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

Rhino Records co-founder Richard Foos reveals how a scrappy record shop invented reissue culture, chasing master tapes, getting arrested for selling bootleg records, memories of Frank Zappa, Darby Crash and more. Topics Include: Foos discusses being called originator of reissue culture, credits early employee's phrase. Started as a Los Angeles record shop in 1973. Recalls how scarce and cheap rare records were before collecting culture existed. Describes hunting records at warehouses, swap meets, and Salvation Army stores. Notes punk rock's DIY ethos sparked broader music fandom and collecting. Rhino's shop became a punk hangout; Darby Crash was banned for chaos. Explains how punk bands pressed 45s since albums were too costly. James Brown's out-of-print catalog became Rhino's breakthrough first major reissue. Details licensing process: major labels' passive licensing departments simply approved requests. Rhino insisted on original master tapes, never secondary sources or stampers. Engineer Bill Englott restored recordings purely, never altering original mixes. Some projects stalled without usable masters, like a punk box set. Nuggets compilation missed "96 Tears" for years due to licensing issues. Foos explains Rhino's sequencing philosophy: welcoming newcomers, not strict chronology. Doo-wop box set, initially unpopular internally, became Rhino's best-selling release. Discusses 20-25 year nostalgia cycles driving collectibility of past decades' music. Notes scarce 2000s vinyl pressings now make that era highly collectible. Rhino focused on best listening experience over rarities for rarity's sake. Foos recounts pre-Rhino bootlegging ties and friendship with bootleg artist Bill Stout. Reveals he was arrested for selling bootlegs during a warehouse sale. Discusses how record labels misunderstood fandom, limiting artist output and bootlegs. Reflects on vinyl's spiritual appeal despite many records never being played. Compares cassette-era scarcity to streaming's shifting availability of licensed content. Predicts streaming remains the future, praises YouTube's vast musical accessibility. Doubts catalog values will keep rising, questions which artists endure historically. Criticizes a post-Rhino "L.A. Nuggets" box set for prioritizing rarity over listenability. Recalls Kinky Friedman rejecting a hits compilation over disliking his originals. Explains publishing hurdles licensing music for Freaks and Geeks and WKRP DVDs. Describes working with Frank Zappa on Beat the Boots and elaborate packaging. Shares current work: Shout Factory, wife's Narrative Method, and a new podcast. 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 Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

John McCrea of CAKE discusses their elusive catalogue on vinyl, rarities of the band, upcoming Australian tour, new recordings, record nerdery and more. Tickets & info on CAKE's Australian tour is here Topics Include: John McCrae discusses collecting records, revisiting old favorites like Perez Prado He describes "chasing goosebumps" — the feeling of rediscovering great music Shares vivid teenage memory seeing Led Zeppelin at Knebworth, England Recalls dancing to washing machine rinse cycles as a toddler Names early formative records: Beatles, Bob Dylan, Woody Guthrie, Arlo Guthrie His parents played accordion and folk guitar, shaping his musicality Discusses his dad's Eastern European minor-key accordion versus polka music Talks about "Rancho Seco," his first recorded song, a protest track Song addressed a nuclear plant illegally releasing radioactive steam locally Connects Dylan influence and poets to his built-in social justice streak Reflects on growing up near Sacramento, Berkeley, and Nevada City, California Compares old Bay Area culture to today's flashier Silicon Valley wealth Describes Cake's early '90s formation, self-financed four-song EP release EP funded through show earnings and merch, later expanded into album Album got European distribution and unexpected early popularity in France "Rock and Roll Lifestyle" got college radio play before wider fame Cake signed to Capricorn Records, a small Southern rock label East Bay Ray advised McCrea to fight for keeping album masters McCrae says most bands don't retain their masters like Cake did Vinyl of Cake albums historically hard to find, tied up licensing Discusses 2014 box set now reselling for $700–$1,000 secondhand New Cake album is finished, awaiting mixing, targeted early 2027 Explains he avoids forced album themes, focuses song by song Reflects on why Cake albums come infrequently, citing family, industry fatigue Criticizes modern music industry as increasingly exploitative and financially unsustainable Explains reduced touring due to travel dislike and environmental concerns Considers eco-friendly vinyl options and shifting kids' preference toward CDs Discusses Cake's DIY visual identity, homemade posters, and lino-cut aesthetic Talks rare live vinyl pressings, including $300 Crystal Palace release Wraps up promoting Cake's Australian tour dates and Sydney ticket sales 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 Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Comedian Shapel Lacey discusses the power of music, inspiration and how a 1981 Black Flag video sparked a lifelong punk obsession that shaped his identity, art, and resilience. Shapel Lacey tour dates  |  comedy special  |  Mad Peaceful band Topics Include: Talks local record stores, Amoeba, old Sunset location Discovers deep-cut Swedish hardcore at Eastside Records, Arizona Reflects on pre-streaming era, hunting records in person Notices rosary on Crash's grave, debates his beliefs Traces punk discovery to junior high guitar class Friend introduces him to ska punk, then Black Flag Watches 1981 Target video of Rollins-era Black Flag Rise Above vocals trigger emotional, tearful revelation Explains Black Flag filled a void from turbulent childhood Contrasts Korn/Deftones' anger with punk's empowering message Credits Rollins with teaching self-understanding and personal growth Recalls performing onstage with Rollins at Ohio festival Anger management counselor used Rollins to redirect his aggression Growing up Black, punk, skateboarding in Arizona desert Faced criticism from all sides for musical taste Explored funk, hip-hop, grunge without genre boundaries Connects N.W.A. and Black Flag's shared themes of injustice Discusses punk and hip-hop confronting police brutality parallels Champions open-mindedness across seemingly opposite music scenes Describes local DIY scene at Mesa's Nile basement Panhandled for five dollars to attend all-ages shows Cheerleading came after punk, called "most punk rock" act Discusses tattoos, straight-edge culture, Minor Threat connection Shares personal encounters meeting Henry Rollins and Ian MacKaye Praises Rollins and MacKaye's discipline, historical knowledge, friendship Draws parallels between punk and comedy's DIY authenticity Talks band Mad Peaceful, growing sold-out comedy success Discusses Australia tour interest, interview wrap up 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 Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Everlast traces his journey from Rhyme Syndicate graffiti kid to House of Pain to solo artist, revealing how Jump Around's success gave him the freedom to never chase a hit again. New LP "Embers to Ashes" available here Topics Include: Everlast's new album Embers to Ashes drops August 28th with vinyl available He collects art and guitars, not records — leaves vinyl to the DJs His guitar collection spans vintage Fender Strats, Gretsch Falcons, and Martin acoustics Grew up immersed in graffiti culture, his kids are graffiti artists too His house is essentially a private gallery of graffiti and street art Music was always on — mom loved R&B and doo-wop, dad loved Southern rock His dad had a guitar; Everlast taught himself basic chords by watching TV Hip hop took over at 15, but guitar quietly stayed in his life He plays guitar like a drummer — rhythm-first, not melody-first The breakthrough came post-House of Pain: suddenly he could play and sing simultaneously Whitey Ford Sings the Blues was conceived as hip hop — "What It's Like" changed everything Jump Around's success gave him the financial freedom to never chase it again He and Muggs deliberately made each subsequent record darker and more distant from it Soul Assassins kept management out of sessions — artistic control was non-negotiable His first ever rhyme came from tagging alongside Divine Styler and the Rhyme Syndicate crew Danny Boy introduced him to punk — Bad Brains and the LA hardcore scene His debut solo record split between pure artistic vision and label-pleasing compromises Tommy Boy won his loyalty over bigger-money offers purely on cultural credibility Just Another Victim with Helmet emerged organically on the Judgment Night soundtrack Lethal sampled and slowed Helmet's track, then sandwiched both versions together After eight-plus years away, Yellow Wolf simply asked "why don't you make a record?" COVID, divorce, and losing his house shaped the emotional landscape of the new album Yellow Wolf pushed him to fully sing — his strongest vocal performance on record A near-miss connection to the Bataclan attack was redirected by a last-minute camera detour He's got shows booked and eyes a final solo acoustic tour as his ultimate bookend 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 Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide