Episode 147: Tim Constantine / Bob Seger

Scot and Jeff discuss Bob Seger with Tim Constantine.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Tim Constantine. Today you see him interviewing presidents and prime ministers on The Capitol Hill Show out of Washington, D.C., but Tim got his broadcasting start in rock radio when he was just 13 years old. Watch Tim Constantine's Capitol Hill Show and find him on X at @timconstantine1.Tim’s Music Pick: Bob SegerBursting out of the Detroit rock scene in the late ’60s, Bob Seger paid his dues in smoky bars and VFW halls before finally breaking through with Live Bullet and Night Moves. It wasn’t overnight success. Seger’s story begins in the early 1960s and includes a string of quality albums in the early 1970s that the artist refuses to allow to be streamed or rereleased in any way. Seger’s raspy voice and working-class storytelling made him the unofficial bard of the Midwest — writing songs that felt like they were ripped straight from America's small town backroads and main streets. Seger had a gift for writing anthems that balanced nostalgia with grit, “Night Moves” and “Mainstreet” chief among them. He followed his smash hit album with a fish-out-of-water follow-up that spoke to some of his uncomfortableness with the spotlight. In the ’80s, Seger leaned into his role as rock’s reliable everyman. With songs like “Against the Wind” and “Like a Rock,” he became the (literal) soundtrack for Forrest Gump and the voice that sold millions of Chevy pick-up trucks. Whether it was a prom slow dance or a late-night drive, Seger’s songs were always there.His later albums didn’t necessarily chase relevance — they just kept the flame alive. And when he finally hung it up after one last tour in 2019, he didn’t exit with bombast and he hasn’t teased the world with any number of comebacks. He seems content to have left listeners with a jukebox full of songs to enjoy. And it’s likely you know far more of them than you might think.If you’re a fan of old time rock and roll, well, this might be the episode for you. 

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Jeff Pojanowski. Jeff is a professor at Notre Dame Law School, where he teaches and writes about philosophy of law and legal interpretation. He also writes occasional columns for The Pillar. He has been living happily in Northern Indiana after escaping Washington, D.C., 15 years ago.Jeff’s Music Pick: Turnpike TroubadoursThis is a rarity for Political Beats, in which we present a show driven largely by our guest’s preferences. Jeff Pojanowski joined us previously for Pavement and Crowded House and by now we trust his musical judgement. For quite a while, he’s been selling us hard on taking up the career of Turnpike Troubadours for an episode. With the recent release of a new album, and additional endorsements of the band from others in our sphere, it seemed a good time to take him up on the offer.We’re awfully glad we did.The Turnpike Troubadours, hailing from Oklahoma, have become one of the leading purveyors of Red Dirt country music, featuring songs that are masterclasses in storytelling, instrumentation, and authenticity. Look, if you don’t like fiddle, you might be in the wrong place. Formed in 2005 by frontman Evan Felker and bassist R. C. Edwards, the band’s early years were shaped by relentless touring. The first album, Bossier City, is almost more a collection of demos. The group wasn’t quite fully formed yet. But on Diamonds & Gasoline (2010), everything began to click into place. As the band matured, their songwriting deepened without losing its raw immediacy. Albums like Goodbye Normal Street (2012) and The Turnpike Troubadours (2015) would be highlights of any band’s career. Felker’s songwriting stands out not just for its precision (though occasional lyrical duplicity can leave the listener wondering exactly what a song is about), but for its ability to evoke vivid rural landscapes. These are songs about places and towns that many Americans easily can picture in their mind. Musically, Kyle Nix’s fiddle and Ryan Engleman’s guitar work offered a dynamic counterpoint that always serves the song first.The band’s career wasn’t without turbulence, of course. After the 2017 release of A Long Way from Your Heart, the band entered a hiatus amid Felker’s battle with alcoholism. Fans cheered the band’s 2022 comeback, marked by the release of the Shooter Jennings-produced A Cat in the Rain. It’s impossible to listen to songs on the record without putting them in the context of Felker’s troubles. It’s an album that likely had to be made, however, to bring the band to 2025’s The Price of Admission, a release that all three of your hosts come to praise.There’s probably still a lot of music left in the tank for Turnpike Troubadours, and there’s no better time than now to jump on board to discover what you might have been missing.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by Andrew Stuttaford. Andrew needs little introduction as the editor of NR's Capital Matters. Find him online right here at National Review or at @AStuttaford on Twitter/X.Andrew’s Music Pick: Brian EnoHere he comes, the boy who tried to vanish to the future or the past. Yes, it's time for Political Beats to celebrate one of the most influential musicians in the history of modern recorded sound -- a man who, ironically enough, is at pains to characterize himself as a non-musician. Children of the Eighties and Nineties may primarily understand Brian Eno as the producer who took U2 to megastardom, but his work as a producer is properly only a footnote to his work as a songwriter and (most importantly of all) a conceptualist. Eno first achieved fame with Roxy Music as their "noise man," providing outrageous sounds alongside "treatments" -- electronic reprocessing -- of the rest of the group's instruments. But Roxy Music was ultimately pianist/vocalist Bryan Ferry's baby, and so Eno soon struck out on his own, for a solo career that would bring him into collaboration with some of the best and most innovative musicians of the Seventies as he put out a sequence of four "lyrical" albums which bent the definition of "popular music" well past its breaking point and into the avant-garde. At the same time, Eno was creating an entirely new genre of recorded sound: so-called "ambient" music, written and recorded in such a way as to (per his maxim) "reward your attention without demanding it."This, of course, is only the tip of the iceberg in a career that also includes brilliant songwriting collaborations with Robert Fripp, David Bowie, and Talking Heads among others. All of this and much more are discussed on a episode Political Beats has been waiting to do for eight years: Brian Eno played an enormous role in inventing the sonic world we still live in, and also made some of the most unexpectedly profound and beautiful music while doing so. We are lucky to be joined by NR's own Andrew Stuttaford for this episode, who lends particular credibility to the discussion as a fan from all the way back in 1972, during the Roxy years. Enjoy stepping into another (green) world.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Steve Singiser. Steve is formerly a contributing editor at Daily Kos Elections and now is a contributor at The Downballot.Steve’s Music Pick: Def LeppardDo you wanna get rocked?If the answer is yes and the decade was the 1980s, it’s likely Def Leppard was at least partially responsible for the rocking. With two massive albums released four years apart, the band’s songs provided the soundtrack for a generation.Pyromania lit the fuse, so to speak, with “Photograph” bursting through televisions on MTV and with “Foolin’” and “Rock of Ages” cracking the Billboard Top 40 chart. The production skills and songwriting savvy of “Mutt” Lange was key. A de-facto sixth band member, his contributions transformed the group from a solid British hard rock/heavy metal band to one that took over the world with massive pop/rock crossover success. Infinite hooks, layered vocals, processed everything, pre-choruses everywhere -- those are Lange trademarks that helped lure in listeners.Hysteria followed after a number of setbacks and delays. Drummer Rick Allen lost an arm and Lange initially pulled out of the project due to exhaustion. But once things came together, the album took off like a rocket. “Pour Some Sugar on Me” was the jet fuel to power Hysteria after initial just okay sales numbers. Eventually seven singles were released, including #1 hit “Love Bites,” fulfilling the ambitions of creating a hard rock Thriller.Unfortunately, guitarist Steve Clark lost his battle with alcoholism shortly afterward. His songwriting contributions and playing style are missed from future releases, though Vivian Campbell has proven to be a solid replacement. There’s plenty to love from the first two albums, prior to the band’s breakthrough, and Adrenalize and Euphoria still contain highlights (we urge you to check out “Paper Sun” from the latter album).This is also a story about loyalty. Def Leppard’s line-up has been remarkably consistent through the years. When Rick Allen lost his arm, band members gave him the time to recover and learn to play in a different way. When “Mutt” Lange couldn’t produce Hysteria, the band realized the project couldn’t move forward without him. When Steve Clark needed help, the band gave him time off and got him into rehab as many times as possible.The band still is a huge draw on tour because songs as good as these don’t die. Listen in, enjoy the tunes and feel free to rock, rock ‘til you drop.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Eli Lake. Lake is a columnist with the Free Press and also a contributing editor at Commentary. Find him online at the Free Press or @EliLake on Twitter/X.Eli’s Music Pick: Stevie WonderIt’s time to sing some songs in the key of life as we tackle the amazing and iconic second half of Stevie Wonder’s career. From his emergence as Motown’s first truly singular independent artist in in 1972, with Music of My Mind, Wonder blazed a path through the musical Seventies crossing over successfully into ever musical genre, to the point where Paul Simon infamously thanked him -- when accepting a “Best Album” Grammy in 1976 -- for not putting out an album in 1975. Stevie owned the American 1970s commercially and artistically in a way that few other of his era did -- David Bowie is a strange but apposite analogue for his effect on British culture of that era -- and even if he tailed off into pleasant innocuousness from the Eighties onward, his musical legacy is deathless. So once again, there’s no need for a lengthy introduction to this (refreshingly brisk!) episode: Everybody knows who Stevie Wonder is, and unless you were born or moved here only five years ago, you will spend nearly half of this episode dancing out of your shoes. Isn’t it lovely?

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Eli Lake. Lake is a columnist with the Free Press and also a contributing editor at Commentary. Find him online at the Free Press or @EliLake on Twitter/X.Eli’s Music Pick: Stevie WonderHappy New Year, everyone. 2024 was a mess, 2025 looks to be every bit as much of a mess, and gloom pervades the national mood. Therefore, it is high time for Political Beats to turn to Stevie Wonder and remind ourselves of what real joy sounds like. There's no need for a lengthy introduction to this (refreshingly brisk!) episode: Everybody knows who Stevie Wonder is, and unless you were born or moved here only five years ago, you can name at least six or seven classic hits of his off the top of your head. But Stevie Wonder's career arc is less appreciated, and in this first episode we are joined by Eli Lake to recount the first half of that career, informally subtitled "The Education of Little Stevie." Joining Motown as a preternaturally multitalented (and charming) eleven-year-old blind boy, the next decade found him learning to first survive, then thrive, then drive the Motown hit machine as he learned the ropes. From a happy harmonica-wielding child stealing stage-time from his labelmates on "Fingertips, Pt. 2" to the teenaged hitmaker of "I Was Made To Love Her" to the self-confident young man cranking out one endlessly listenable hit after another, this episode sees Wonder first get lost in the Motown "machine," figure out its inner workings, and then conquer it. On our next episode, he will leave it behind entirely. But for now, enjoy some of the snappiest hits R&B ever recorded, and the beginnings of the greatest musical career to ever emerge from Motown.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Mary Chastain. Mary is a writer and editor at Legal Insurrection. She's also a sometimes contributor to The Hill, Washington Examiner, and Reason, and FEE. Mary is on X at @Mchastain81. Mary’s Music Pick: Stone Temple Pilots:This is another in a series of episodes (think Daryl Hall & John Oates and The Monkees) in which your hosts believe there is a reputation to be restored or repaired. In this case, far too many people seem to look at Stone Temple Pilots with disdain, dismissing them as third-rate Pearl Jam imitators or a product of an audience that was willing to accept pretty much any/every grunge-type act. This, as you'll find out, was not the case.Or, perhaps the first thing that comes to mind is singer Scott Weiland’s troubles with drug addiction and the law. While true, it doesn’t in any way devalue his contributions to the band and his status as one of the best frontmen of the decade.What we have here is a band that shared influences with other artists like Nirvana, Pearl Jam, and Alice In Chains and released a debut album, Core, steeped in that sound. Even then, there were indications STP were not quite like their peers. Bassist Robert DeLeo was a major force in crafting the sound and writing the songs. Guitarist and brother Dean DeLeo pulled not from Pete Townsend and The Who, but from the more experimental later-era Led Zeppelin releases, with monster riffs and chords in line with Jimmy Page’s best work. Eric Kretz was far more than just a time-keeper, adding fills, rolls, and rhythms that were essential to driving the composition.Purple, the follow-up to Core, has aged wonderfully and is an essential album that helps define the sound of the decade. By then, the band mostly had moved past the sludgy sound for which grunge was known and was beginning to color from a more varied palette. “Interstate Love Song” is one of the most iconic songs of the 1990s for a good reason. Tiny Music . . . Songs From the Vatican Gift Shop was met with muted reception if not downright confusion. What many missed at the time is rightfully regarded now as an immense step forward, as the band blended elements of glam and psychedelic rock, with hints of Bowie, T. Rex, and the Beach Boys in places.The remainder of the band’s catalog provides strong reminders about the talent contained inside Stone Temple Pilots. Despite hiatuses and break-ups, that’s what should be the legacy of the band. Political Beats now has the receipts to prove it.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Andrew Fink. Andrew lives with his wife Lauren and their five children in Hillsdale County, Mich., and is an attorney, Marine veteran, current state representative, and candidate for Michigan Supreme Court. He's on X at @AndrewFinkMI, and his website can be found here.Andrew’s Music Pick: ZZ TopNo matter how far into the future this show might run, when you stack Political Beats episodes alphabetically, this is the one that always will show up at the bottom. Ladies and gentlemen, it's time to turn the spotlight on "That Little Ol' Band from Texas," ZZ Top. Billy Gibbons, Dusty Hill, Frank Beard. Blues, guitars, and boogie. And, of course, later on, synths, drum machines, and sequencers.Maybe you're like Jeff and your mental picture of ZZ Top is frozen in time around 1983, when Eliminator was soaring near the top of the charts. We're here to tell you you're missing an awful lot from the band. The entire decade of the 1970s featured album after album of incredible music. There's seriously never a misstep. Early on, you can hear the influence of and influence on other bands like The Allman Brothers and Lynyrd Skynyrd. ZZ Top figures out early exactly who they are as a band and refine, refine, refine until perfecting it (we think) on 1979’s Degüello. Billy Gibbons, the group’s main songwriter, singer, and guitar player, has a style all his own, a unique approach that cuts through each song, even when he’s incorporating the sound of another player.At the turn of the decade of the 1980s, the band makes what we consider to be a fairly natural evolution. The tones, beats, and rhythms on Eliminator might seem out of place in a vacuum, but not if you follow the contours of the band’s career. Post-worldwide fame and success is a different story, and one we also tell during the course of this episode. By the way, this is the longest one-part show in Political Beats history, surpassing the U2 show, which actually makes some sense. The feeling here was we wouldn't go quite so long -- otherwise we would have split the thing in half! But once we got going, there was too much fun being had and too many good arguments being made to stop. All for the benefit of you, the listener.They’re bad, they’re nationwide. And now’s the time to discover the full story of ZZ Top on Political Beats.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Peter Suderman. Suderman is the features editor at Reason magazine. He also writes the Substack Cocktails With Suderman, which is about making better cocktails at home. Find him online at Reason or @petersuderman on Twitter/X.Peter’s Music Pick: The Dismemberment PlanThe name might sound like you’re in for a three-and-a-half hour barrage of trendily obscure post-punk music with this episode, and you could not be more wrong. Though we’re not going to lie: The first album and a half from Washington, D.C.’s mid-to-late Nineties indie-rock darlings do feel an awful lot like the twitchily inchoate remnants of the Bad Brains/Fugazi regional hardcore scene of the Eighties with a healthy dose of West Coast Minutemen math-rock thrown in as metric ballast. What they quickly settled into around the turn of the century however, with albums like The Dismemberment Plan Is Terrified, Emergency & I, and Change, was not just a genre-defining statement of what “indie-rock” was supposed to be about during what we now know retrospectively -- and jadedly -- as “the PitchforkMedia era” of rock criticism, but timeless music that can still get a crowd of downcast nerds to start dancing uncontrollably as they muse about that time they too got ruinously drunk on New Year’s Eve.It is quite possible that (outside of that one Robbie Fulks episode) Political Beats may be covering its most obscure rock group to date with the Dismemberment Plan. Click now, remedy that, and open yourself to a life of dangerous possibilities.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Nick Lowe. Nick Lowe is . . . wait, you don’t really need a bio for Nick Lowe, do you? If there’s any questions about who he is, please take the time to listen to our lengthy Political Beats episode with guest Matt Murray.In an interview that has been months in the making, your Political Beats hosts get the opportunity to spend a little more than an hour with the legendary Nick Lowe. Cards on the table, both of us were a little nervous to be speaking with one of our musical heroes. Nick made it comfortable and entertaining, as if anything else would be expected. The conversation begins with a discussion about his fantastic new album, Indoor Safari. The record is a collection of songs from EPs released over the past half-decade or so, many of the tunes re-recorded or slightly changed from the initial versions. These performances are so crisp, so lively. “Crying Inside,” is a perfect example of a top-notch, sublimely written and executed, late-career Nick Lowe song. “A Quiet Place” could be the single best band performance on the album. “Blue on Blue,” would fit in alongside anything on The Impossible Bird and the Bacharach-influenced “Different Kind of Blue,” truly benefits from the full band arrangement not heard on the version found on the 20th Anniversary edition of The Convincer.As the liner notes claim, “Indoor Safari isn’t a journey back in time -- it’s a journey out of time, to a music that stands the test of any time.”We begin our chat in the present but quickly move far afield, with discussions about his early career, the thought process that started his “second half” of music (starting with The Impossible Bird), his songwriting techniques, and a few nerd/fan questions near the end. We hope to have asked a few questions that perhaps haven't been asked before.Be sure to check out Nick and Los Straitjackets live this fall. Tour dates are here (Click on "Show All Dates" to see them all.) If you’re out and about, you might see Scot at the Detroit show and Jeff at one of the Chicago shows. After all, we’re big fans.