Caropop

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?

Song-ranking articles can be annoying clickbait, but those written by longtime journalist Bill Wyman are endlessly provocative, entertaining and informative, with individual entries becoming deep-diving, mind-opening essays. For Vulture, Wyman ranked every song by the Beatles, Michael Jackson, Led Zeppelin, the Clash and Pink Floyd, as well as every Rock & Roll Hall of Fame inductee. Now Wyman has added Nirvana and the Eagles songs to the mix and compiled it all in Bill Wyman’s Rock & Roll Lists. Here we bat around his ridiculous choice for the Beatles’ worst song; dissect how publishing royalties muddied the Pink Floyd waters; discuss why he ranked songs by the Eagles rather than, say, R.E.M., U2 or Prince; and weigh the Hall of Fame worthiness of Pat Benatar and Stevie Nicks vs. Aimee Mann and PJ Harvey. Wyman also reflects on Poptimism and Chicago’s early ‘90s glory, feud-fueled days featuring Steve Albini, Urge Overkill and Liz Phair.

After making widely loved music as a solo artist and, beforehand, with 10,000 Maniacs, Natalie Merchant is focusing on children with her latest project, Cabinet of Wonder. Spurred by her work with Head Start preschoolers in upstate New York, Merchant set Mother Goose verses to music and collaborated with members of the Chicago Symphony Orchestra and Chicago Children’s Theatre to bring the recordings and videos to life. In this wide-ranging conversation, Merchant speaks of the allure and legend of Mother Goose; describes why working with children is bringing her more joy than pursuing another solo project; and reflects on joining 10,000 Maniacs at age 17, co-writing with band members, working with various producers and feeling compelled to leave after 1992’s hit-filled Our Time in Eden. Did she have any inkling that her first solo album, Tigerlily (1997), would propel her to new artistic and commercial heights? (Photo by Joe Mazza)

Susan Orlean has a brilliant talent for crafting compelling narratives from idiosyncratic topics that have piqued her interest: orchid poachers in Florida for The Orchid Thief, a movie star dog for Rin Tin Tin: The Life and the Legend and the Los Angeles Central Library for The Library Book, among others. Last year she shifted the focus to herself for a revealing, inspirational memoir, Joyride, that celebrates pursuing one’s curiosity into odd corners. Here Orlean, who preceded me at the Boston Phoenix by a few years, discusses when she knows a topic has reached critical mass to become a book, whether she does all of her reporting before she begins writing, how she decides how much of herself to put into a story, whether she can write whatever she wants now and how her life was affected by Meryl Streep portraying a fictionalized version of her in Adaptation. (Photo by Chloe Aftel.)

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