Caropop

In audiophile communities it’s common to read raves about “the Bellman Cut” of an album because if Chris Bellman mastered it, it probably sounds great. One 2021 Record Store Day release even came with a sticker boasting “a killer lacquer cut by Chris Bellman.” How did he go from working on disco-era dance tracks to having the original masters of the first five Van Halen albums land on his desk? What impact did mastering Alanis Morissette’s Jagged Little Pill have on his career? What was special about the Tom Petty Wildflowers recordings he recently mastered? And is his job to make an album sound "better" than ever or just like the original?

The continuation of our conversation with the Devo co-leader goes deeper and darker into the band's history and our ominous cultural landscape. What caused Devo to split the first time, and why does Gerald Casale feel like he must do the heavy lifting now? What does he think of Mark Mothersbaugh's movie-scoring career? What was his experience directing videos by Cars, Rush and Foo Fighters? What are the stories behind his Jihad Jerry solo project and Devo's energetic reunion album, Something for Everybody? How big a hole did his late brother Bob Casale leave? Can we ever expect to hear new Devo music? Casale pulls no punches.

Devo’s Gerald Casale helped conceive the concept of “de-evolution,” but even he didn’t think things would get so bad. He’s also not happy about that Rock and Roll Hall of Fame snub, and he has frustrations with band co-leader Mark Mothersbaugh. Devo’s striking visuals and presentation, often conceived by Casale, may lead some to overlook this groundbreaking band’s power. We dig into the music here, how Casale and Mothersbaugh wrote those songs and who did what. He also discusses Devo’s Saturday Night Live debut (and how Neil Young factored in). Did the band wear yellow jumpsuits and red Energy Domes into the studio? You’ll find out.

Filmmaker Judd Apatow listens to other people as much as he projects his own voice. His new documentary, George Carlin’s American Dream (HBO, HBO Max), is a complex, intimate portrait of one of the most impactful comedians ever. His new book, Sicker in the Head: More Conversations about Life and Comedy, finds him sharing tales of pandemic life, depression and expression with creative people including David Letterman, Hanna Gadsby and Lin-Manuel Miranda. In his latest comedy, The Bubble, Apatow attempts to reflect the madness of the pandemic in real time. What drives all this activity? How does his constant outreach affect his creativity? How does he feel about his daughters joining the family business? Is he working on This is 50? This conversation about life and comedy covers a lot of ground.

Delvon Lamarr can play almost every instrument but one, but he’s happiest behind his Hammond organ powering soul-jazz instrumentals that suggest what might happen if Booker T. and the MG’s met the Meters on a rocket into the 21st Century. The Delvon Lamarr Organ Trio makes hot, groovy music with seemingly telepathic interplay. Why does Lamarr prefer the trio format, even if it requires him to play bass on the organ? What’s the secret to naming instrumentals (and the story behind “Pull Your Pants Up”)? How much of his writing springs from improvisation? How important is melody? Shouldn’t more bands be making “feel good music”? Lamarr is a great talker and player. Enjoy.

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…