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

The legend himself Jack Douglas (1945-2026) shares stories from five decades of rock history — from producing John Lennon's final album to the memories Aerosmith, Cheap Trick, The Who, and his recent production of Silverplanes.
Topics Include:
Jack Douglas joins Nate from a snowy driveway, cigar in hand.
Silverplanes' debut album Airbus is finally releasing after years of delays.
Jack met Silverplanes' Aaron Smart through his college-age son.
Aaron turned out to own the Sunset Boulevard studio Jack had worked in.
Jeff Emerick mixed the album shortly before his sudden death in 2018.
The pandemic added two more years of delay to the release.
Jack and Aaron are now label partners with New York real estate billionaire Douglas Durst.
Their label operates 50/50 with artists — no standard royalty deals.
Signed artists include Robin Taylor Zander and the Detroit Youth Choir.
Jack builds songs from a single acoustic guitar performance first.
Aerosmith was different — built from the band groove up, lyrics last.
Walk This Way had no lyric until a Young Frankenstein gag unlocked it.
Jack started his career as a TV composer while janitoring at Record Plant.
He worked on sessions that became The Who's Who's Next.
Kit Lambert and Keith Moon were both, politely, out of their minds.
Jack survived eccentric clients by being reliably sober and crazy simultaneously.
John Lennon was the easiest artist Jack ever worked with.
John would say: "I'm the artist, you're the producer — let's work like that."
Jack engineered Imagine and stayed close to Lennon through the Lost Weekend years.
He was in and out of the Fame sessions with Lennon and Bowie.
John told Bowie: "I'm writing you the best hit you'll ever have."
John knew about — and liked — Aerosmith's cover of "Come Together."
George Martin gave Jack a flat in Kensington and a Morgan sportscar.
Jack helped produce Ringo's "Grow Old With Me," hiding Here Comes the Sun in the strings.
Double Fantasy was secretly recorded at Hit Factory, too far west for fans.
John wanted a middle-of-the-road record aimed at people aged 28 to 40.
Earl Slick was kept from rehearsals deliberately — a wildcard for fresh solos.
Rick Nielsen discovered John's Shea Stadium Rickenbacker with the setlist still taped on.
Rick later gifted John a custom all-white Rickenbacker, model 001, never cashed his check.
Cheap Trick's "I'm Losing You" session was thrilling but too edgy for the album.
Jack hid microphones throughout the sessions, gifting John cassettes on his birthday.
Jack destroyed the tape of the last day — John had sworn him to secrecy.
After John's murder, Jack and Yoko listened to vault tapes alone until dawn.
Yoko later sued Jack; Phil Spector's incoherent testimony and a wig mishap followed.
Jann Wenner called Jack a nobody — until Jack's lawyer read Wenner's own book aloud.
The jury was out ten minutes. Jack won millions.
The 2010 Stripped Down version was mixed in the exact same Record Plant room.
Live at Budokan was actually Osaka — Budokan tapes were too poorly recorded.
Jack rebuilt the Osaka drum kit using speaker-driven bass frequencies and filtered signals.
Aerosmith's Live Bootleg was sent back to Sony unchanged after Jack faked a remix session.
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

Butthole Surfers' Paul Leary and King Coffey trace the band's unlikely major label journey — from America's top-grossing indie act to MTV hitmakers to a lost album finally resurrected after nearly three decades.
Preorder "After the Astronaut" LP here
Topics Include:
After the Astronaut releases June 26 after sitting unreleased for 28 years.
Capitol signed Butthole Surfers when they were America's top-grossing indie band.
Label president Hale Milgram believed in them; his firing changed everything.
Pepper was written on the spot after a producer demanded one more song.
Pepper won radio call-in polls for a month and played MTV hourly.
The hit turned them into a "follow-up band," which was never their thing.
John Paul Jones produced Worm Saloon and taught Paul Leary how to produce.
Jones and the band shared a Lagavulin obsession, running up a $20,000 scotch bill.
Capitol's big budgets contrasted sharply with Touch and Go's approach.
After the Astronaut was a deliberate return to experimental, art-school Butthole Surfers DNA.
Mark Ryden painted the original cover; getting dropped handed it to Marcy Playground.
Declining a Hellraiser soundtrack placement created the first real rift with Capitol.
Their manager's heroin relapse coincided with the band getting dropped mid-promo cycle.
Promo cassettes already pressed now sell for $800–$1,000 on the secondary market.
Hollywood Records funded Weird Revolution; Rob Cavallo showed up once a week for ten minutes.
Finding two-inch master tapes in a storage locker triggered the After the Astronaut remix.
Documentary The Whole Truth and Nothing But took director Tom Stern five years to make.
Rob Reiner called it one of the best music docs ever — hours before his murder.
A potential box set looms, but Paul prefers naps, his cat, and his bicycle.
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

In a rare interview, Greg Ginn opens up about the latest Black Flag lineup, the SST catalogue, the possibility of long-overdue reissues and the legacy of one of punk's most beloved bands.
Tickets for Black Flag's 2026 Australian Tour
Topics Include:
Greg Ginn is based in Texas but currently in Long Beach after a tour.
Black Flag is heading to Hong Kong and then Australia next.
This will be Black Flag's third tour of Australia.
Rumors of new recordings remain unconfirmed — Ginn stays tight-lipped.
The current lineup has been together for about a year.
Band plays nearly two hours a night across two full sets.
Proximity of bandmates in Texas keeps the band constantly tight.
Ginn discovered punk through the Stooges, MC5, and New York bands.
Television, Ramones, Blondie, and The Damned were early major influences.
Ginn identifies more with open, varied 70s punk than 80s hardcore.
He never planned to be in a band — guitar was a personal outlet.
Finding like-minded people in the mid-70s was genuinely rare and meaningful.
Ginn started a business at 12 selling ham radio equipment he built.
He published his own amateur radio magazine as a teenager.
Black Flag's first EP was recorded as a demo, not a label release.
Nobody wanted to sign them, so starting SST was a reluctant default.
Ginn has applied the same DIY experimentation to an organic fertilizer brand.
He gets bored easily and improvisation is central to keeping music alive.
Ginn stays connected to a song's emotional meaning, not just its notes.
Seven band members once lived in a single room during Black Flag's peak.
Lineup changes were mostly practical — commitment and lifestyle demands were extreme.
Ginn isn't interested in nostalgia-driven reunions; best music matters most now.
Fans frequently thank him personally for helping them through difficult life periods.
He avoids fiction, movies, and video games — prefers reality and constant learning.
SST vaults are mostly bare — nearly everything recorded was officially released.
Ginn is open to remastering but skeptical of padding albums with leftover cuts.
He notes Dead Kennedys recently remixed Fresh Fruit — and wants to hear it.
Ginn doesn't own a working turntable; portability matters more to him than format.
SST catalog reissues — including Stains, Dicks, Overkill — are a genuine possibility.
Ginn believes Black Flag's songs remain timeless, attracting both parents and their kids.
High resolution version of this podcast is available at: www.Patreon.com/VinylGuide
Picts by Edward Colver
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

From funding the first Record Store Day to producing limited one-step pressings of Pet Sounds, Prince, and Dr. Dre, Tom "Grover" Biery is one of the most influential figures in modern vinyl culture - Hear all about his next adventures with the vinyl artform.
Topics Include:
Tom "Grover" Biery spent 20 years at Warner Bros. Records
He pushed vinyl internally around 2004 when nobody believed in it
His boss Tom Wally gave him the green light to proceed
First pressings were Kevin Gray and Steve Hoffman catalog titles
Warner's vinyl billing exploded from $300K to $5M in 18 months
Failure's Fantastic Planet was among the earliest titles he championed
Neil Young gave an impassioned in-office speech about the importance of sound
That speech directly inspired the "Because Sound Matters" brand name
BSM is Warner's audiophile imprint; DSS covers Interscope and Capitol
Tom now operates as a consultant to both major label groups
His own label, Slow Down Sounds, has been running nearly a decade
One-step pressings go lacquer to stamper, skipping generational quality loss
Each stamper yields only 500–750 pressings, requiring multiple lacquer cuts
Neotech's D2 vinyl compound produces exceptionally quiet, revealing pressings
Mastering costs alone run nine times higher on one-step projects
Sources are vetted exhaustively — flat masters, tape, or high-res files
Artists and managers approve every test pressing throughout the process
A newly discovered 1972 Pet Sounds master changed everything for the reissue
Chris Bellman confirmed the tape matched a 1972 white label perfectly
Only 6,000 copies of the Pet Sounds DSS one-step will ever exist
Tom has been transparent about sourcing since 2005, long before the MoFi controversy
Quality now ranks second or third in why fans buy vinyl
Beck's Morning Phase and Tom Petty's Wildflowers one-steps surprised even skeptics
Soul Coughing's Ruby Vroom reissue came from original tapes at Warner
Nate lobbies for Frusciante, Jellyfish, Beck's Sea Change, and Marilyn Manson reissues
Dr. Dre's The Chronic from tape is among the first hip-hop one-steps
Neil Young has still never done a one-step, despite inspiring the whole program
Tom was one of the original funders who got Record Store Day off the ground
Record stores are reporting their biggest-ever RSD sales figures this year
His label Slow Down Sounds is releasing Terry Callier's Occasional Rain this June
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

Zev Feldman returns to reveal 11 Record Store Day 2026 releases, including stunning discoveries from the legendary Joe Siegel Jazz Showcase tape archive featuring Ahmad Jamal, Yusef Lateef, Freddie King, and more never-before-heard recordings.
Topics Include:
Zev Feldman returns, now dubbed the "Jazz Attorney General" by Nate
Feldman has 11 releases this Record Store Day — a personal record
The Joe Segal tape archive is the foundation of five RSD releases
Segal was an NEA Jazz Master and Chicago's greatest jazz impresario
He presented legends like Lester Young starting back in 1947
Feldman first connected with Siegel around 2010-2011 via word of mouth
A breakfast meeting with Siegel led to three follow-up Chicago trips
The archive may be the world's largest collection of unissued jazz recordings
Between 8,000 and 10,000 tapes discovered across reels, cassettes, and more
Resonance is partnering with the Siegel family and Wayne Siegel on releases
Joe Henderson's 1978 quartet at the Jazz Showcase is raw and electrifying
Pianist Joanne Burkeen confirmed this captures exactly how the band really played
Ahmad Jamal's 1976 Jazz Showcase run includes a full 26-minute Swahililand
Jamal and Siegel shared a deep longstanding friendship spanning many years
Yusef Lateef with Kenny Barron: a burning three-LP set from 1975
Lateef played the Jazz Showcase more than any other single artist
Mal Waldron and Sonny Stitt reunite in an unusual 1979 bebop week
Nate predicts Mal Waldron will be the sleeper hit of RSD 2026
Bill Evans at the BBC features performances Feldman first saw on laser disc
This marks Feldman's 15th Bill Evans release — the catalog keeps growing
Freddie King from the French INA archives is Nate's personal favourite of the batch
Billy Gibbons of ZZ Top contributed to the Freddie King liner notes
Cecil Taylor's 1969 Paris recordings premiere officially for the very first time
Michel Petrucciani recordings surfaced from the Kuumbwa Jazz Center in Santa Cruz
Petrucciani died young, making these rare live documents especially precious
Terry Callier's 1967 solo guitar recordings came from the Earl of Old Town
Roy Hargrove Quintet captured live and burning at Berne Jazz Festival 2000
Buster Williams' debut Pinnacle gets an all-analog AAA reissue on Time Traveler
This batch marks Feldman's 96th Record Store Day release across his career
Feldman previews a Don Schlitten jazz photography coffee table book on Fantagraphics
High resolution version of this podcast is available at: www.Patreon.com/VinylGuide
Photo by Zak Shelby-Szyszko
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