Public Record

Henry Rollins established his heavy music bonafides with groups like Black Flag and Rollins Band, but these days, the author, radio host, and hardcore record collector is more focused on archiving the music of punk's golden age. Case in point, the recently released Cramps LP Gravest Gravy, featuring never released vintage 1977 recordings by Alex Chilton of Big Star at Ardent Studios in Memphis, which Rollins helped bring into existence. Public Record's own Jason P. Woodbury rang Rollins up to get his takes on The Cramps, Chilton, bootlegs, stoner metal icons SLEEP's new lineup, and noise punk pioneers Flipper, who are set to appear October 13 at Hello Lincoln. 

They have one of the most recognizable logos in punk rock history. But how did it come together? Tune in to hear Steve DePace of Flipper discuss the band’s legendary “fish” logo.Guitarist and co-founder Ted Falconi created the iconic cross-eyed fish logo. Crude, easy to draw, and optimized for virality, the logo found its way onto bootleg shirts made by Kurt Cobain of Nirvana and tags all over the globe. And now? Flipper is bringing their story live to Hello Lincoln: Public Record and Trunk Space Present: Flipper Live at Lincoln With Sneak, Treacherous Dogs, and DJs TK Nicholson and Chase “Hella” Hammer Mason. Joining Flipper for this show? Vocalist Justin Pearson, known for Three One G Records, The Locust, and collaborations with Karen O, Kool Keith, and many more. On October 13, come check out Flipper ephemera on exhibit and a live set from the band at 850 W. Lincoln at Hello Lincoln, along with sets by Sneak, Treacherous Dogs, and DJs TK Nicholson and Chase “Hella” Hammer Mason. Get tickets. 

Welcome to Public Broadcast, the brand new podcast feed from Public Record Online, brought to you by listeners like you and our sponsor, Hello Merch. Formerly known as WASTOIDS, Public Record is your home for art, culture and music—not optimized for the algorithm, but optimized for care, preservation, and archiving. This week: Sean Lennon. The son of John Lennon and Yoko Ono, Sean is a lifelong musician himself. In the ‘90s, he was signed to the Beastie Boys adventurous Grand Royal Records, which released his debut, 1998’s Into the Sun. He followed it up in 2006 with Friendly Fire, released on Capitol Records, and he’s played in a dizzying array of bands and projects, including Cibo Matto, The Ghost of a Saber Tooth Tiger, Mystical Weapons, and his mom’s band, the Plastic Ono Band. He’s also in a group with Les Claypool called The Claypool Lennon Delirium, with Primus bassist Les Claypool. They’re out on the road now, a traveling circus of rock music that features Primus, The Frog Brigade, and the Claypool Lennon Delirium, which means Les is playing three sets a night, and Sean is playing two—as he’s sitting in with the Frog Brigade in addition to his project with Les. Their new album is called The Great Parrot Ox and the Golden Age of Empathy, a psychedelic pop opus that’s also a concept album about the role of humanity in the age of AI. Ahead of the tour rolling through Phoenix on June 30th, we caught up with Sean to talk technology, his mother’s art and the squares who still don't get it, and whether or not he has any plans to celebrate the 20th anniversary of his album Friendly Fire…but first…are we merely meat machines? Let’s dive in and discuss. You can find a full transcript of this chat at publicrecord.online, where you can also scope our other shows, interviews, news reports, and more. 

On this episode of The Spindle, Marc and John break down A Taste of Honey's "Boogie Oogie Oogie." They describe how Janice-Marie Johnson and Perry Kibble brough this disco—or is it funk?—classic into being. 🎧 Subscribe to Wastoids for more deep dives with The Spindle ...one seven inch at a time.

Echo & The Bunnymen's "Killing Moon" hit #9 on the UK singles chart, with singer Ian McCulloch touting it as "the greatest song ever written". On this episode of The Spindle, Marc and John break down the track, why singer Ian McCulloch didn't want to sing it, and the story behind why the record's b-side was banned in the UK.🎧 Subscribe to Wastoids for more deep dives with The Spindle ...one seven inch at a time.#Echo&TheBunnymen #IanMcCulloch #KillingMoon #MusicAnalysis #TheSpindle 

Perry Shall is a legendary shirt designer and collector. Each episode of T-Time finds him joining an artist, comedian, podcaster, or band to discuss...you guessed it...t-shirts! In this special check-in with Marc Maron, which was filmed back in the dark days of the pandemic, Perry and Marc dig into Maron's shirt vault and find some treasures. This episode was edited by Bob Sweeney.Find more from Perry at perryshall.com

From the latest WASTOIDS TV: Former MuchMusic VJ Sook-Yin Lee makes music, art, and movies. Her new film adapts her ex-boyfriend Chester Brown’s 2011 graphic novel about being a john, Paying For It. How did she approach such a personal tale, and how did she recapturing the spirit of ‘90s Toronto in the alternative heyday on a shoestring budget? She walks us through in this WASTOIDS Music News special report. 

Somehow The Fall took eight whole months to make “The Chiselers,” but that’s just part of the story. On this episode of The Spindle, Marc and John dig into Mark E. Smith’s modular song cycle tendencies. Nonetheless, Smith is working in a minimalist form here. With faithful collaborators by his side, “The Chiselers” explodes The Fall’s formula, proving his ability to constantly re-invent and re-imagine the band. 

Saddle up with one of the wildest bands to ever emerge from the Texas underground: The Butthole Surfers. Sit down with filmmakers Tom Stern and Simon Weinstein and learn how they peered beyond the crazy and into the true heart of the band for their new shock-doc The Butthole Surfers: The Hole Truth and Nothing Butt. It’s an everything butt edition of WASTOIDS TV.

As a teenager in early '60s France, Françoise Hardy somehow convinced a huge label to put out a debut 7-inch with songs she wrote—and it shot to number one! On this episode of the Spindle, Marc and John delve into the early history that launched Hardy's 60-year career as a French musical icon.