Episodes
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“It felt like I just stepped into a rodeo, and they shut the gate behind me.” That’s how Grant Achatz describes his first day of working in the kitchen of Charlie Trotter’s, then considered one of the world’s finest restaurants. The future 3-Michelin-star Alinea chef was just 21 in the summer of 1995 when he convinced Trotter to give him a shot at his namesake Chicago restaurant. But Achatz did not have a positive experience and left after a few months, moving on to a longer tutelage under Chef Thomas Keller at the French Laundry in Napa Valley. When Achatz returned to Chicago to run his own kitchen, he and Trotter had what Achatz calls an “aggressively competitive” relationship. Trotter closed his restaurant in 2012 and died from a stroke the following year at age 54. Now Achatz—who appears in Rebecca Halpern’s documentary about Trotter, Love, Charlie (as do I)—is presenting a lavish Trotter’s menu at his restaurant Next and reflecting on his relationship with the late chef, whom he thinks hasn’t received proper credit for all the innovative ways he changed fine dining.
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Susan Cowsill was the kid sister of the family band the Cowsills, and she made an indelible impression singing “and spaghetti’d!” on the Cowsills’ 1968 hit version of “Hair.” Jump to the 1990s, and she was singing and, for the first time, writing songs in the indie supergroup the Continental Drifters, which also included her friend Vicki Peterson of the Bangles and Peter Holsapple of the dB’s. With the Drifters having a resurgence with a new book and compilations—and with Susan still performing with the Cowsills and on her own—she takes us on a lively tour of her long, colorful career. Did she want to join the family band at age 7? How close did the Cowsills get to starring on The Partridge Family? How is singing other people's songs "like having an amusement park in your body?" And can we expect new Continental Drifters music?
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Sima Cunningham has had two albums released this year: Not God from Finom, her band with fellow Chicago singer-songwriter-multi-instrumentalist Macie Stewart; and a long-gestating solo project, High Roller. With Finom kicking off a tour this weekend and a solo album launch and a Roches-themed show coming up, Cunningham is enjoying the culmination of a lifetime of music-making and collaboration. Here she recalls growing up in a musical and artistic household; tells of her sibling-like connection with Stewart and how they find their beautiful, surprising, distinct harmonies; recounts their history with Jeff Tweedy, who produced Not God, and her work with Chance the Rapper, Richard Thompson and Waxahatchee; emphasizes the importance of community; and explains as best as she can why the band had to change its name from Ohmme. Plus, she sings snippets of songs she wrote when she was 11. (Photo by Shannon Marks.)
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Iain Matthews was an early member of the pioneering British folk-rock band Fairport Convention, singing on its first two albums and leaving during the recording of the third one, Unhalfbricking. Since then this singer-songwriter has formed other bands — Matthews Southern Comfort, Plainsong — and released much solo work, including the just-released How Much Is Enough. He has scored some hits — Southern Comfort’s cover of Joni Mitchell’s “Woodstock,” his 1979 solo song “Shake It”—and says he has recorded about 70 albums total, all projects included. So he has many tales to tell —about the Fairport years with Richard Thompson, Judy Dyble and Sandy Denny and his break from the group; the many places he has lived and whether they had an impact on his music; his years as an A&R rep; and that vocal arrangement of his that the Eagles borrowed without credit. (Photo by Lisa Margolis.)
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Joan Osborne is best known for a certain big hit yet has amassed an impressive career since then. Her latest album, Nobody Owns You, may be her most personal yet, with songs about her mother’s Alzheimer’s, the impact of time spent in “Too Many Airports” and the title track addressed to her daughter. Yet she remains as enthusiastic interpreting others’ songs as her own. One early such song, Eric Bazilian’s “One of Us,” initially was intended for another singer (Osborne does an excellent impression here), but she made it her own on her 1995 debut album, Relish. “One of Us,” in turn, made Osborne a star but perhaps gave listeners a misleading first impression of a powerful blues/soul singer who belts “Right Hand Man,” “Ladder” and others. Osborne reflects on it all, including the strangeness of being a shy person whose job it is to sing in front of other people. (Photo by Laura Crosta.)
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When the young Zion, Ill., band Local H shrunk from four members to two, leader Scott Lucas decided he liked the guitar-and-drums attack and has stuck with it for more than 30 years. Local H has had its moments of popularity (the 1996 album As Good As Dead and single “Bound for the Floor”), critical triumphs that fell short commercially (1998’s dazzling concept album Pack Up the Cats) and subsequent albums that showcase Lucas’ smart, melodic songwriting, his formidable vocal and guitar chops, and the duo's ferocious interplay. Local H is marking the 20th anniversary of Whatever Happened to P.J. Soles?, the album that Lucas thinks best represents him, with deluxe rereleases and shows, including the tour finale Oct. 16 at Metro Chicago. The previous evening Lucas is premiering his hybrid Local H concert film Lifers at Chicago’s Music Box Theatre. The ever-thoughtful Lucas has much to say about bands, labels, maintaining a vision and the meaning of success.
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To mark Episode 150 of Caropop, we’re doing something different. My friend Steve Dawson— an awesome singer-songwriter who was my guest back on Episode 10, as well as my co-author on Take It to the Bridge: Unlocking the Great Songs Inside You—said he wanted to turn the tables and interview me for an episode. So here we go, with Steve probing me on what drove me to become a newspaper writer and, eventually, to launch Caropop. We discuss the importance of curiosity, the keys to interviewing celebrities, how my math-science brain may factor into my work, how Caropop became so music-focused, and why talking about creativity is more satisfying than talking about sales and careers. Paul McCartney, John Travolta and Cuba Gooding Jr. may make cameo appearances... (Photo by Todd Rosenberg)
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This week’s episode takes us behind the scenes of an independent record label and record store out of Portland, Oregon: Jackpot Records, with its founder Isaac Slusarenko. He opened the store in 1997 as a place that was all about music, no T-shirts or candles. He launched the label in 2004 with a vinyl edition of the 1971 self-titled psychedelic soul album by Beauregard, a Portland wrestler, followed by albums by local rockers the Wipers. With repeat Caropop guest Kevin Grey providing the all-analog mastering then and now, the label offers Record Store Day treasures (Gandalf!) while releasing higher-profile titles by the Meters, Booker T. and the M.G.’s, Etta James, the Electric Prunes, Bill Evans, Martin Denny and others. How does the licensing of albums work? How does Slusarenko make his Jackpot pressings stand out? How important are the cover art, colored vinyl and limited editions? Slusarenko pulls back the curtains.
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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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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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