Caropop

Mastering engineer Kevin Gray returns to Caropop to break down mono vs. stereo and other issues of sound. Gray has been remastering Blue Note’s acclaimed Tone Poet and Classic Vinyl series, including separate mono and stereo releases of John Coltrane’s Blue Train. Which does Gray prefer and why? Are there time periods when mono is likely to be superior to stereo and vice versa? How are the rules different for jazz and rock? What accounts for a recording’s soundstage—how spread out the instruments sound?Gray also discusses whether the Beatles revamps are revisionist history, whether electronically reprocessed stereo is ever any good, the differences between the Tone Poet and Classic Vinyl releases and his work at Cohearent Audio on funky ’70s recordings for Craft Records’ Jazz Dispensary label and Intervention’s stunning reissue of Joe Jackson’s Night and Day. Then there's his own label's upcoming first release: a jazz album recorded at his home studio modeled after legendary engineer Rudy Van Gelder's Hackensack set-up.

Singer-songwriter Vonda Shepard played herself on TV’s Ally McBeal, performing at the characters’ favorite piano bar, and she co-wrote and sang the show’s theme song, “Searchin’ My Soul.” But even with multiple Ally McBeal-tie-in albums, there’s been much more to Shepard’s career than the show. She performed her first gig as a 14-year-old, toured in Rickie Lee Jones’ band and duetted with Dan Hill on the 1987 smash “Can’t We Try.” Years of development with Warner Brothers led to her self-titled debut album, but the label dropped her, Ally McBeal creator David E. Kelley boosted her, and she kept writing songs and releasing albums, including this year’s Red Light, Green Light (produced by husband Mitchell Froom). She reflects on her career's many twists and turns in this lively, wide-ranging Caropop conversation. (Photo by Greg Shappell & Nick Leopold.)

Guitarist Jeff “Skunk” Baxter was an original Steely Dan member who played on the band's indelible first three albums: Can’t Buy a Thrill, Countdown to Ecstasy and Pretzel Logic. Those are his memorable solos on “My Old School” and “Rikki Don’t Lose That Number.” When Steely Dan quit touring, he found more success with the Doobie Brothers and eventually brought in singer Michael McDonald, who pushed that band in a more soulful, keyboards-heavy direction. Skunk left to do more studio and touring work and was inducted into the Rock & Roll Hall of Fame with the Doobies. After all these years, he finally released his first-ever solo album, Speed of Heat. Oh, and in his "day job," he games out war scenarios for the U.S. government. He has a lot to reel in in this ear-opening Caropop conversation.

Nora Dunn is a smart, funny, very talented actor and writer who has put up with much bad behavior and isn’t afraid to call it out. Despite all of her excellent work that followed, she feels like she’ll always be associated with Saturday Night Live. She and Jan Hooks were the lounge-singing Sweeney Sisters, she played talk-show host Pat Stevens, and she famously boycotted an episode hosted by comedian Andrew Dice Clay because she argued the show was normalizing someone who reveled in the abuse of women. How did Lorne Michaels punish her at the SNL 40th anniversary? Which legendary director jammed something down her blouse while she was vying for a role? Dunn knows how to tell a story, and she’s still calling it out.

Kelly Hogan is fantastic singer who sounds equally at home singing lead or providing sublime harmonies with Mavis Staples, Neko Case, the Decemberists and her fellow members of the Flat Five. She delivered a torchy jazz-twang-rock hybrid with the Jody Grind, her early ’90s band from Atlanta’s Cabbagetown neighborhood, before moving to Chicago and proving in many contexts that she can sing anything. Chatting in person with her cuddly dogs Eddie and Ernie at her side, Hogan tells stories of tragedy and comedy, the futility of trying to abandon music in Chicago and the joy of discovering the perfect harmony partner. Everyone loves working with Hogan, and when you hear her sing—or talk—you understand why.

Soul singer Bettye LaVette has had an epic career. She recorded her first single "My Man — He's a Lovin' Man" as a 16-year-old Detroiter in 1962, and its success put her on tour with Ben E. King, Clyde McPhatter and a young Otis Redding. Yet it was another 20 years before her first album was released and another 20 years before her career finally caught fire and the accolades and Grammy nominations started pouring in. How did she become one of our most treasured song interpreters? How did she overcome her “buzzard luck”? And what did Bob Dylan do to tick her off? Don’t underestimate or mess with Bettye LaVette. (Photo by Joseph A. Rosen.)

Please enjoy this brief Happy Thanksgiving message from the Caropop team, plus a countdown of the Top 10 most downloaded episodes and a preview of next week's guest. Happy Thanksgiving and thanks, everybody!

Drummer Stan Demeski has held down the crazy rhythms of the Feelies for four decades, with a stint in the alt-rock supergroup Luna in between. He replaced the late Anton Fier in the Feelies and played in the related bands the Trypes, Yung Wu and the Willies before appearing on his first Feelies album, the classic The Good Earth. Demeski takes us inside the idiosyncrasies and dynamics of this propulsive, percussive group as they appear in Jonathan Demme’s Something Wild, jump to a major label, take a 16-year break and resume making music together. He also recounts his Luna experience, how that ended and what it was like for him, a huge Velvet Underground fan, to tour with Lou Reed.

As Part 2 of this Caropop conversation with this astute producer/label owner begins, Fairport Convention has reached its peak, but lead singer Sandy Denny is suddenly out. Did she jump or was she pushed? We also hear about Boyd’s Hollywood stint, the story of how "Dueling Banjos" became a fluke hit and his role in Aretha Franklin’s Amazing Grace film and why it sat on the shelf for decades. Then there’s how he rescued Richard and Linda Thompson’s Shoot Out the Lights, why he stopped producing solo Richard Thompson, and how he dealt with the non-egos of R.E.M. to move the band forward with Fables of the Reconstruction. There's also a song about a sending a camel to bed.

When Joe Boyd moved to London in the mid-‘60s, he had no idea how he’d change the music world. He opened the soon-to-be-legendary underground UFO Club and produced the first single by its house band, Pink Floyd. He also produced Fairport Convention, which rebounded from a tragic crash and basically invented British folk rock; the Incredible String Band, whose Woodstock appearance remains Boyd’s biggest professional regret; and Nick Drake, who was plagued by his lack of commercial success in his short lifetime. And that takes us just into the early ‘70s, with adventures with Aretha Franklin, smash singles involving banjos and a camel, and landmark work with Richard and Linda Thompson, R.E.M. and many others to follow. Enjoy Part 1.