Interviews

It’s never too late to reclaim your legacy on vinyl. British guitar icon Steve Howe knows this concept quite well, in fact, and it’s the main impetus for what you see here —namely, the full revamping of his pre-Yes 1960s band Tomorrow’s debut February 1968 LP, now duly recast and retitled Permanent Dream, which was released in its new, 140g 1LP form by Spirit of Unicorn Music/Parlophone on April 28. In a recent Zoom interview with AP editor Mike Mettler, Howe discusses his “psychedelicized” impetus for revamping the original Tomorrow album, why the Permanent Dream tracklisting needed to be both revised and resequenced, and why the song that takes up the entirety of Side 1 of Yes’ iconic December 1973 double LP Tales From Topographic Oceans is actually shorter than it was intended to be. Read on to found out how Howe decided to bring Tomorrow into the vinyl world of today. . .

Is it any wonder why something called Vinyl Obsession instantly became our favorite TV show? Airing on Sunday nights at 8:30 p.m. EST on AXS TV, this half-hour LP-centric show follows a pair of musicians and/or rock-adjacent celebs shopping for their five favorite albums at Grimey’s in Nashville. Naturally, we had to find out how Vinyl Obsession came to be, so AP editor Mike Mettler got on Zoom with executive producer and AXS TV VP of programming Katie Daryl to get all the LP-obsessive details. Read on to see what Daryl had to say about how the idea for Vinyl Obsession moved from brainstorm into reality, who her main dream guest would be for Season 2, and what her own personal top LP choices are. . .

There’s a special intuitive connection certain musicians share that cannot be qualified in technical terms, but can instead be described as being both magical and mysterious. Case in point: the 60-years-and-counting musical mindmeld between lead vocalist Colin Blunstone and keyboardist/vocalist Rod Argent, the twin driving forces behind British invasion stalwarts The Zombies. Still going strong today, The Zombies are on the precipice of the imminent release of their seventh studio album, Different Game, which comes out in fine 1LP form on March 31 via Cooking Vinyl. In a recent Zoom interview with AP editor Mike Mettler, Zombies vocalist Colin Blunstone discussed the connective sonic tissue between Different Game and their 1968 masterpiece Odessey and Oracle, why he prefers hearing songs like “Time of the Season” in mono, and why the Odessey album benefitted from some things The Beatles left behind in EMI Studios while they were recording their legendary June 1967 Sgt. Pepper album. Read on to glean all the properly seasoned details. . .

“It’s nice to talk analog. You’re speaking my language.” That’s Janis Ian, iconoclast singer/songwriter who’s made a lifetime-slash-career out of breaking barriers and forging new paths when it comes to making music that is equal parts folk, country, rock, and all points in between. And she’s very much speaking our language too, of course. Read on to see what Ian and AP editor Mike Mettler discussed when they got on the phone recently to delve into the making of Light, the importance of evaluating test pressings, and how she applies analog-oriented principles to catalog reissues regardless of the format. . .

The longevity of Blondie is proof of the triumph of substance over image. The new-wave icons made quite a name for themselves when they emerged as the platinum-blonde darlings of the New York scene in the 1970s, unabashedly buttressed by the can’t-look-away visual iconography of lead vocalist/songwriter Debbie Harry — but they also had a special knack for transmogrifying the aesthetics of punk, the tenets of bubblegum pop, and their own deep-seated performance chops into something new. The first phase of Blondie’s career is now properly feted in Against the Odds 1974-1982, a massive 10LP/1EP/1 7-inch 45 Super Deluxe Collector’s Edition box set. Blondie drummer Clem Burke got on the line with AP editor Mike Mettler to discuss how the box set came together and why it acts as a “muse” for the band today, how the 7/4 shift in the back half of “Heart of Glass” gave an extra dimension to such an indelible No. 1 song, and how important producers Richard Gottehrer and Mike Chapman were in capturing the Blondie sound in the studio — and, of course, much, much more. . .

Kenny Wayne Shepherd, the pre-eminent teenage guitar phenom of the 1990s, is essentially all grown up now at age 45 — but he’s still a kid at heart, albeit with a lifetime of playing his signature blend of blues, rock, and soul well under his belt. What better way to bridge the gap between the gunslinging days of yore with the wizened experience level of the here and now than with Trouble Is… 25, a complete re-recording of the Kenny Wayne Shepherd Band’s platinum-selling sophomore album Trouble Is…, which was originally released in October 1997 on CD and cassette, but never on vinyl. Shepherd got on Zoom with AP editor Mike Mettler to discuss how his dad first introduced him to vinyl, what the re-recording process for Trouble Is… 25 entailed, how sitting on an amplifier at a Stevie Ray Vaughan concert was a “defining moment” in his life, and how mindful he is of sequencing his albums for vinyl playback — and, of course, much, much more. . .

Jim Kerr, lead singer of Simple Minds, is one of us. As a kid growing up in Glasgow, Scotland in the early 1970s, collecting vinyl was of paramount importance, and he got himself a day job just so he could buy records and go see concerts. (Sound familiar?) Read on to find out all the things he said, he said about how important buying vinyl was (and still is) to both him and his Simple Minds songwriting partner, guitarist Charlie Burchill, why it was crucial to shape their new LP Direction of the Heart specifically as a two-sided record, and how important an influence David Bowie albums remain as part of his creative life to this day, and more. . .