popular hits
• Assets moved between multiple locations over decades, not everything returned
• Found various generations and copies of tapes for each release
• Maggot Brain original masters were believed to be permanently missing
• Discovery of missing masters hidden in completely unmarked white archive boxes
• Original tape playback speeds rarely match speeds of vinyl releases
• Spent entire week meticulously fine-tuning correct playback speeds for accuracy
• Academic ethnomusicologist confirmed musical key was wrong on commercial releases
• Many recent European reissues contain fundamentally inaccurate speed and sound
• Double 45 RPM format avoids sonic compromises required for long sides
• 27-minute album sides on 33 RPM required major audio quality sacrifices
• All-analog cutting process preserves original sound character without digital conversion
• Unreleased material exists primarily in unprocessed multitrack tape format only
• Dennis Coffey played guitar on many more Funkadelic recordings than known
• Analog tape degradation accelerating rapidly, especially problematic for digital formats
• Cultural preservation mission drives their passionate collaborative archival restoration work
• Asset paranoia and trust issues affect access to important historical recordings
• Primary motivation remains saving irreplaceable music for all future generations

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

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Kevin Smith and Josh Roush discuss punk cinema and share how the DIY ethos of punk rock influenced both their filmmaking careers and their lifelong love of music and vinyl records.

September 20 at the Punk Rock Museum - book now!

Topics Include:

• Josh Roush introduces his punk rock film "Wrong Reasons" screening at Punk Rock Museum
• Film described as dramedy about fan kidnapping singer to clean her up
• Josh discovered punk through Rancid track in Beavis and Butthead movie
• Kevin Smith joins, reveals his rebellion was hip hop not punk rock
• Kevin explains his DIY punk ethos despite loving Run DMC and Public Enemy
• Jason Reitman told Kevin that "Clerks" is essentially a punk rock song
• Kevin compares his film career to Anthrax (the band not the disease)
• Josh wrote "Wrong Reasons" for his love of punk rock
• Discussion of Punk Rock Museum displays including Lemmy's boots and Germs footage
• John Hughes soundtracks praised for passionate music curation and detailed planning
• Kevin reveals his vinyl collection started with father's stolen postal records
• Heavy Metal Parking Lot documentary celebrated as authentic snapshot of 1980s culture
• Josh secured soundtrack through Tim Armstrong connections, most artists said yes immediately
• Licensing music from Black Flag, The Wipers, L7 and more.
• Kevin shares $400,000 Fleetwood Mac "Tusk" song licensing horror story from film
• Lindsay Buckingham put "fuck you" price on track, producers paid anyway
• Vinyl collecting discussed as communal church-like experience for non-religious people
• Josh rips personal vinyl at high quality for authentic movie soundtrack pops
• September 20th museum screening includes Q&A, signed posters, and bar party

High resolution version of this podcast is available at: www.Patreon.com/VinylGuide

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• Support the show at Patreon.com/VinylGuide

Hüsker Dü & UltraBomb bassist Greg Norton discusses the Miracle Year of 1985, vinyl rarities, the archive fire, Reflex records, the making of Zen Arcade, the Punk Rock Museum and more

See Greg at the Punk Rock Museum Sept 9 | Preorder "Hüsker Dü - The Miracle Years" here

Topics Include:

• Greg Norton announces September 9th Punk Rock Museum guided tour and performance
• Norton discusses favorite museum pieces including Joe Strummer's guitar and burned DOA Stratocaster
• Band's archive mostly intact despite Grant Hart's 2011 house fire destroying materials
• Norton used to own 7,000 vinyl records but downsized after difficult moves
• Hüsker Dü formed through Minneapolis record store connections at Melody Lane and Cheapo
• Band members met when Bob Mould heard Grant Hart blasting Ramones music
• Northern Lights record store basement became their rehearsal space after hours
• Twin Tone rejected their demo, leading to self-releasing on Reflex Records
• Band assembled and sold first singles themselves, no distribution deals initially
• BREAKING NEWS: Numero Group announces "Hüsker Dü 1985: The Miracle Year" box set
• Previously unreleased First Avenue live recording from January 1985 finally gets release
• 1985 was pivotal year with 150 shows, multiple album releases across continents
• Band road-tested new songs before recording, sometimes writing during soundchecks
• Most basic tracks recorded in one or two takes maximum
• Zen Arcade conceived as rock opera double album from the beginning
• Minutemen rushed Double Nickels release to match Zen Arcade's double format
• Producer Spot mentored Hart and Mould while engineering at Total Access Studios
• Jello Biafra praised Zen Arcade as bringing "self-indulgence back to rock"
• Current band Ultra Bomb working on third album with rare vinyl issues
• Norton hopes to finally tour Australia after decades of missed opportunities

Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide

Photos by @insomniac199

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Shooter Jennings reveals the story of hundreds of unreleased recordings his father Waylon made between 1974-1984, including stunning covers now being released as "Songbird" - plus more musical stories from the lives of the Jennings family.

Order the new "Songbird" LP here.

Topics Include:

• Shooter Jennings discusses upcoming Songbird release featuring his late father Waylon's unfinished recordings
• Most songs were actually complete with vocals and instruments already recorded professionally
• Waylon privately recorded after 1974 RCA battle, keeping hundreds of tapes unlabeled
• Tapes digitized in 2008 but sat untouched until Shooter systematically catalogued everything recently
• Discovery process was emotional journey revealing Waylon's constant studio experimentation and joy
• Found treasure trove including Fleetwood Mac's "Songbird" cover and multiple complete albums worth
• Shooter mixed everything on vintage 1976 analog console maintaining authentic original sound
• Three planned album releases starting with Songbird, featuring different themes and flavors
• Tony Joe White plays harmonica, Jessi Colter sings, original band members returned
• Cataloging required detective work, Googling lyrics, consulting surviving band members for identification
• Growing up as Waylon's son meant different childhood, touring summers, recognizing fame
• Family record collection included Beatles, Harry Nilsson, later Waylon bought entire collections
• Teenage Shooter brought home Nine Inch Nails, Nirvana; parents showed concern but support
• Waylon's deep friendship with Buddy Holly, plane crash guilt haunted him for years
• Eventually found closure visiting crash site, could finally look at wreckage photos
• Parents advised being authentic, not copying others; mother worried about rough crowd
• Shooter's career shows risk-taking from country to experimental electronic and industrial music
• Produced diverse artists from Duff McKagan to Marilyn Manson, always seeking creative challenges
• Early collaboration with father on Fenixon project mixed country with industrial influences
• Vinyl remains important, frequent Amoeba Records visits, special Record Store Day releases planned

Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide

• Apple: https://tinyurl.com/tvg-ios
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• Support the show at Patreon.com/VinylGuide

Australian guitarist Davey Lane discusses his new album 'Finally, a Party Record', joining You Am I at 18, meeting Paul McCartney & nerding out on vinyl!

Listen to the new album here.

Topics Include:

• Davey Lane discusses his new album "Finally, a Party Record" and the ironic title choice
• Originally titled "The Great Unraveling" but changed to something more approachable and chipper
• Despite upbeat title, songs deal with dark subject matter that inspires his songwriting
• Finding peace with mental state and place in world as he's gotten older
• Always includes glimmer of optimism even when writing about romantic catastrophes going wrong
• Makes music as compulsion, not for career goals - realistic about posthumous appreciation
• Big Star, Nick Drake - artists appreciated later in life
• Avid record collector who browses sections aimlessly rather than shopping with lists
• Discovers new bands like Comets on Fire by hearing them playing in record stores
• Vinyl is primary listening format - meditative experience that keeps him focused and level
• Thinks about album sequencing early, including crossfades between songs on new record
• Beatles were gateway drug, fascinated by production techniques on Sgt Pepper's at age seven
• Met Paul McCartney in 2017 backstage in Melbourne through Jimmy Barnes and Michael Gudinski
• Took Valium beforehand, talked about McCartney's jacket instead of asking musical questions
• Started transcribing You Am I songs as teenager, sent tabs to drummer Rusty
• Got invited on stage at 16 to play with You Am I at all-ages show
• Returned to high school as local hero after performing with established rock band
• Tim Rogers called offering solo tour opportunity, left university after two days to tour
• Officially joined You Am I in 1999 at age 18 after proving compatibility on tour
• Took years to feel like full band member rather than nervous new guy
• Learned importance of authenticity over networking and career-focused schmoozing in music industry
• Collaborated on The Rites project covering Stevie Wright's "Evie" to raise money for legend
• Recorded with Saints' Chris Bailey on what became his final album before passing
• Created experimental Dual Monophonic vinyl with Tim Rogers and King Gizzard's Stu McKenzie
• Each vinyl channel contains different arrangement of same song, can be heard separately
• Technical challenges getting proper stereo separation on vinyl pressing required multiple attempts
• New album on Cheer Squad Records features striking red and yellow vinyl pressing
• Cover art deliberately references Rod Stewart despite not particularly liking that album
• Record designed to catch browser's eye in record stores like albums that attracted him
• Interview wrap up

Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide

• Apple: https://tinyurl.com/tvg-ios
• Spotify: https://tinyurl.com/tvg-spot
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• Support the show at Patreon.com/VinylGuide

Lifelong Elvis collector Ian McQuillan discusses the rarest records of Elvis Presley - from Sun Records worth $10,000+, international rarities, even shares insider tips for spotting counterfeits, and explains why young collectors are driving a thriving market for the King's rarest vinyl.

Topics Include:

• Ian McQuillan introduces himself as 55-year Elvis fan since age 2
• Scottish parents in New Zealand exposed him to Elvis on record player
• "Big Hunk of Love" was his first memorable Elvis song obsession
• RCA distributed Elvis records globally, making them widely available worldwide
• Elvis market remains strong while other 50s rockabilly artists declined significantly
• Elvis cornered teenage markets in UK, Australia, New Zealand more than US
• Parkes, Australia hosts massive annual Elvis festival with 20,000+ attendees
• Elvis Week celebration started small, now draws 50,000+ fans to Memphis
• Elvis has bigger catalog depth than any other recording artist
• Sun Records represent collectible pinnacle - only five official 45/78 releases
• 78rpm records rarer due to shellac brittleness, 95% destroyed over time
• Sun 209 "That's All Right" commands $10,000-12,000 in mint condition
• Sam Phillips used multiple pressing plants, creating interesting variants and rarities
• Initial Sun pressings probably 20,000-30,000 copies, reaching 200,000 total eventually
• Early distribution concentrated in American South, spreading through Elvis touring
• Promotional Sun records exist with distinctive red stamps, worth significant premiums
• Jack White famously paid $300,000 for unreleased Elvis acetate recording
• RCA reissues sound much cleaner than original hissy Sun pressings
• Sam Phillips likely pressed extra inventory after selling Elvis to RCA
• Counterfeit Sun records identifiable by shiny vinyl, wrong dates, label gaps
• Pre-army Elvis albums (1954-1960) remain most collectible among LP collectors
• SPD promotional EPs from first album worth $1,200-4,000 in good condition
• Australian gold label first album worth $1,500-2,000, extremely hard to find
• Colored vinyl "Moody Blue" pressings command $2,000-3,000 from collectors
• 8-tracks, reels, cassettes now collectible after being worthless for decades
• Follow That Dream label produces high-quality Elvis reissues for serious fans
• New Elvis footage and recordings still surface regularly from private collections
• Young professionals in 20s-40s driving current strong collector market demand
• Elvis Week features conventions, tributes, candlelight vigil at Graceland annually
• Colonel Parker's merchandising legacy created massive collectible memorabilia market today

Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide

• Apple: https://tinyurl.com/tvg-ios
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• Support the show at Patreon.com/VinylGuide