Caropop

In Part 2 of our conversation with John Murphy, the Shoes singer-songwriter-bassist tells what happened after MTV started playing this Zion, Ill., power-pop band’s videos amid Elektra’s disappointment that they hadn’t turned into the next Cars or Queen. What was life like while the band was self-producing and releasing such acclaimed albums as Stolen Wishes, Propeller and Ignition? What are the advantages and disadvantages of the band’s three singer-songwriters—John and Jeff Murphy and Gary Klebe—each being guaranteed four or five songs per album? What were John’s and Jeff’s reactions to Gary Klebe’s solo album Out Loud, which was released earlier this year? Did they know Gary was making a solo album? Did they think some of those songs should have been on a Shoes album instead? Is the band on the same page now? Will there be another Shoes album? The next Shoes drop here…

Shoes, the now-legendary power-pop band from Zion, Ill., is the most democratic of groups, with each album presenting equal servings of smart, hooky songs from brothers John and Jeff Murphy and their childhood friend Gary Klebe. In Part 1 of a two-parter, John Murphy revisits the band’s formation—when none of them played an instrument and he had to learn bass—and tells how Shoes recorded three DIY albums before its first official release, 1977’s Black Vinyl Shoes. For that one John designed the original (and soon to be replaced) cover art and wrote the first Shoes song to gain wide attention, “Boys Don’t Lie.” Then came the band’s signing with Elektra, which hoped Shoes would follow in the footsteps of its breakthrough artists Queen and the Cars. Confusion over the first singles, “Too Late” and “Tomorrow Night,” didn’t help, though. How did that all shake out? Also covered: the John song featured prominently in Mannequin Two: On the Move.

Palmyra Delran was a veteran East Coast pop-punk rocker when Stevie Van Zandt (a previous Caropop guest) offered her a hosting gig on his Little Steven’s Underground Garage Sirius XM channel. His instinct was dead on, as she turned out to be a natural, super-lively storyteller and record-spinner, especially when she’s dusting off her Trash Pop Treasures. She traces her love of 45s back to her aunt’s corner-store jukebox in New Jersey. She also developed a passion for drumming—and later would excel as a guitarist and singer as well. She recalls her stints in the bands Pink Slip Daddy and the Friggs and her solo work with the Doppel Gang, including their new cover of Joey Ramone’s “Spirit in My House.” She also discusses forming the Coolies with the late Kim Shattuck and tells how she puts together her Underground Garage shows. Is she playing her own records? Does Van Zandt have to approve her playlists? How did Nancy Sinatra come to record the “Trash Pop Treasures” intro?

How did David Byrne go from being a twitchy art-rock frontman to one of our most beloved artists? At age 74, he’s got a new book, Sleeping Beauties: Why Good Ideas Go Dormant and How They Wake Up, plus associated live events; an ongoing immersive experience with Chicago’s Goodman Theatre, Theater of the Mind; the new Sirius XM pop-up channel Talking Heads Radio; an upcoming Talking Heads Fear of Music deluxe package; and a recently completed, dazzling live tour spotlighting his latest album, Who Is the Sky? Byrne discusses all this and more, including whether music needs movement; what he’s learned from Theater of the Mind; how Jonathan Demme and Spike Lee treated point-of-view while directing Stop Making Sense and American Utopia, respectively; what everyday people don’t understand about band dynamics; how involved he is in the Talking Heads-related projects; whether he would enjoy playing music with his ex-bandmates in an empty room; and which song of his is the biggest Sleeping Beauty of them all.

Smithereens guitarist Jim Babjak shared a love of the British Invasion and Beach Boys with classmate and drummer (and previous Caropop guest) Dennis Diken when they teamed up with bassist Mike Mesaros and signed on singer-songwriter-guitarist Pat DiNizio. Babjak describes this New Jersey power-pop group’s rise, fall and current resurgence as a live band featuring a rotating roster of lead singers substituting for the late DiNizio, including previous Caropop guests Marshall Crenshaw, John Cowsill and Wesley Stace. Who wrote the indelible riffs for songs such as “Only a Memory” and “A Girl Like You”? How did Babjak gain confidence in his own songwriting? He explores the thorny issue of publishing royalties and explains why he took a job with a bank for 20 years. He also describes DiNizio’s last years and what prompted the band to resume playing after he was gone. How did 2026 become the Smithereens’ busiest year since 1994? What’s happening with that prospective new Smithereens album?