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 up

Vinyl copies of Yesness "See You at the Solipsist Convention" can be ordered here.

Photo by Berto Campus

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

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 up

See Sweet in Australia, here am the tickets & info.

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

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 up

See Superchunk in Australia, here be the tickets

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

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

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

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 up

Order "Pipe-Defy" vinyl 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

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 up

Check Unwound Live dates & tickets

Order Unwound vinyl

Explore the Unwound Archive

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

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 up

Pre-order "I Want Blood" vinyl 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

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

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

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 up

Learn about Steve's releases and tours 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

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 up

Aussies get your TMBG tickets 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

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 up

Order "Chicago at the Kennedy Center" LP set 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