Caropop

Chef Sarah Stegner is not only one of the most talented chefs in the Chicago area but also among the most impactful. A two-time James Beard Award-winner, she scaled fine dining’s heights at the Dining Room at the Ritz-Carlton in Chicago, then decided she’d rather share with more people her vision of how ingredients and guests should be treated, so she opened Prairie Grass Café. She also co-founded the trailblazing Green City Market and advocates for women in restaurants through The Abundance Setting. She has no use for yelling in the kitchen and offers thoughtful ideas on how to push the industry forward. When she talks, other chefs listen, and when she cooks, bring your appetite.

Jeff Murphy makes brilliant power pop with his brother John and their friend Gary Klebe in the band Shoes. They began by recording at home in Zion, Ill., released indelible songs (“Tomorrow Night,” "Your Imagination") and albums (Present Tense, Tongue Twister) for Elektra and went into heavy rotation on MTV when the channel debuted in 1981. Then they discovered they were better off recording and releasing their own music. How can a band thrive with three equal singer-songwriters? Why are record labels so dumb? How much musical knowledge is needed to create such catchy tunes? What went right and wrong with Material Issue, whom Jeff produced? Tap your toes and listen.

Chris Stamey played with Mitch Easter and Alex Chilton before forming the dB’s and producing Pylon and other bands, but he has created a formidable body of his own work. His songwriting and arranging have grown in sophistication and skill, and he has written an illuminating memoir, A Spy in the House of Loud: New York Songs and Stories, that immerses us in his artistic development amid that city’s transformative rock scene. Here he talks about Chilton, the dB’s, music theory, the smell of analog tape, and those lightning-bolt moments when a new song becomes a precious secret in your head. This conversation is like a master class about songwriting and creativity.

Justin Roberts is a first-rate songwriter who happens to make music for kids. His songs are intuitive, funny and catchy, and four of his albums are Grammy nominated, including 2020’s Wild Life, the first he wrote after becoming a parent himself. Talking in his sunny living room, he digs into the craft of songwriting and the business of releasing his own music. How does he distinguish between songs he writes for kids and adults? How can he thrive when his audience keeps growing older? How has parenthood changed his work? As an added treat, he performs two new songs. You don’t have to be a parent or kid to enjoy this Caropop conversation.

Nashville-based mastering engineer Ryan Smith works on high-profile vinyl releases such as recent albums by Adele and Taylor Swift, but he’s become renowned for the fantastic-sounding reissues he has mastered. As a member of the Vinyl Me, Please record club, I have become happily familiar with the phrase “AAA Lacquers Cut From The Original Analog Tapes by Ryan Smith at Sterling Sound.” In this illuminating conversation, Smith discusses his approach to an optimal recording, the level of detail possible in original pressings vs. new versions, the merits of black vs. colored vinyl, and the relative importance of where lacquers are cut vs. where albums are pressed. Listen…

Drummer Terry Chambers was the motor that powered XTC through its first five albums before frontman Andy Partridge broke down and abruptly ended the band’s touring days. Chambers left soon afterward, moved to Australia and was away from music for three decades—in part trying to pay off the massive debt from that cancelled tour. Yet recently he moved back to Swindon, England, and teamed with XTC songwriter/bassist Colin Moulding on a new band, TC&I. When Moulding pulled the plug on that project, Chambers decided to tour XTC songs anyway—in EXTC. With candor and good humor, he discusses his playing and reveals what it was like to be in and then out of XTC—and who's the biggest obstacle to a possible reunion.

Whether you consider him country, bluegrass, folk or rock, Robbie Fulks is one of our greatest songwriters and an awfully talented guitarist and singer as well. He can be satirical and biting but also can pierce your heart, as the penetrating character studies on his albums Gone Away Backward and the Grammy-nominated Upland Stories have done. Having long lived in Chicago, Robbie moved to Los Angeles a few years ago. Why would he do that? He also talks about his writing process—does he write when he doesn’t have to?—his 30 Rock guest spot, his love of collaboration and his poolside meeting with another accomplished singer-songwriter because apparently that’s what one does in L.A.

Some songs you enjoy in the background while others take up residence in your bones. Sam Phillips’ music is in the latter category. She was Christian pop artist Leslie Phillips until she outgrew those constraints and, as Sam, began releasing such transcendent songs as “Holding On to the Earth” and “I Need Love” and wonderful albums such as the spirited The Indescribable Wow, the tour de force Martinis and Bikinis and the intimate Fan Dance. What threat did she make to get released from her Christian label? How did she wind up playing a mute villain in Die Hard with a Vengeance? How is she still searching for the euphoric? She’s as perceptive and spellbinding in conversation as in song.

Colin Blunstone has one of the sweetest, most distinct voices in rock, yet his band, the Zombies, has a bizarre history. It broke through with “She’s Not There” and “Tell Her No,” then went three years before the release of its second album, the masterful Odessey and Oracle. By then the Zombies had split, and when “Time of the Season” became a hit almost a year later, fake versions of the band, including one featuring members of a soon-to-be-famous group, toured the U.S. Now Blunstone and songwriter/keyboardist Rod Argent are Zombies again, and in a lively, good-humored conversation, Blunstone recounts his spat with Argent over "Time of the Season" and a rollercoaster career that led to a Rock and Roll Hall of Fame induction.

He’s been known as Miami Steve, Little Steven and Steve/Steven/Stevie Van Zandt. He’s been Bruce Springsteen’s and Tony Soprano’s No. 2 guy, the artistic force behind Southside Johnny and the Asbury Jukes, the leader of his own Little Steven and the Disciples of Soul and the star of Netflix’s Lilyhammer. He united rockers and rappers to battle South African apartheid with “Sun City,” oversees three satellite radio stations and a record label, wrote the memoir Unrequited Infatuations and he wishes he’d done more. Why does Stevie Van Zandt say the '70s were the worst time to record? Does he think Springsteen's concerts are too long? Why is he so frustrated? No one could tell this story like he does.

The Mekons, the Waco Brothers, Four Lost Souls, the Pine Valley Cosmonauts—those are just some of Jon Langford’s bands, and he’s an accomplished visual artist to boot. Since moving to Chicago from England almost 30 years ago, Langford has become one of the city’s greatest assets, and during the pandemic he has performed constantly in support of small clubs and other good causes. He recalls the influence of reggae and country music on the early British punk scene, how the Mekons never were in a riot until they were, how the band took on Led Zeppelin, and how much he misses the late Wacos drummer Joe Camarillo. He’s also performs two new songs JUST FOR YOU. Listen and enjoy.

When singer-songwriter Alex Chilton and drummer Jody Stephens played their first Big Star concert in almost 20 years in 1993, Stephens said it was the first time the band had performed before a paying audience that actually knew their songs. This soulful Memphis power-pop group’s initial three albums—#1 Record, Radio City and Third/Sister Lovers—barely were heard upon release but now stand as all-time greats. Stephens, the original lineup’s sole survivor and one of rock’s good guys, recalls the contrasting brilliance and instability of Chilton and original co-leader Chris Bell, Chilton’s instrument-smashing blow-up with bassist Andy Hummel, and the inspired work that led the Replacements’ Paul Westerberg to sing, “I never travel far without a little Big Star!” He's also got a great Ringo story...

If you pay close attention to the vinyl world, you know the name of Kevin Gray. He’s been mastering recordings since the early 1970s, and his name is on some of the best-sounding reissues being released, including albums by Blue Note jazz artists, Aretha Franklin, T-Rex, the Kinks, John Prine and a much-sought-after version of Pink Floyd’s The Dark Side of the Moon. What distinguishes his work from other mastering engineers, such as previous Caropop guest Bernie Grundman? Does a great master require an all-analog source? What does he think of half-speed mastering? How long does he take to master an album? Does he share Grundman's appreciation for CDs? Does he agree with Grundman that recordings on quarter-inch tape sound better than those on half-inch tape? We’re digging deep, so listen, learn and enjoy.

Camper Van Beethoven bassist Victor Krummenacher is a standout player in a standout band that was peaking when it imploded. This former Wired art director has a journalist’s eye for detail as he recalls how this inventive group sprung from a shambling Southern California scene, covered miles of stylistic ground, recorded songs such as “Take the Skinheads Bowling” and "Pictures of Matchstick Men” (a radio-ready cover the label ordered up for Key Lime Pie) but could not sustain the happy energy of its music. Does he regret leaving in the middle of the subsequent European tour? How did he feel about Camper frontman David Lowery’s subsequent band, Cracker? How did Camper mend fences? Krummenacher, who also has released 10 solo albums, has tales to tell.

Amy Landecker is a working actor of many talents. She was Sarah Pfefferman on the Emmy-winning series Transparent, plays detective Nancy Costello on the Showtime series Your Honor and made an indelible impression as the heavy-lidded Mrs. Samsky in the Coen Brothers’ A Serious Man. She has done tons of voiceover work and is skilled in “Primitive Sound Emanation”—an extremely loud monkey screech YOU WILL HEAR in this conversation. She also discusses the script she's writing, how COVID recently hit her and her husband Bradley Whitford and cost them roles, and how growing up the daughter of a Chicago radio legend helped prepare her for life in Hollywood. Amy Landecker is one of those actors everyone likes and respects. Join the club.

In Part 2 of our Caropop conversation, we dive into the most famous album that Steve Albini produced, Nirvana’s In Utero. Which version does he consider to be definitive? Why does he think the controversy over his mixes, with the two singles remixed by Scott Litt, was overblown and reflects a misunderstanding of how musicians think? How did he feel about creating a new In Utero mix with the surviving band members 20 years later? Also: Do fellow producers resent him for not taking artist royalties and, in theory, driving down rates? And after years of being outspoken, has Steve Albini become a mellow guy? You be the judge.

Steve Albini raised his profile while recording Nirvana, the Pixies, the Breeders, P.J. Harvey and more, but he never became part of the rock machine. He works only on analog equipment, refuses to accept producer royalties and takes pride in remaining accessible to a wide variety of artists. Part 1 of this Caropop conversation takes place at his Chicago recording studio, Electrical Audio, as he discusses analog vs. digital technology, whether the digital revolution has been more of a blessing or curse, whether the industry has become more or less exploitative of artists, and which band he’d especially love to record. Always sharp and provocative, Steve Albini pushes you to think deeper about the lasting power of music.

When Dave Gregory joined XTC in 1979, he transformed the band through his muscular, melodic guitar playing, occasional keyboards and, on "1000 Umbrellas," a string arrangement. Gregory always found ways to elevate singer-guitarist Andy Partridge’s and bassist Colin Moulding’s tuneful songs, such as “Generals and Majors” and “Senses Working Overtime.” But Gregory, frustrated by Partridge’s controlling ways, quit in 1999, and the band hasn’t released new material in more than 20 years. Although all four members of the classic lineup now live in Swindon, England, they don’t see one another. But Gregory remembers much as he takes us through the creative explosion and eventual implosion that was XTC.

He photographed the Beatles during the Get Back project and in their final photo session. He shot the Rolling Stones during their peak years and was airlifted out of Altamont Speedway with them. He provided the indelible images for Who’s Next and other album covers. Ethan Russell was a young man from San Francisco who moved to London and became a rock ‘n’ roll photographer before that was considered a profession. He bonded with John Lennon yet kept his distance from subjects because his job was to capture moments, not to make friends. His photos tell vivid stories, and so does he in this Caropop conversation.

Chicago-born producer Shel Talmy and the Kinks revolutionized rock with the distorted-guitar attack of “You Really Got Me,” so impressing Pete Townshend that the Who leader wrote “I Can’t Explain” as a Kinks-like song to lure Talmy to produce them too. Talmy did, starting with “My Generation,” and also produced the Easybeats (“Friday on My Mind”), the Creation (“Making Time”) and a young David Bowie while continuing with the Kinks. Now living in Los Angeles, Talmy has tales to tell about all of them, including how the Kinks and the Who behaved in the studio, what Jimmy Page really did on “You Really Got Me” and how corrupt the music business can be. You’ll want to listen All Day and All of the Night.

Mekons concerts are dancing-in-the-face-of-the-apocalypse parties, and at their center is Sally Timms. Her beautiful, pure voice is way better than what you’d expect from a post-punk, country-tinged, what-have-you band, and, as she explains here, she feels duty-bound to spread joy from the stage, especially when times are dark. Typically quick-witted and thoughtful, she discusses the Mekons’ early days in Leeds, England, and their unique, enduring creative process; her longtime friendship with the late Pete Shelley of the Buzzcocks; how she and fellow Mekon Jon Langford have embedded themselves in Chicago life; and why she has helped so many strangers get vaccinated.

Carrie Nahabedian is a trailblazing, Michelin-starred chef, a mentor to many and a great talker. She offers an unvarnished look into what it’s like to run a high-end restaurant (Brindille) during a pandemic. Which has hit harder, staffing or supply-chain issues? Why are women leaving the hospitality industry? Why won’t she charge extra on New Year’s Eve or Valentine’s Day? Why does she hate tented dining in the winter? What’s it like to work with family? What notes do they keep about guest behavior? What are the best ways to make bacon and grilled cheese? Chef Carrie will leave you satiated and hungry.

Not only does Steve Dawson continue to be one of Chicago’s most talented and well-liked singers and songwriters—whether solo or with Funeral Bonsai Wedding or Dolly Varden—but he also has inspired countless other musicians through his innovative songwriting classes at Chicago’s Old Town School of Folk Music. His new album At the Bottom of a Canyon in the Branches of a Tree is one of his best. In our book Take It to the Bridge: Unlocking the Great Songs Inside You, Steve and I have a dialogue about songwriting that continues here. Why do some songwriters peak early while others keep evolving? Prepare to be inspired.

Bernie Grundman is a legendary mastering engineer, but what is mastering, and why do people look for “BG” in the dead wax of vinyl albums? He has mastered some of the greatest, and greatest sounding, recordings of all time, including Joni Mitchell's Blue, Steely Dan’s Aja, Michael Jackson’s Off the Wall and Thriller, Prince’s classic run and OutKast's Speakerboxxx/The Love Below. He’s an enthusiastic talker as he discusses working with these famous artists, what he thinks of vinyl vs. CDs, and which sounds better, a pristine original album or one remastered on modern equipment? Prepare to have your ears opened.

Drummer Chris Frantz, who formed one of rock’s funkiest rhythm sections with bassist Tina Weymouth, helped drive Talking Heads to heights perhaps unreached by any other American band. Frantz’s memoir, Remain in Love, could be read as a love letter to Tina, his wife, but not to Talking Heads frontman David Byrne, whom Frantz thinks hogged credit. How did the band create “Psycho Killer” and other songs? How did the Tom Tom Club’s success affect Talking Heads? What does Frantz think of Byrne’s American Utopia? Will Talking Heads ever reunite? Don’t miss the Tina Weymouth cameo!

Part 2 of our conversation with Mitch Easter jumps right into the making of those classic first R.E.M. records: Chronic Town, Murmur and Reckoning. What is that weird pulsating sound that opens “Radio Free Europe”? Why are pool balls colliding in slow motion on “We Walk”? Easter also discusses the ups and downs of his band Let’s Active and his work with the late Scott Miller’s bands Game Theory and The Loud Family. This good-humored producer/performer offers a treasure trove of insights into the recording process. Which record and guitar would he grab if he could save just one of each? You’ll learn that too.

Mitch Easter could be considered the Godfather of Jangle except he dislikes the term. His production work on the first R.E.M. records and bands such as Game Theory and the Windbreakers helped define the cool sounds of the ’80s. He offered his own indelible songs, including “Every Word Means No,” in his band Let’s Active. A great talker and music-history appreciator, he flashes back to his days as a guitar-loving North Carolina kid who preferred the Move to southern boogie, and he walks us through how he and R.E.M. got that amazing sound.

Riccardo Muti is music director of the Chicago Symphony Orchestra and one of the world's great conductors. He's a fierce advocate for culture (as opposed to entertainment) and a passionate artist who knows what he wants. Sitting in his Symphony Center quarters, he was eloquent and good-humored while discussing the pandemic's impact on culture, why he won't listen to his old recordings, whether he’s ever nervous to meet anyone, which audience behavior annoys him the most, why he keeps donkeys at home and what he plans to do after his CSO contract ends in 2023.

"Spill the Wine," “All Day Music,” “Slippin’ into Darkness,” “The Cisco Kid,” “The World Is a Ghetto,” “Me and Baby Brother,” “Why Can’t We Be Friends?” “Low Rider,” "Summer"--you know the songs, but how much do you know about War and its talented musicians? Founding keyboardist/singer/songwriter Lonnie Jordan has stories to tell about how this multiracial L.A. band came up with such an intoxicating mix of soul, rock, funk, Latin rhythms, jazz and reggae; what Jim Morrison was doing in a Superman outfit; and whether the surviving War members can make peace.

Kathy Valentine is a smart, resilient rock ‘n’ roller with much to say. Propelling the Go-Go’s with her innovative bass playing, writing and singing, she experienced the thrills of performing great songs to massive audiences while learning how much the deck remains stacked against female musicians. Speaking from her Texas home, she discusses the creation of those wonderful songs, the band’s overdue induction into the Rock & Roll Hall of Fame, continued battles for reproductive rights and equality, and the writing of her alternately heartbreaking and exhilarating memoir, All I Ever Wanted.

Bruce Thomas was the stupendous bassist for Elvis Costello and the Attractions, creating the indelible bass lines that drove such songs as “Pump It Up,” “(I Don’t Want To Go To) Chelsea” and “Everyday I Write the Book.” He and Costello had a falling out years ago...but is a thaw in the air at last? What was it like to play in such a hot band? How did they arrange the songs? Which legendary British band tried to recruit Thomas before he joined the Attractions? Which legendary British band did Thomas try to join? This is an epic deep dive for music lovers. Enjoy!

Has anyone in the rock world maintained a longer, more sustained level of excellence than Richard Thompson? From his 1960s recordings with Fairport Convention through his most recent work, this British musician has been setting a ridiculously high standard with his razor-sharp songwriting and incendiary guitar playing. He’s a great storyteller in conversation as well; listen as he discusses mastering acoustic vs. electric guitar, the circumstances behind Sandy Denny’s firing from Fairport Convention, his invitation to join the Eagles, his studio work with Badfinger and more.