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

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
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Photo by Zak Shelby-Szyszko
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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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Documentary producer & record collector Jeanne Elfant Festa has made films about The Beatles, Foo Fighters, Pavarotti, Bee Gees and more. Today she discusses her latest movie on Billy Preston — revealing rare archive footage, Olivia Harrison's key role, and Eric Clapton's emotional on-camera tribute and a lot more.
Check outtrailer and documentary screenings here
Topics Include:
Jeanne lost her entire vinyl collection in the Palisades fire.
Her family and animals all escaped the fire safely.
A custom-built, mathematically designed sound room housed the collection.
Rebuilding takes time — the turntable alone hasn't been replaced yet.
Music passion began with her Brooklyn-raised parents' rich jazz collection.
Her dad snuck into the Apollo Theater via the fire escape.
He carried a saxophone, jamming with musicians at the loading dock.
The family soundtrack: Billie Holiday, Dinah Washington, Miles Davis, Charlie Parker.
Jeanne and her dad bonded over Bruce Springsteen's sax player.
Her father did house calls exclusively for one patient — Miles Davis.
Storytelling instincts came from parents who loved plays, movies, and performance.
Her own record collection ranged from Rage Against the Machine to Supertramp.
Vinyl's tactile magic: liner notes, textures, and each album's unique smell.
Albums are movies — side one plays straight through, no skipping.
Documentary filmmaking is passion-driven, not a path to big money.
The Foo Fighters doc came from being in the right place.
Business partner Nigel Sinclair's credits include Bob Dylan and George Harrison docs.
Billy Preston first entered her life through her parents' living room stereo.
Filming subjects who've passed requires diaries, archives, and extraordinary research teams.
A granddaughter's undeveloped home movies transformed the Beach Boys documentary entirely.
A stranger's undeveloped Beatles footage, found under a childhood bed, changed everything.
Olivia Harrison unlocked archive footage and connected the team to Ringo and Clapton.
Eric Clapton opened up in a way rarely seen on camera.
Documentary ethics: three sources minimum, no gossip, no stunt casting ever.
The Billy Preston film explores forgiveness, contradiction, and the full human condition.
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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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