Caropop

Beatles author Bruce Spizer wrote the liner notes for the new vinyl box The Beatles U.S. 1964 Albums in Mono, and here he digs into the history of these reconfigured U.S. Capitol albums, from Meet the Beatles! through Beatles ’65 and The Early Beatles. Spizer is a New Orleans tax lawyer and CPA, and that expertise has helped him untangle the Beatles’ early dealings with labels such as Chicago’s Vee-Jay. Capitol executive Dave Dexter passed on the Beatles four times before being put in charge of their U.S. releases, and Spizer details how Dexter added singles and cut out other songs to create the albums that introduced millions of listeners to the Beatles. Then there’s the sound of this all-analog-from-the-original-masters collection, with Spizer discussing how the U.S. mixes were different and sometimes more exciting than their U.K. counterparts. (Photo by Zach Smith.)

Steve Conte became lead guitarist in one legendary band, the New York Dolls, and co-wrote half of his latest album, The Concrete Jangle, with the main singer-songwriter of another one: Andy Partridge of XTC. Conte is a longtime New York working musician who has played with such artists as Paul Simon, Peter Wolf, Phoebe Snow and, in a great story, Chuck Berry. Now he has released two solo albums on Stevie Van Zandt’s Wicked Cool label and has two songs vying for the Coolest Song of the World 2024 on Little Steven’s Underground Garage. Here he recalls what it was like to join the New York Dolls and to work with David Johansen—and with guitar in hand, he tells how he got connected with Partridge and demonstrates how the two of them wrote some very catchy songs together. (Photo by Anja van Ast.)

Don Was may be an accomplished performer and producer, as covered in Pt. l, but he’s also got quite the day job: president of Blue Note Records. How did this rock-funk musician become the top executive at one of the most prestigious, influential jazz labels? What was the Blue Note album that turned him on to jazz when he was 14 years old? What early mistakes did he make at the label, and how did the Tone Poet reissue series factor into the solution? How much does Was prioritize new artists? What have been the most significant releases of his tenure? How much of Blue Note’s business is catalog vs. new releases? Which legendary performer is he producing right now? And what is Bob Dylan like to produce? (Photo by Myriam Santos)

His ‘80s band Was (Not Was) scored a top 10 hit, “Walk the Dinosaur,” but Don Was has had an even greater impact on the music world as a producer. In 1989 he produced two big comebacks: Bonnie Raitt’s Grammy-winning Nick of Time and “Love Shack” and other songs on the B-52’s Cosmic Thing. Then came work with Bob Dylan, Iggy Pop, Willie Nelson and—in a long, fruitful collaboration—the Rolling Stones. He’s got amazing stories detailing his Stones job interview and the origin of Cindy Wilson’s cry of “Tin roof! Rusted.” He also relates how he helps artists get to the essence of what they do best. Then there’s his own return to performing in Don Was and the Pan-Detroit Ensemble and how playing live helps him as a producer and as president of Blue Note Records (the subject of next week's episode).

Happy Thanksgiving! Thank you so much for listening to Caropop since our launch in the fall of 2021. We’re now 157 episodes and more than three years in, and we can’t wait to share more great conversations about creative work with you. Please enjoy this brief message from the Caropop team, and take this opportunity to catch up on any episodes you may have missed, and we'll be back with another fantastic guest next week. Thanks!

Graham Gouldman already had written classic ‘60s hits—including the Yardbirds’ “For Your Love” and “Heart Full of Soul,” the Hollies’ “Bus Stop” and “Look Through Any Window” and Herman’s Hermits’ “No Milk Today”—by the time he and Manchester schoolmates Lol Creme and Kevin Godley plus ex-Mindbender Eric Stewart formed one of the '70s’ most tuneful, innovative bands, 10cc. These four singer-songwriters made four distinct, head-spinning albums, with Stewart and Gouldman’s hypnotic “I’m Not in Love” providing the commercial breakthrough. After Godley and Creme split off, Gouldman and Stewart continued on as 10cc, scoring hits with the ebullient earworm “The Things We Do for Love” and the island misadventure “Dreadlock Holiday,” on which Gouldman sings lead. Now Gouldman is the only original member touring under the 10cc banner, and he reflects here on songwriting, collaborating and relationships among ex-bandmates.

Grant Achatz, the acclaimed chef behind Chicago's Alinea, shares his riveting journey through the culinary world, specifically his challenging tenure at Charlie Trotter's restaurant. He discusses the intense pressure and growth he experienced, revealing the aggressive competition that shaped his career. Achatz reflects on Trotter's innovative legacy and the impact of their dynamic relationship, highlighting the tribute menu he created in Trotter's honor. With anecdotes of mentorship and culinary evolution, he sheds light on the emotional complexities of the high-stakes kitchen environment.

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?

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.)

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.)