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Immediately after Uncle Tupelo co-leaders Jay Farrar and Jeff Tweedy parted ways 30 years ago, bassist John Stirratt and his fellow bandmates followed Tweedy into a new band, Wilco. Now Stirratt and Tweedy are the only members left from that original lineup, and Stirratt reflects on Wilco’s exciting, turbulent early years as well as the more stable past two decades with the same lineup. Then there’s Stirratt’s other band, the Autumn Defense, which he and multi-instrumentalist Pat Sansone (who joined Wilco later) formed to highlight their melodic songwriting and sweet lead vocals. Ten years have passed since the last Autumn Defense album, but a new one is coming. From playing with the unpredictable Alex Chilton while a young man in the South (and singing his songs later) to entering the hospitality industry from his current home in Maine and being on call for Wilco, the ever-gracious Stirratt has many adventures to share.
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The Dream Syndicate/Baseball Project singer-songwriter-guitarist just released a new memoir, I Wouldn’t Say It If It Wasn’t True, and solo album, Make It Right. But Steve Wynn’s second Caropop visit is no mere rehash of his book and career. He loves talking about music, and our subjects this time include the guitars that got away, the fun of hunting for obscure records in the pre-digital era, and his 1981 pilgrimage to Memphis to track down Big Star’s Alex Chilton. Wynn also shares his perspective on finding happiness in a long career where disappointments are inevitable, whether he considers travel a hassle or a joy, and whether writing a memoir transformed how he views his early years or prompted him to revisit any relationships. He knocks this conversation out of the park. (Photo by Guy Kokken)
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Saknas det avsnitt?
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Jeff McDonald’s band Redd Kross is marking its 45th anniversary this year, which is all the more impressive given that the singer-songwriter-guitarist is barely in his 60s. Jeff and his younger brother, bassist Steven, started the band in their teens, and their songs are as catchy and powerful as ever on their new self-titled double album. (A Redd Kross documentary and memoir also are out this year.) As you’d expect from someone whose love of music bursts from every power chord, massive hook and pop-culture shout-out, Jeff McDonald is a lively conversationalist who’s as keen to debate whether it's OK to reuse another song’s title as he is to revisit his band’s adventures. How have his and Steven’s songwriting dynamic changed over the years? Have they actually met Linda Blair?
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Wanted to let you know that we’re taking the last three weeks of August off, and we’ll be back the Thursday after Labor Day, Sept. 5, all refreshed and ready with a new Caropop conversation. In the meantime, we encourage you to explore our back catalog. There are 145 episodes, after all.
Have you listened to Ep. 102 with jazz-R&B pianist/singer/composer Patrice Rushen? How about Ep. 90 with Suzzy Roche of the Roches? Or Ep. 88 with Eddie “King” Roeser of Urge Overkill? Or Eps. 24 and 25 with, respectively, Colin Blunstone of the Zombies and Sam Phillips? Or Ep. 9 with legendary mastering engineer Bernie Grundman? How about one of the XTC episodes with Colin Moulding, Dave Gregory or Terry Chambers? You can find these and discover others at https://www.caropop.com/caropopcast or go to Apple Podcasts or Spotify. Producer Chris Cwiak and I wish you all a great end of summer, and we’ll talk with you again soon. Thanks!
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When I spoke with guitarist Jimmy James a few weeks ago for Caropop Ep. 143, he cited Steve Cropper of Booker T. and the M.G.’s. as a key inspiration. Listen to James’ work with the organ trio Parlor Greens and, before that, the Delvon Lamarr Organ Trio, and you hear how he, like Cropper, is a rhythmic guitarist who never overplays yet can make your head spin. I told James I’d love to hear him to interview Cropper, and he said that would be a dream come true. Turns out, the 82-year-old Cropper, my guest for Caropop Ep. 93 last summer, has a new album, Friendlytown, coming out Aug. 23. I pitched the idea of James talking with Cropper, guitarist to guitarist, generation to generation, and here it is—with fantastic stories and insights plus a few guitar licks. (Photo by Stacie Huckeba.)
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Dan Zanes enjoyed a good run with the Boston band the Del Fuegos but had no idea what broader, more enthusiastic audiences awaited him when he began making “family music” with friends such as Sheryl Crow and Suzanne Vega. The Dan Zanes and Friends albums and concerts got fans young and old dancing and singing along—and earned him a Grammy Award. Now he and his wife, Claudia Zanes, have a new album, Pieces of Home (out Aug. 30), as the couple continues expanding its reach through sensory-friendly performances and events for various communities. Zanes talks about the Del Fuegos’ rise and fall, how his younger brother Warren joined, why they did that beer commercial and how, once he discovered family music, there was no turning back. Claudia Zanes also comes on to tell her part of the story—in perfect harmony, of course. (Photo by Schaun Champion.)
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Jimmy James is a fantastic, funky guitarist who never plays more than is needed yet can seize any moment. This Seattle native is a longtime member of the big soul-funk band True Loves but may have been best known for his standout work in the Delvon Lamarr Organ Trio. He left that group (and discusses his departure here) and now plays in a new, all-star organ trio, Parlor Greens, with Hammond player Adam Scone of the Sugarman 3 and drummer Tim Carman of GA-20. Its new album, In Green/We Dream, came out last week. James is precise about how he plays and passionate and encyclopedic about earlier-era guitarists who have inspired him, including Jimi Hendrix, with whom his family had a personal connection. He also offers a tribute to his late mother that's as lyrical as any part he might play. (Photo by Chris C. Bowden)
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Guitarist Chris Stein was a driving force behind Blondie and, with longtime songwriting/personal partner Debbie Harry, co-wrote many of its classic songs, including “Rip Her to Shreds,” “Heart of Glass,” “Dreaming,” “The Hardest Part” and “Rapture.” His passion for exploration pushed Blondie beyond its punk roots into disco, pop, reggae and rap, and in this conversation we dig into the details. What struck him most about Harry’s voice and songwriting? Where did Blondie fit amid the art-punk CBGB scene? What song did Stein model “Dreaming” on before drummer Clem Burke blasted it in another direction? Which Blondie album did the label complain had no singles? Which one Blondie song did Stein know would be a hit? How did Stein overcome an autoimmune disease and all-consuming drug addiction? And how did writing his new memoir, Under a Rock, change his perspective? (Photo by Axel Dupeux)
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After a fluky financial windfall, Mona Best bought a Victorian mansion in Liverpool, opened the Casbah Coffee Club in the cellar, and the Quarrymen, an early version of the Beatles, became the resident band. When the Beatles needed a drummer for their 1960 Hamburg residency, they called on Mona's son Pete. Pete Best became a key player in the Beatles' evolution before being unceremoniously replaced by Ringo Starr on the eve of the band's EMI recording sessions. Here, in vivid detail, he recalls those early years, including the grueling living and playing conditions in Hamburg and his and McCartney's arrest there for attempted arson. What were his impressions of John, Paul and George? What did he think of the first Lennon-McCartney songs? What happened with the Beatles' Decca audition? He also reveals the last time he had contact with any of them and details about the Casbah's new incarnation as a B&B.
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With the Fourth of July falling on a Thursday, we encourage your independence to explore the 140 Caropop episodes so far. Go to Caropop.com/caropopcast—you can scroll through them or use the search tool—and you also can find the epsiodes on Apple Podcasts and Spotify. Some suggestions based on artists now touring: Scott McCaughey, Steve Wynn and Linda Pitmon of the Baseball Project; Jody Stephens and Chris Stamey (also dB's) of the Big Star Quintet; David Lowery and Johnny Hickman of Cracker; and the formidable Bettye LaVette, who just opened for the Rolling Stones at Soldier Field in Chicago. And please consider supporting this little operation so we can keep it going. You can become an official Caropop Friend for a mere $24 at caropop.com. Come back next week for a brand new Caropop conversation that you won't want to miss.
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Graham Maby is one of rock’s most revered bassists, known especially for his work with Joe Jackson. Maby and Jackson were in another band together in England before Jackson proposed forming his own band with Maby’s bass front and center. That was the approach of Jackson’s first three albums—starting with 1979’s Look Sharp!—and the ever-gracious Maby reflects on how his indelible parts came to be. He also recalls the breakup of the Joe Jackson Band, his continued work with Jackson on albums such as Night and Day and Body and Soul, and what prompted him to join previous Caropop guest Marshall Crenshaw's band. How did Crenshaw’s approach to bass parts differ from Jackson’s? How did Maby wind up back in the Jackson fold? And when will they record and perform together next?
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Drummer Will Rigby provided the propulsion, grooves and furious fills for the dB’s, a North Carolina foursome who launched their collective career in New York City yet had their powerfully poppy first two albums released only overseas. Now the dB’s landmark 1981 debut, Stands for Decibels, finally has come out in the U.S. on vinyl and streaming services, with Repercussion to follow, and the classic lineup of singer-songwriters Chris Stamey and Peter Holsapple, bassist Gene Holder and Rigby will tour for the first time in 12 years. The ever-engaging Rigby recalls the band’s formation with Stamey, the addition of Holsapple, the making of those early dB’s albums, the reasons behind Stamey’s departure and the more American sound of 1984’s Like This. Rigby also discusses his own idiosyncratic songwriting and his work with other artists, such as Steve Earle. (Photo by John Gessner)
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Vicki Peterson wrote, sang and played lead guitar on many of the Bangles’ best songs, even if they weren’t the ones that made the band famous. In a smart, revealing conversation, the down-to-earth Peterson reflects on the Bangles’ origins—and her desire to be in an all-female band, which soon would include her sister Debbi (a former Caropop guest) and singer/guitarist Susanna Hoffs—and the compromises and rising tensions that accompanied their success. In the aftermath of a painful Bangles breakup, Peterson—a band person through and through—joins the Continental Drifters, teams with Susan Cowsill in the Psycho Sisters and tours with the Go-Go’s. The Bangles also reunite for two more albums. What lies in the future for the Bangles and Continental Drifters? What is Peterson’s creative life like now? (Photo: Rebecca Wilson Studio.)
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Impex Records has been releasing stellar audiophile recordings since Abey Fonn founded the small label in 2009. Impex’s offerings have included 33 and 45 rpm LPs (including Al Di Meola, John McLaughlin and Paco De Lucía’s Friday Night in San Francisco and Saturday Night in San Francisco) as well as deluxe 1Step releases such as Getz/Gilberto, Patricia Barber's Companion and, coming June 14, Sing and Dance with Frank Sinatra. Here Fonn pulls back the curtain on how Impex chooses and makes deals for its titles, what the competition is like with the larger audiophile labels, how Impex decides which format is best for an album, whether original master tapes have become harder to obtain, whether a one-to-one analog transfer is superior to a high-res digital copy, which act has been Fonn’s white whale and which one she was happiest to land.
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After co-producing R.E.M.'s Murmur and Reckoning, Don Dixon got calls from other bands, often southern and jangly, seeking his services. He produced three albums by Guadalcanal Diary, another Georgia band, but it was his work with New Jersey's the Smithereens that took him to another level. It also prompted Nirvana to ask him about producing Nevermind. Dixon was pursuing his own career as well while thinking U.S. labels had slighted his previous band, Arrogance. What happened when the head of Enigma Records approached him in a European airport about releasing the song "Praying Mantis"? What unorthodox scheme did Dixon propose to the label in lieu of releasing albums? Why does he, of all people, think recording ruined music? Dixon has enough great stories and insights to fill two episodes. This is the second.
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Don Dixon already had spent 13 years playing, singing and writing with the North Carolina indie band Arrogance when he joined Mitch Easter to co-produce R.E.M.’s trailblazing first two albums, Murmur and Reckoning. He went on to produce the first two crunchy-and-sweet Smithereens albums plus music from Guadalcanal Diary, Matthew Sweet, Marshall Crenshaw and Marti Jones, to whom he remains married. His own infectious “Praying Mantis” got him some airplay as well. Did he see himself more as a soul singer, a songwriter, a bassist or producer? What are the secrets to being a strong producer? What happened when Nirvana asked him about producing Nevermind? Dixon has enough great stories and insights to fill two episodes. This is the first.
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William Bell is a soul legend who scored an early hit for Memphis’s Stax Records with 1961’s “You Don’t Miss Your Water” and wrote and sang such much-covered classics as “I Forgot To Be Your Lover,” “Everybody Loves a Winner” and “Every Day Will Be Like a Holiday.” He and Booker T. Jones co-wrote Albert King’s “Born Under a Bad Sign,” and Bell vividly recalls the story behind that one. He also recounts his friendship with Otis Redding and how Redding’s death, followed by Martin Luther King, Jr.’s assassination, affected him, Memphis and beyond. At age 84, Bell continues to make music, releasing the Grammy-winning album This Is Where I Live in 2017 and One Day Closer to Home last year. His voice and writing—as well as his wit and memory—remain impressively strong.
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We were devastated to hear of Steve Albini’s death at age 61 of a heart attack. He was a titanic figure in the music world and a mensch among musicians who were not well known yet were able to book time with one of the industry’s most supportive, talented engineer/producers. Albini spoke with us for back-to-back Caropop episodes posted in January 2022. The first took place in his Electrical Audio studio on Chicago’s North Side and dug into analog vs. digital technology and preservation. The second was conducted over Zoom and zoomed in on his work with Nirvana and his refusal to take artist royalties. We’re combining these two conversations into a supersized episode so we can revisit his fierce intelligence and stubborn integrity. We wish we could hear more from him.
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I spoke with Grant Achatz, one of the world's most talented, creative and thoughtful chefs, as his 50th birthday and his Chicago restaurant Alinea's 19th anniversary approached. He has received just about every possible accolade for a chef, including multiple James Beard awards, Alinea being named the country's best restaurant, and three Michelin stars being awarded to Alinea every year since 2011. Early in this spectacular run, he successfully fought stage 4 cancer of the tongue through innovative treatments at the University of Chicago. Yet despite all he has accomplished and been through, including the pandemic-time transition of Alinea to a carryout restaurant, he keeps restlessly pushing forward. What might the next culinary revolution look like, and how can he be at its forefront? Why does he wish Alinea were more like a rock band?
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Madeleine Peyroux started her career busking on the streets of Paris and earned comparisons to such heroes as Billie Holliday and Bessie Smith as she broke through with the 2004 album Careless Love. Twenty years later, she is soon to release her ninth studio album, Let’s Walk, for which she, for the first time, co-wrote all of the songs. In this no-holding-back conversation, she reflects on her beginnings (the 1939 movie musical Gulliver’s Travels plays a role), her creative growth and her struggles to process the current state of our world artistically and otherwise. How does she feel about the only job she's ever had? Is she cool with turning 50 this month? How does she co-write? Does she feel compelled to communicate empathy now? Is she part of the problem or solution?
- Visa fler
