Esquire editor-at-large and former MTV VJ Dave Holmes discusses how his ADHD allowed him to embrace the chaos of live television, why hitting up a NYC vinyl listening bar with The Mandalorian didn't go exactly as planned, and his new podcast docuseries examining MTV's cultural impact. Subscribe to Who Killed the Video Star?: The Story of MTV wherever you get podcasts, and follow @daveholmes on Instagram and Threads.

Hello! For my day job, I host and produce Looped In: Chicago, a podcast for WBBM Newsradio. And this week, they allowed me to make an episode all about the city's ties, past and present, to the record industry. So while it's different from your typical Vinyl Emergency episode, I hope you'll find this one to be an equally engaging listen, with guests including Evan Weiss of Into It. Over It., Smashed Plastic Record Pressing co-owner Steve Polutnik, Chicago Reader columnist Steve Krakow and music history TikTok sensation Patrick Hicks. Subscribe to Looped In: Chicago wherever you get podcasts, and new VE episodes will come your way soon.

This is an encore presentation of a previous episode, originally airing in December 2020. On today's show, keyboardist Derry deBorja (of Jason Isbell and the 400 Unit) talks about the musical influence of his older brother, his time as a member of Son Volt, how experimenting with a modular synth has changed how he views composition, and the 400 Unit's relationship with David Letterman. Visit jasonisbell.com for updates, and follow Derry on Instagram, @tin_pony.

Since his last visit to Vinyl Emergency in August 2020, Nashville singer/songwriter Ruston Kelly has narrowly escaped a fiery bus explosion, sold off nearly every physical stage piece from his last tour, and rehabbed an old Victorian bungalow with his own two hands. And while all of these experiences are worth talking about, today he says that being a better listener has been a focused priority as of late. This deliberate intention to say less and observe more has led to a run of rewarding collaborations over the last several years: Duets with Caitlyn Smith and Judah & the Lion, co-producing an LP for John Prine's son Tommy, and touring with the massively-popular Noah Kahan. On this week's episode, Ruston dives deep into the first album he remembers as a child, why he sequences songs specifically for vinyl, and his upcoming EP -- Weakness, Etc. -- a combination of new material and reworkings from his third full-length The Weakness, released last year. Plus, anecdotes on sharing toast with Jackson Browne, and debating Pop-Tarts with his fans. Ruston's upcoming solo acoustic tour begins later this month. Tickets, social media and more are at rustonkelly.com, with Weakness, Etc. dropping March 22.

In bands like Volcano Choir, Pele, Vermont and Collections of Colonies of Bees, guitarist Chris Rosenau has actively sought out a unique ambiguity. Whether through off-kilter tunings, a myriad of loop pedals or long-form improvisations in 130-degree heat, he says he finds his most interesting work comes from trusting others. And that trust has built fruitful creative relationships with enigmatic drummer Jon Mueller, Bon Iver's Justin Vernon and Sylvan Esso's Nick Sanborn, among others. But in a career of disarming listeners through unexpected approaches, Chris admits his most quizzical move might be in the form of a recently-released debut solo album, where he's stripped everything back to one acoustic guitar, for a tender salute to his late mother. The album, titled 'a light that cracks through,' is now available at chrisrosenau.bandcamp.com. Follow @rosno on Instagram.

While on the Milwaukee Brewers roster in 2011, major league pitcher John Axford created a buzz among indie-rock baseball nerds by forgoing the standard jock jams and using Refused's "New Noise" as his game entrance music. While exposing thousands to the Swedish hardcore band’s chaotic screams and atonal, pummeling instrumentation, the choice also garnered some vocal complaints from opposing coaches and TV announcers. Nonetheless, Axford led the entire National League in saves that season, so who knows if some of the song's lyrics ("Good frames won't save bad paintings") don't indeed secretly speak to pitching. Around this same time, his interest in vinyl records began to blossom, leading him to hunt down Japanese Metallica pressings and connect again with his family’s classic Christmas LP’s. Since then "The Ax Man," as fans have dubbed him, has reached the World Series (with the 2013 St. Louis Cardinals), and done time with the Pirates, Dodgers and Blue Jays, among other organizations. Most recently, Axford represented his home country of Canada in last year’s World Baseball Classic. On this episode, we explore how his dad's vintage Edison phonograph somewhat influenced Axford’s current big budget stereo set-up, his fandom for LP subscription service Vinyl Me, Please and why he won't clean his grandparents' fingerprints off their old records. We also dive into John's recent trip overseas, to a quaint Dutch village where his great uncle's heroism during WWII is cemented and honored forever. Follow @johnaxford on Instagram. PLUS, music this week from Milwaukee band Dramatic Lovers!

At just 16 years old, Amy Fleisher Madden was contributing to her surrounding Florida punk rock scene like a wily veteran. Through booking and promoting national bands visiting the panhandle -- as well as her DIY zine Fiddler Jones -- she had introduced, connected and championed emo, pop-punk and hardcore bands from all over, eventually leading to the start of Fiddler Records, which gave us the first releasees from Dashboard Confessional and New Found Glory. Most recently, Amy is the author of a hefty book documenting a decade of the scene, titled "Negatives: A Photographic Archive of Emo (1996-2006)." Filled with stunning visuals, emphatic essays and more -- plus contributions from various photographers and musicians -- it's a must-have for anyone who spent time in this particular genre during these particular years, or since. Purchase "Negatives" via Amazon or wherever you get literature. More info can be found via @amyxmadden on Instagram, or at amy-madden.com.

"If Nevermind was a peek into Kurt (Cobain)'s psychological/emotional world, then In Utero was a wide-open window.” This comes from today’s episode with author Michael Azerrad (Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991), who definitively knew better than most. Having extensive access to Nirvana between those two albums, Michael documented their rise for the best-selling 1993 biography Come As You Are: The Story of Nirvana, released just weeks before In Utero. Michael remembers today that Kurt's instructions to him in originally penning the book were fairly simple: "Just tell the truth. That will be better than anything else that's been written about me." And as In Utero recently got its own deluxe reissue to celebrate its three decades of influence, Michael's book has gotten a similar update: The Amplified Come As You Are is a heavily-annotated and must-own look back on the most examined band of the 90's. With thirty years of hindsight, Michael clarifies, expounds upon and extends the original story, making it a needed compendium to Nirvana's discography. Follow @michaelazerrad on Twitter, and purchase the book wherever you find literature. PLUS, enjoy exclusive performances of In Utero material this week by cellist Gordon Withers!

Starting as an NBC page in the mid-80’s, Jim Pitt eventually landed a dream job, for many: music booker for Saturday Night Live. From Nirvana’s debut on network television to Sinead O’Connor’s impactful and headline-making performance, Pitt booked it all starting in 1990, including mega-star appearances from Whitney Houston, Bruce Springsteen and Neil Young. Three years in, Pitt took his talents to David Letterman’s replacement at Late Night, a young upstart named Conan O’Brien. There, not only would Pitt give future Rock Hall inductees like Radiohead, Green Day and Sheryl Crow their first-ever US TV performances, but O’Brien’s unique wit often led to household names like David Bowie and U2 participating in hilariously scripted bits. On today’s show, Pitt recalls all of this and more, walking us through decades of amazing television memories, as well as his move from Conan to Jimmy Kimmel Live! in 2017, and when exactly hosts began holding up vinyl again for the home audience, versus compact discs. Follow Jim on Instagram @jimpitt13, and watch Jimmy Kimmel Live! on your local ABC affiliate.

Logistically and artistically, R.E.M.'s 1998 album Up marked a fork in the road for their trajectory: Prior to its recording, drummer and founding member Bill Berry had amicably left the band, having suffered a brain aneurysm while on stage three years earlier, leading the remaining trio of Michael Stipe, Mike Mills and Peter Buck -- for the first time in their career -- to create without a key piece of their dynamic. In the end, Up didn't sound like any of the group's previous eras, using keyboards, electronics, chamber-pop and white noise as a backdrop for some of the band's sweetest melodies and Stipe's most direct lyrics to date, the latter of which were finally printed for fans to comb over -- a first for any previous R.E.M. project, after ten albums of ambiguity. This week, we celebrate the 25th anniversary reissue of Up (available this Friday, November 10th) with returning guest Josh Modell (formerly of the AV Club, now of the Talkhouse Podcast Network) who wrote the package's liner notes. Together we examine how R.E.M.'s existential crisis without Berry, according to Modell, "gave everything (on the album) an undercarriage of vulnerability, sadness, and edge," making it Modell's favorite album in the group's catalog. Purchase the Up reissue at remhq.com or wherever you find music, and catch Modell moderating a live Q&A with Wilco's Jeff Tweedy in Milwaukee on Saturday, November 11th, with tickets available here.

North Carolina-based label Merge Records, inarguably one of America's most influential and prolific purveyors of indie-rock, is on the cusp of turning 35 -- a landmark that co-founders Laura Ballance and Mac McCaughan likely couldn't fathom when they started the label in 1989. Then, Merge was simply a DIY avenue to release tunes by their scrappy quartet Superchunk. But along the way, as the band's jangly but caffeinated power-pop caught on with an international audience, Merge evolved from a modest method of putting out music by Mac and Laura's friends into the beloved home of cult acts like Neutral Milk Hotel, Spoon, The Magnetic Fields and countless others, eventually becoming the first indie label to garner an Album of the Year Grammy, for Arcade Fire's 'The Suburbs' in 2011. On this week's show, Mac reflects on Merge's early years, the label's new vinyl-centric web series Digging For Something, as well as Superchunk's latest compilation of singles, demos and other oddities dropping this week, titled 'Misfits & Mistakes.' Visit mergerecords.com to shop for your favorite releases, and follow @macsuperchunk or @mergerecords on Instagram.

Since his first book twenty years ago, musician/author (and all-around music appreciator) Warren Zanes has deftly chronicled what it means to be a rock star without a road map. His acclaimed 2015 authorized biography on Tom Petty -- released just two years prior to his death -- gave readers an engrossing glimpse into the mind of one of rock's great everymen, and this year, Zanes has released a more granular look into arguably the darkest hour of perhaps rock's greatest everyman. 'Deliver Me From Nowhere: The Making of Bruce Springsteen's Nebraska' is a jaw-dropping read front-to-back, taking readers into the modest bedroom where the Boss recorded his most mysterious and talked-about work. From exclusive interviews with Springsteen, Steve Earle, Rosanne Cash and more, Zanes proves that what makes Nebraska so intriguing is not just the complete left-turn that it is musically, but how it's sandwiched between two career highs: His first number one album with The River in 1980, and the superstardom that Born in the U.S.A. would bring him in 1984.   On this week's episode, Zanes tackles Springsteen and Petty’s similarities and differences, the hurdle of getting Springsteen's humble Nebraska demo tape transferred for vinyl and CD duplication, and the album’s lasting impact over the last four decades. Visit warren-zanes.com for socials and other info. Plus, this episode features covers of Nebraska songs by Aoife O'Donovan. Click here to purchase them as a Bandcamp download.

As bassist Mike Mills tells it, on the cusp of their formation in 1980, he and his fellow Athens, GA bandmates had a simple goal: To make a cool, 45 RPM single with a picture sleeve -- the kind they grew up on. And, if anything else (or nothing else) were to come of their band, so be it. What Mike along with guitarist Peter Buck, drummer Bill Berry and enigmatic vocalist Michael Stipe couldn't have predicted was how that single ("Radio Free Europe") and the many that followed through the next three decades on both indie and major labels ("Fall On Me," "Losing My Religion," "What's the Frequency, Kenneth?" and beyond) would shape the sound of American music.   R.E.M. inarguably created a foundation for what we now loosely call "indie rock," often buoyed by Mills' supreme knack for harmony vocals against Stipe's dramatic delivery.    On today's show, Mike discusses his latest LP as a member of the Baseball Project, the hours of airbrushing needed for one particular R.E.M. album cover, and his love for an Atlanta institution known only as "The Freeze." R.E.M.’s last four proper albums — which cover their final decade as a unit — were reissued on vinyl this summer. Visit remhq.com and baseballproject.net for more info on those releases.

The two sounds Tommy Prine says he remembers most growing up were having the AM radio on or his father (renowned singer/songwriter John Prine) workshopping tunes at the kitchen table. Journeying through adolescence, his eclecticism later manifested through acts like Outkast and System of a Down. But now, on the heels of This Far South — his debut album that dropped earlier this summer — Tommy has found his own unique voice that marries his mom’s Irish wisdom and his dad’s dry Midwestern/Southern wit. On today’s show, Tommy shares why Radiohead’s “Videotape” speaks to him, his experiences working with Nashville talents Ruston Kelly and Gena Johnson on This Far South, and how the artwork for this album feels like both an ending and a beginning. Visit tommyprine.com for your dates, socials and more.

In her family, Louise Post says that there have been three usual career paths: Join the clergy, practice medicine or become an artist. Thankfully she followed the latter. In 1992, Louise co-founded Veruca Salt with fellow vocalist/songwriter Nina Gordon, and the quartet became one of Chicago's biggest exports of the alternative-rock era. The duo's buzzsaw guitars pushed hit singles like "Seether," "All Hail Me" and "Volcano Girls" into the stratosphere, and despite some years apart, the full original lineup reunited for the much-heralded 2015 full-length Ghost Notes. This week, currently on tour promoting her new solo album Sleepwalker, Louise talks about harmonizing with her dad growing up, gravitating toward the women in her favorite bands, why she continually has "dreams of songs," and the inspiration for Veruca Salt's ode to vinyl, "Victrola." Stop by LouisePost.com for more info on Sleepwalker, social media and more.

From making multitrack recordings as a kid to DJ’ing at her high school radio station to fixing turntables for her college dormmates in the 80’s, Lisa Loeb has always been wired for sound. She made music history in the next decade, when her mega-hit “Stay (I Missed You)” became the first song by an artist without a record label to go #1. The song’s unique structure — bookending stretches of non-rhyming prose with an instantly recognizable chorus — still remains a marvel a generation later, with artists like Taylor Swift citing “Stay” as a gigantic inspiration for their own wordplay, musicality and poetic honesty. On today’s episode, Lisa remembers trading 7” singles with friends growing up, and how the real-life antagonist in “Stay” was right there in the studio when it was recorded. Plus, from her own collection, Lisa shares one of the coolest and rarest pieces of vinyl ever discussed on the show! Visit lisaloeb.com for tour dates, socials and more. SiriusXM users can find her program Where They Are Now — where Lisa chats with fellow 90’s-era stars — via the SiriusXM app.

As a child of the 1970's, vinyl records were intrinsic to Ben Harper's understanding of and approach to music. “If somebody came to the house and said 'We're gonna repossess either your refrigerator or your turntable,'" he states today, "they would've been hauling out the fridge.” Growing up, the 3x Grammy-winner and heralded lap steel guitarist/vocalist's taste jumped from Ozzy Osbourne to Robert Johnson to Funkadelic to Jackson Browne on any given day. To get to those places, he points to varied avenues of discovery, from the underground world of skateboarding to his family’s folk music shop and museum. That same diverse recipe eventually led to an equally unique list of collaborators over the years, including Ringo Starr, Eddie Vedder, Harry Styles, Natalie Maines and The Blind Boys of Alabama. On today’s program, Ben recounts an emotional day spent with soul legend Solomon Burke, finding the blues buried in hip-hop, and the importance of communicating with our former selves. Ben's latest album Wide Open Light is out now, wherever you get physical or digital music. Visit benharper.com for tour dates, socials and more.

Prior to releasing some of the most memorable songs to come out of the 90’s, San Francisco’s Counting Crows were subject to a major-label bidding war, thanks in part to something rather unheard of in the industry: a massive, 15-song demo tape. Not only did this show a deep well for vocalist and lead songwriter Adam Duritz to pull from, but this prototype already came with early versions of future bonafide hits like "Mr. Jones" and "Round Here." To an alt-rock audience who didn't necessarily grow up with Van Morrison, The Band or R.E.M., Adam and company filled that void and then some, with their first three albums selling over 10 million copies between them. Today, Adam spills why their upcoming co-headlining tour with Dashboard Confessional has been 20 years in the making, which records he spun every morning while recording the band's landmark debut album August and Everything After, and how that title track (which never made the original 1993 release) is now finally available, specifically for vinyl lovers. Counting Crows' latest -- Butter Miracle: Suite One -- is available wherever you find music. Visit countingcrows.com for live dates, socials and more.

On his second album released earlier this year, Love You Anyway, Grammy-nominated and Nashville-based R&B artist Devon Gilfillian sets today's political activism against a backdrop of stunning soul music that finds inspiration both from the past and the future. Having gained acclaim touring with a genre-spanning list of icons (from Mavis Staples to Michael McDonald), he recently told NPR that his music could be viewed as "a pill wrapped in peanut butter": Sneaking in a message, while calling everyone out to the dancefloor. Before hitting the road this month on separate tours with My Morning Jacket, Grace Potter and Trombone Shorty, Devon spends today discussing his obsession with Pharrell's production work, why his love for vinyl flourished in his teens, and his recent performance in support of the Tennessee Three, on the steps of the state capitol. We also learn how a conversation with Chaka Khan led to him recording Marvin Gaye's legendary album What's Going On front-to-back, for a special vinyl-only release. You can find Love You Anyway wherever you get music, and visit devongilfillion.com for tour dates, socials and more.

Whether you hailed from Gainesville, Grand Forks or Green Bay in the late 90's, it wasn't rare to hear criss-crossing vocal shouts, razor-sharp guitars and drums with jazz-like precision, all blasting out of your local VFW hall. That's partly thanks to Braid, four modest Midwesterners who funneled their obsessions with Fugazi, Jawbox and Gauge through a roulette wheel of glorious rhythmic shifts and six-string swan dives. During their original run, the quartet were known to be workhorses, releasing new songs as immediately as they wrote them, and putting thousands of tour miles on the odometer. The culmination of these efforts took the shape of Frame & Canvas, their third album, released in 1998. Recorded and mixed in just five days, it became much more than a benchmark for Braid's then brethren; these twelve tracks grew to influence each punk rock generation (and variation) that followed, with Rolling Stone even listing it as one of the top five emo albums of all-time. On today's show, returning guests Bob Nanna (vocalist/guitarist), J. Robbins (engineer/producer) and Polyvinyl Records co-founder Matt Lunsford discuss the album sessions and original release, as well as the new 25th anniversary remix and remaster, along with mastering engineer Dan Coutant of Sun Room Audio. For social media, upcoming F&C anniversary tour dates, and to purchase this latest reissue, visit polyvinylrecords.com/artist/braid.