Zakk Wylde opens up about Ozzy's final show, the 17 days that followed, Dimebag's unfinished recordings, and the making of Black Label Society's crushing new album Engines of Demolition.

Topics Include:

• Zakk runs on 14 pots of Valhalla coffee every single day.
• He was invited to Back to the Beginning well in advance.
• Tony Iommi, Jimmy Page, and Ritchie Blackmore are mythical heroes to Zakk.
• No More Tears was rehearsed but Ozzy pulled it on the day.
• Ozzy was giddy meeting Axl Rose — couldn't believe it was happening.
• Zakk watched Sabbath's final set alongside Axl Rose and Sharon Osbourne.
• Just 17 days after the show, Ozzy passed away unexpectedly.
• They'd been texting memes and planning another record together right until the end.
• Zakk envisioned a global Back to the Beginning charity tour series.
• A sober Zakk and Ozzy watched their blasted crew destroy a Tokyo restaurant.
• Dimebag left hours of unfinished song ideas on tape for potential release.
• Playing Dime's solos means staying faithful — like Stevie Ray covering Hendrix.
• Zakk and Eddie Van Halen's amp, calling it life-altering history.
• Engines of Demolition was built across several years alongside the Pantera Celebration tour.
• Zakk confirms BLS, Zakk Sabbath, and more Pantera shows are all coming.

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

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Rikk Agnew, James McGearty, and David Glass share stories about Rozz Williams & Christian Death, the making of Only Theater of Pain, and completing his final recorded wish with the new song Flowers.

Tickets for April 18 movie premiere and music reunion event

Topics Include:

• Rikk Agnew, James McGearty, and David Glass remember Rozz Williams together.
• Rozz described as mysterious, enigmatic, and a deeply misunderstood artist.
• Rozz excelled across poetry, music, visual art, and assemblage work.
• He scratched images into 8mm film cells as experimental art.
• Rozz was a chameleon, constantly reinventing his look and sound.
• Christian Death began as a punk band before Rikk joined.
• Rikk's arrival catapulted Rozz's darker, more mystical artistic vision.
• Much of Only Theater of Pain was created spontaneously in-studio.
• Rozz unveiled his poetry to the band for the first time recording.
• A violent storm set an eerie tone during the vocal sessions.
• Rozz recorded in a candlelit booth — a truly otherworldly performance.
• The vocal track was lost; nobody could explain why it didn't record.
• The released vocals paled against what was actually performed that night.
• The entire album artwork and layout was hand-drawn by Rozz himself.
• Lisa Fancher of Frontier financed the record; the band were teenagers.
• Catastrophe Ballet launched in Europe first; Death Wish emerged mysteriously unauthorised.
• Only Theater of Pain's influence grew gradually, now considered truly seminal.
• Rozz's final wish was a full-band studio recording of Flowers.
• Rikk, James, and David completed Flowers separately, finding it deeply emotional.
• Romeo's Distress documentary premieres April 18th with a live reunion performance.

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

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TV Smith joins Nate to discuss the 50th anniversary of The Adverts, an Australian tour backed by The Hard-Ons, and a career full of great songs and terrible label luck.

Topics Include:

• TV Smith is touring Australia in April with The Hard-Ons.
• The tour celebrates the 50th anniversary of The Adverts.
• The Hard-Ons are already learning the surprisingly complex Adverts songs.
• TV finds it odd but joyful to still be performing.
• He got back into vinyl to quality-check his own releases.
• Bowie, Roxy Music, and reggae were key early influences for TV.
• The Sex Pistols made TV believe he could actually do this.
• The Roxy Club punk scene started with just 30 people.
• Brian James of The Damned personally recommended The Adverts to Stiff.
• They recorded One Chord Wonders in a single afternoon at Pathway.
• Stiff misspelled the title and controversially centred Gaye Advert on the cover.
• Gary Gilmore's Eyes was TV's satirical response to exploitative media coverage.
• The BBC was deeply reluctant to air Gary Gilmore's Eyes on TV.
• Anchor Records collapsed mid-momentum, leaving The Adverts suddenly without a label.
• Crossing the Red Sea was recorded at Abbey Road with John Leckie.
• Gary Gilmore's Eyes was left off the album deliberately — vinyl runtime constraints.
• RCA signed them against their own A&R team's wishes — chaos followed.
• Cast of Thousands suffered a botched mix, a terrible cover, label indifference.
• Channel 5 was finally properly remastered after the producer found a safety tape.
• TV is bringing vinyl to the merch table — especially the Handwriting LP.

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

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Swami John Reis of Rocket from the Crypt and Drive Like Jehu digs deep on record collecting, the thrill of the hunt, running Swami Records, and why the next release always matters most.

Get yer tix to the Punk Rock Museum's 3rd Anniversary Show here

Topics Include:

• Swami John Reis joins to talk record collecting and Punk Rock Museum.
• His collection is evolving — trading old hardcore for more desired records.
• Collection is 95% 45s, driven by a lifelong musical pursuit.
• Early punk led him to hunt for MC5, Stooges, Velvet Underground.
• The thrill: records still exist that nobody knows about yet.
• Digging through boxes feels calming, healthy, and satisfying every time.
• Hawaii vintage shop surprise — radio station collection hidden outside for decades.
• Detroit and Pittsburgh are his highest strike-rate cities for finds.
• Always ask the clerk — the best stuff is never on the floor.
• Styrene vs vinyl: the label sticker is the definitive tell.
• Making records informed his collecting — plain white sleeves, big hole 45s.
• Pressing plant relationships are everything; affordability is the biggest challenge.
• Customs delays under the current administration are wrecking release schedules badly.
• Major labels scrapped their own pressing plants — now everyone competes for time.
• Marketing records stopped making sense; the artist always drives interest anyway.
• Every record is essentially limited and out of print from day one.
• Smaller runs mean no unsold closet stock and more collector value later.
• Hot Snakes packaging and Rick Griffin's creativity still inspire him deeply.
• Upcoming: Sultans reissue, Mrs. Magician LP, new Swami John Reis record.
• Schizophonics collaboration in the works — the next thing is always the thing.

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

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Dr. Strange Records' Bill Plaster talks Summer Bash and the chaos of booking a festival, punk history, record collecting, Live Strange, and how punk rock can genuinely change lives.

Get Summer Bash tix here | Follow Dr Strange for Live Strange here

Topics Include:

• Bill Plaster of Dr. Strange Records joins to discuss the upcoming Summer Bash.
• Punk Rock Bowling's cancellation — visa bans, politics, venue loss — created the opportunity.
• Bill connected with Gallo, who runs the Fox Theater and the Cathedral in Pomona.
• The Cathedral: a stunning, refurbished 1921 four-story YMCA venue hosting the event.
• A massive two-day lineup — 30-plus bands across punk, hardcore, and old-school SoCal.
• Notable acts include the Effigies, Channel 3, the Skulls, featuring Kevin from Green Day.
• Every band asked said yes — Bill takes no money, purely doing it for the community.
• Dealing with booking agents was the biggest headache of organising the festival.
• Planning started in November; Bill hopes Summer Bash becomes an annual event.
• The Punk in the Park cancellations discussed — Bill argues protest with your vote, not boycotts.
• Bill credits Rod for building Dr. Strange's social media profile and making the festival possible.
• Bill's mentorship philosophy: punk rock can genuinely change lives for the better.
• The Dr. Strange "family" ethos — making fun of people with love, never punching down.
• Bill's book discussed — early punk discoveries via Damned, Buzzcocks, and XTC seven-inches.
• The brutal gang violence at early 80s LA/SoCal punk shows — constantly watching your back.
• A close call at Spanky's: the guy next to Bill got stabbed during a Guttermouth gig.
• Biggest missed show regret: skipped Oingo Boingo due to peer pressure from girls in line.
• Never saw Black Flag — their reputation for brutality genuinely scared him off.
• Eight years of mail order before opening the store; Voodoo Glow Skulls his biggest-selling record.
• Live Strange runs Wednesdays and Fridays — the cowbell is Bill's money-back guarantee.

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

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John Flansburgh of They Might Be Giants talks rare vinyl rarities, the chaotic story behind the new album's cover art, why re-recording old music is almost always a mistake and lots more

Order the new album "The World Is to Dig" here

Topics Include:

• Flansburgh owns roughly 2,000 records across three turntable setups at home
• He doesn't identify as a collector — just a serious listener
• His rarest record: an Andy Warhol-autographed Sticky Fingers with wild provenance photos
• He also owns a peeled-banana Velvet Underground and a Blonde on Blonde rarity
• Deep dive into what makes each of those pressings so collectible
• TMBG's new album title comes from a Maurice Sendak-illustrated children's book
• That led to a fascinating detour on painter Ad Reinhardt's secret black-on-black canvases
• Flansburgh has been TMBG's de facto art director for 35 years
• The new album's cover art was nearly a Washington Post-licensed sinkhole photo
• Washington Post's mass layoffs killed the deal at the last possible moment
• A Hudson Valley School painting of Yosemite became the actual cover
• Flansburgh and Linnell don't stockpile songs — cuts are made for specific artistic reasons
• He once had to shelve a song because Linnell came in with a nearly identical opening line
• TMBG song titles are uniquely searchable — except the new one referencing Wu-Tang
• Flansburgh is firmly against re-recording old material — cites Zappa as a cautionary tale
• Great discussion on remastering: Beatles got it right, Hendrix remaster was disorienting
• TMBG evolved from NYC performance art venues to rock clubs — crowd energy changed everything
• Their boutique 8-track manufacturer couldn't keep up when TMBG needed a thousand units
• Dolby Atmos debate: Flansburgh is skeptical, Nate makes the case for spatial audio
• Nate's most collectible record is a Nevermind test pressing — rejected pressings are worth more

Extended & 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