Caropop

No one mixes fury and vulnerability, ferocious energy and pop smarts like Bob Mould. His 15th solo album, Here We Go Crazy, comes out March 7, and he remains at the peak of his powers. Here he reflects on his tremendous, sometimes turbulent career, starting with his attending Macalester College in St. Paul, Minn., meeting Grant Hart at Cheapo Records and launching the trailblazing punk trio Hüsker Dü. Why have the Twin Cities punched above their weight musically? Given his triumphs with Hüsker Dü, Sugar and the lineup on his most recent six albums, what does he like about playing in trios? How did “bright melody, dark story” become such a potent combination? How does he enjoy performing solo vs. with a band? Did he always envision Here We Go Crazy as a three-act song cycle? And what’s his strategy to address what’s happening in the world now?

Mike Mills of R.E.M. and the Baseball Project and a new supergroup with Darius Rucker is here, and we’ve got questions: How did R.E.M. come to share all songwriting credits, and why did Mills initially object? What impact did the albums’ producers have? Given the bandmates’ senses of humor, why wouldn’t R.E.M. smile in photographs? Had R.E.M. decided to call it quits before it made Collapse into Now? What songs did Michael Stipe transform in surprising ways when he added lyrics and vocals? Did Stipe complete every song handed to him by Mills, Peter Buck and/or Bill Berry, and if not, would they consider going back to any of them? Have the Michael Shannon/Jason Narducy R.E.M.-celebrating live shows given Mills new perspective on any of those songs or made him want to play them again with his old bandmates? Why hasn’t Mills been driven to make a solo album? And what happened when Mills joined Bruce Springsteen on stage? (Photo by Cass Bird.)

Part 2 of our conversation with guitarist-songwriter-singer-storyteller Dave Alvin begins with him discussing musical biopics and the one that put him off the genre for good. (Hint: He was in it.) Has he seen A Complete Unknown? How did he wind up actually recording with Bob Dylan? Will any of these recordings ever come out? Alvin also revisits his early songwriting efforts, including the first song he ever wrote and “Marie Marie,” which he wrote for the Blasters and became an international hit for Welsh rocker Shakin’ Stevens. More recently, Alvin had to overcome neuropathy from his chemotherapy treatments to resume playing guitar. How much of his focus now is on being a musician, as opposed to writing songs? What’s next? And what was it like when he left the Blasters and realized that not all bands fight? (Photo by Leslie Campbell.)

Dave Alvin has had such an epic career that we’re going to need two episodes to fit it all in. Much of Part 1 spotlights Alvin’s values as a musician. As he tells it, the Blasters, the revved-up L.A. roots-rock band for which he was the main songwriter/guitarist, had lots of rules. The Third Mind, his current psychedelic improvisatory band, has few. Why does the latter appeal to him now? How did seeing Jimi Hendrix twice inspire him? What were his stints in the Knitters and X like? When Alvin emerged on the other side of cancer treatments, why was restarting the Third Mind his top priority? How is what they’re doing the opposite of “choreographed modern music”? At a time when, Alvin says, “most pop music is a Broadway show,” why is it important to be a little out of control? (Photo by Steven Dewall.)

Do you know the tragic story of Badfinger? Behind such life-affirming songs as “No Matter What,” “Day After Day” and “Baby Blue” and the much-covered power ballad “Without You” lay a dark tale in which Badfinger’s manager defrauded the band and left them destitute. Bob Jackson played keyboards and guitar in the last Badfinger lineup that featured Pete Ham, the honey-voiced singer-songwriter behind most of those hits. This lineup recorded the album Head First in late 1974, but Warner Bros. refused to release it amid the manager’s financial misconduct. Ham took his own life months later. Bassist-singer-songwriter Tom Evans would take his own life in 1983. A rough mix of Head First finally came out in 2000, but Jackson, the last surviving member of the lineup that recorded it, marked its 50th anniversary by locating the original multi-tracks and releasing what he considers the definitive version. Jackson recounts his fraught yet creatively productive time with Badfinger, his chilling final visit with Ham, and how bringing the music of Head First to the world became his raison d'etre.

Nora O’Connor is a super collaborator, someone who loves singing harmonies and makes everyone sound good. She’s a member of the Chicago all-star group the Flat Five and a formidable singer-songwriter in her own right, as her 2022 solo album, My Heart, her first in 18 years, reminded us. Here she reflects on her life as “a music worker,” including what she’s learned from performing with such artists as the Decemberists, Iron & Wine, Mavis Staples, Andrew Bird, the New Pornographers and Neko Case. How has she has balanced her career and family life—and would a male performer have faced similar challenges? What ambitions does she have for herself and the Flat Five? What's the secret behind the alchemy she creates with frequent collaborator/Flat Five bandmate Kelly Hogan? And what role has the Chicago club the Hideout played in her musical life?

Macie Stewart, half of the Chicago-based duo Finom, is one of those musicians who can do almost anything. She’s a classical pianist and violinist who wrote her first piece for an orchestra at age 11 and still creates string arrangements, such as on her 2021 solo album Mouth Full of Glass. She also taught herself acoustic guitar and began writing songs on it when she was 13. When she finally picked up an electric guitar, she and fellow singer-songwriter-guitarist Sima Cunningham formed an experimental side project that has blossomed into Finom, which released one of 2024’s best albums, Not God. What distinguishes what Stewart writes for Finom and herself? What telltale characteristics do Stewart and Cunningham each bring to Finom songs? How did Jeff Tweedy push them in the studio? And what drives Stewart's creativity? (Photo by Shannon Marks.)

Michael Jerome had been drumming in a post-industrial metal band when he auditioned for Richard Thompson in 1999, little knowing he would be this brilliant guitarist's percussive foil for the next 25 years and counting. Jerome also has played with Charlie Musselwhite, the Blind Boys of Alabama and, for several years, John Cale. He’s been Better Than Ezra’s drummer since 2009 and played and toured with Slash for his latest album—and what started as an experimental side project is now moving center stage: The Third Mind, the improvisatory psychedelic band assembled by Dave Alvin and Victor Krummenacher. As thoughtful in conversation as he is dazzling behind his kit, Jerome tells how he developed his unique style and adapts it for each project—and he relates what it’s like to be in Los Angeles now as he tries to help friends and others who have lost almost everything in the catastrophic wildfires. (Photo by Robby Klein.)

It's time for our fourth annual check-in with masterful mastering engineer Kevin Gray as he comes off yet another crazy-busy year. What new did he and Doors engineer/producer Bruce Botnick think they could bring to the instant-sellout Rhino High Fidelity box The Doors 1967-1971? Which Rhino High Fidelity album doesn’t make sense to him as an audiophile release? Among Rhino, Blue Note and Craft’s Original Jazz Classics, which label works far in advance, and which one keeps him rushing? Is he still learning anything after all these years? How does he plan to balance his mastering work with his own Cohearent Records label— and what key role did his granddaughter play in the upcoming album from saxophonist Cory Weeds? And which expensive type of release does Gray consider to be “an absolute scam foisted on the buying public”?

Redd Kross, a band overdue for massive appreciation, is having a moment. There’s a new page-turner of a memoir, Now You’re One of Us, co-written by brother bandmates Jeff and Steven McDonald with Dan Epstein. Their narrative rocks to life in Andrew Reich’s new documentary, Born Innocent: The Redd Kross Story. The movie, in turn, inspired the 2024 double album Redd Kross, a candy-colored collection of irresistible hooks, massive riffs and sharp reflections, all wrapped in a cover that one brother thought shouldn't be red. Steven McDonald, the younger bass-playing brother, opens up here about what it’s been like to work with Jeff (a previous Caropop guest) since the age of 11, his abduction at age 13, his increased songwriting role in Redd Kross, how he juggles his many Redd Kross duties with playing in the Melvins and other bands, what Kurt Cobain said to tick him off and why he takes Redd Kross's commercial struggles personally.