Caropop

Los Lobos was doing its label a favor when it played on what turned out to be a big album: Paul Simon’s Graceland. Why did the band wind up feeling burned? Los Lobos sax/keyboard player Steve Berlin explains. Happier times arrived as Los Lobos hit No. 1 with its cover of Richie Valens’ “La Bamba.” How did they capitalize on their newfound popularity? What was so strange about the recording process for the album The Neighborhood? What key takeaways from that experience led to the Los Lobos’ 1992 masterpiece, Kiko? Berlin takes us inside that creative peak period and explains why the band was behind the eight-ball when it came time to record the groovy follow-up, Colossal Head—and how David Hidalgo may be the most unassuming great guitarist there is.

Saxophonist/keyboard player/producer Steve Berlin played with the Blasters before joining Los Lobos, and he noticed a stark contrast between how those two L.A. bands operated. He stuck with Los Lobos and still plays with them 40 years later. A call-‘em-as-he-sees-‘em storyteller, Berlin recounts a crazy Gregg Allman experience, an ordeal with a bad-decisions-prone producer, and his first experience playing what would become his trademark instrument, the baritone sax, on a celebrated Blasters song. He also discusses Los Lobos' sometimes-messy creative process and his co-production—and eventual falling out—with T Bone Burnett on early Los Lobos records. That conflict led to his being diverted to produce the band’s soundtrack for an apparent B-movie. The title? La Bamba. Berlin serves up so much tasty material, you’ll get a second helping next week.

Booker T. and the M.G.’s were an all-time great band on their own and while playing with such Stax acts as Sam & Dave, Eddie Floyd, Albert King and Otis Redding. Guitarist Steve Cropper, who made every note count, produced many of Redding's sessions and co-wrote such hits as “Mr. Pitiful” and the landmark “(Sittin’ on) The Dock of the Bay.” After Redding died in a plane crash in late 1967, Cropper prepped “The Dock of the Bay” and other recently recorded tracks for a series of posthumous albums that Rhino Records has compiled in a new box set called Otis Forever. Speaking from his Nashville home, Cropper tells surprising stories about working with Redding, Booker T. and the M.G.’s, Mavis Staples, the Blues Brothers, Neil Young and more. Play it, Steve!

It's no wonder that Peter Zaremba was the star of the recent Lenny Kaye-hosted Nuggets all-star concert in Los Angeles: He has been keeping ‘60s psychedelic garage rock alive for decades through his energetic work with the Fleshtones as well as his DJ gig as the Psychedelic Count on Little Steven’s Underground Garage. (You also may remember him as host of the 1980s MTV show I.R.S. Records presents The Cutting Edge, a precursor to 120 Minutes.) With the charismatic Zaremba out front, the New York-based Fleshtones made crowds groove and sweat, and they worked to translate that energy to the recording studio. Zaremba discusses the thrills of playing live and making records, the story behind the Fleshtones’ recent Spanish-language hit, his search for Russian surf zombie songs and much more.

With Mike Peters belting out anthemic songs such as “Sixty Eight Guns” and “Spirit of ’76,” the Alarm could rouse an audience no matter the size—and it often was big. “Rain in the Summertime” and “Sold Me Down the River” boosted this Welsh band’s U.S. popularity before Peters broke up the group in 1991 and re-started it years later. In the meantime he was diagnosed with leukemia, and he wrote much of the Alarm’s new album, Forwards, during a recent, harrowing hospital stay. Now he is performing again and reflecting on the concert that changed his life, the folly of kidnapping a journalist, all those U2 comparisons, the lightning bolts of inspiration and how he has created what he calls his own little soundtrack of hope to lead him out of the darkness.

When you want to add joy and beauty to your life, listen to the Roches. There’s magic in these three sisters’ harmonies and good humor and heartbreak in their songs. They are Maggie and Terre and Suzzy, the last of whom is the little sister age-wise, the middle sister voice-wise and the glue personality-wise. Speaking from her New York home, Suzzy Roche reflects on the wonders and challenges of singing with her sisters and dealing with a music industry that thought it could make stars out of them. She also discusses the origins of their "Hallelujah Chorus" interpretation and “The Death of Suzzy Roche”; her standout acting turn in “Crossing Delancey”; and what made Maggie, who died from breast cancer in 2017, so special. (Photo by Albie Mitchell.)

The Los Angeles-based Love had one of the rock’s great first-three-album progressions, culminating in the 1967 masterwork Forever Changes, before leader Arthur Lee started over with an entirely new band. Johnny Echols, Love’s lead guitarist for that classic stretch, had known the enigmatic Lee since they were kids in Memphis who relocated to L.A.,, where Echols played with Billy Preston and backed Little Richard. Love, a rare interracial rock band, debuted with an energetic reworking of Burt Bacharach and Hal David’s “My Little Red Book." The explosive single “7 and 7 Is,” the brilliant, jazzy second album, Da Capo, and the darkly beautiful, acoustic-orchestral Forever Changes followed. Why did Love wind up in the Doors’ shadow? Why didn't Love tour much? Why were session musicians brought in to start Forever Changes? What role did drugs play in the band’s troubles? How did Echols reunite with Lee in the early 2000s and continue playing Love songs after Lee died of leukemia in 2006? Echols sets the scene.

The Urge Overkill singer/songwriter/bassist/guitarist spoke with Caropop on the 30th anniversary of the swaggering Chicago alt-rock band’s breakthrough album, Saturation (and before the death of powerhouse drummer Blackie Onassis). Leaving behind Chicago’s Touch & Go label (and prompting some hard feelings), Urge signed with Geffen, the label of Nirvana, with whom Urge was touring when that band exploded. Urge enlisted the Butcher Bros. production team known for its hip-hop work and came up with songs that burst from the speakers, such as “Sister Havana” and “Positive Bleeding.” They played with Paul Shaffer’s band on The Late Show with David Letterman, and Quentin Tarantino featured Urge’s cover of Neil Diamond’s “Girl, You’ll Be a Woman Soon” in Pulp Fiction. All was good, right? Roeser explains how everything played out.

Even if you don’t recognize his name, you should know the music Dave Robinson has brought into the world. As co-founder of Britain’s Stiff Records, Robinson signed (and in some cases managed) Elvis Costello (whom he also helped rename), Nick Lowe, Dave Edmunds, Ian Dury, the Damned, the Pogues, Kirsty MacColl, Tracey Ullman and Madness (whose videos he directed). When Island Records bought Stiff and hired Robinson as president, he propelled Frankie Goes to Hollywood and a posthumous Bob Marley into the sales stratosphere. Earlier he had Van Morrison as a flatmate and tour-managed Jimi Hendrix. Now he’s managing and has produced the new album from the British band Hardwicke Circus. This Irish force of nature, one of the music industry’s great storytellers, will give you Reasons to be Cheerful.

Few bands have maintained such consistent vision, quality and stability as Cowboy Junkies. The same people who made the 1986 debut album Whites Off Earth Now!! and the recorded-around-one-mic breakthrough The Trinity Session (1988) also made their new album, Such Ferocious Beauty. Throughout, Michael Timmins has been the primary songwriter and plays quietly roaring guitar leads while his sister Margo supplies hushed, haunting vocals, brother Peter drums and longtime friend Alan Anton plays bass. Michael Timmins discusses what has changed and not changed about his songwriting, how Lou Reed reacted to their version of “Sweet Jane,” the keys to choosing cover songs, how the band falls into a hypnotic groove on stage, and whether they ever were in danger of splintering. Also, are Cowboy Junkies as serious as they appear?