Episode 154: Christopher Scalia / The Strokes

Scot and Jeff discuss The Strokes with Christopher Scalia.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Christopher Scalia. Chris is a senior fellow at the American Enterprise Institute and the author of 13 Novels Conservatives Will Love (But Probably Haven't Read), a perfect Christmas gift for your favorite person. Find him on X at @CJScalia.Christopher’s Music Pick: The StrokesThe Strokes emerged at the beginning of the 2000s with a sound that felt both familiar and bracingly new. Drawing on punk, garage rock, and even classic new wave, they stripped things down to tight guitars, propulsive rhythms, and songs that valued economy over excess (at least for a time). Is This It quickly became a defining album of its era, with tracks like “Last Nite,” “Someday,” and “Hard to Explain” setting a template that would influence an entire wave of bands that followed.In this episode, we walk through the band’s discography from start to finish, looking closely at how their sound and approach evolved over time. We move from the focused urgency of Room on Fire to the more expansive ambitions of First Impressions of Earth, the occasional experiments on Angles and Comedown Machine, and the late-career recalibration that arrived with The New Abnormal. Along the way, we also talk about the personalities and dynamics that shaped the band’s output, from Julian Casablancas’s distorted vocal style to the tight, interlocking guitar work of Nick Valensi and Albert Hammond Jr. You'll better understand how The Strokes’s career actually unfolded. Why some records landed immediately, why others took longer to be reassessed, and how the band managed to remain relevant without simply repeating themselves. In the end, this is less about hype or revival and more about what remains when you line the records up and actually listen.The Strokes’s story is also about timing and context: arriving when rock music was bloated, polished, and often self-serious, and offering something leaner and more immediate in response. That initial impact cast a long shadow over everything that followed. This episode tries to sort out how much of their legacy rests on that first run of songs, and how much comes from the quieter, sometimes messier work of sticking around and continuing to make records on their own terms. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Scot and Jeff discuss Van Halen with Sean Trende.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Sean Trende. Sean is senior elections analyst at Real Clear Politics and visiting scholar at the American Enterprise Institute. His new podcast with co-host (and fellow Political Beats guest) Jay Cost, is Stubborn Things. Find him on X at @SeanTrende.Sean’s Music Pick: Van HalenWait, haven’t we covered Van Halen before? Indeed, we have. Way back when on Episode One. This is a complete re-recording of that show, giving these guys the coverage they deserve. At the beginning, frankly, we weren't exactly sure how the show was going to sound. Now that we’ve figured things out, Van Halen gets its due.Few bands rewired rock ‘n’ roll the way these guys did, and fewer still made it look so fun. From the moment Eddie unleashed the lightning bolt that is “Eruption,” the landscape of guitar playing, and rock music itself, changed forever. In this episode, we set the stage for the band’s rise, the L.A. club days, and the swagger that defined their early sound.We start with the raw, unstoppable energy of Van Halen and Van Halen II. Then it’s into the darker edge of Fair Warning and the pop-metal perfection of 1984, complete with “Panama,” “Hot for Teacher,” and the synthesizer-powered “Jump.” Then David Lee Roth leaves and ends our story.No, of course not! We explore the band’s bold reinvention during the Sammy Hagar years, when albums like 5150, OU812, and For Unlawful Carnal Knowledge pushed Van Halen into new sonic territory and to the top of the charts again. Songs like “Best of Both Worlds,” “Love Walks In,” and “Right Now” proved the band could evolve while still keeping that unmistakable Van Halen spark.Along the way, we dig into the stories behind the music  some of these are big fun) and examine how the band’s combustible chemistry created not just drama, but brilliance. And we talk about the lineup changes, tours, reunions, breakups, and makeups. Gary Cherone even gets a mention.Join us as we explore the thunderous riffs, the outrageous personalities, and the sheer fun that made Van Halen one of rock’s most iconic bands. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Scot and Jeff discuss Iggy Pop & the Stooges with Dominic Green.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Dominic Green. Dom is a historian and columnist, and he used to be a musician. He is a contributor to the Wall Street Journal and a columnist for the Washington Examiner and Jewish Chronicle. Check him out on Twitter at @DrDominicGreen.Dominic’s Music Pick: Iggy Pop & the StoogesLooooooooooord! When Dominic last joined us on Political Beats, to discuss the great U.K. band The Jam, we declared it to be in some ways one of the most necessary episodes of the show ever. (It was.) He has chosen to return to us this month with another one of the most necessary shows we have recorded, a deep dive into the true foundations of punk.Did "punk" music begin with the Sex Pistols in 1976? With the Velvet Underground in 1966? No. Whatever else you may think punk should be, or whatever else it evolved into, the true musical spirit of punk begins with the Stooges' 1969 debut album, a record of such throbbingly feral loudness, rage, and inarticulate energy that it seemed like the sound of cavemen bashing upon logs. And yet the Stooges -- led by Ypsilanti, Michigan's own James Osterberg, better known to the world as Iggy Pop -- were both primitive and neo-primitivist simultaneously: maybe the first band whose garage-rock aesthetics were both authentic and also an intentional artistic proposition. Iggy Pop -- working with the Ashton brothers and later James Williamson -- sought to strip rock and roll to its rawest, most inchoate essentials, and succeeded so wildly that an entire subgenre of music reveres him as their founding father.And then, of course, there's his work with David Bowie in the late Seventies, where both men creatively resurrected themselves. Buckle up for a brisk roller-coaster of an episode, folks -- embrace your lust for life. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Scot and Jeff discuss the second part of Tom Waits’ career (1983-2011) with Damon Linker.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Damon Linker. Damon is a senior lecturer in political science at the University of Pennsylvania, and publishes a Substack newsletter titled “Notes from the Middleground.” Follow him at @DamonLinker on Twitter.Damon’s Music Pick: Tom WaitsWe sail tonight for Singapore and we’re all as mad as hatters here. Yes, Political Beats finishes its two-part celebration of the career of Tom Waits, rejoined by doughty boatswain Damon Linker as we pilot our way to unknown musical seas. Tom Waits had a fine career up through the year 1982, when he finished work on the soundtrack for Francis Ford Coppola’s One from the Heart. But we're talking about the man primarily because of what happened afterwards, when he became more than just a down-and-out jazz pianist with the voice of a Babadook. Waits met script supervisor Kathleen Brennan on the set of the film and fell in love, marrying a year later. (They remain married to this day.) Proving herself the anti-Yoko Ono, Brennan then alchemically helped to raise Waits’s music to an entirely new level of excitement and experimentation. His lyrics ideas become weirder, and more vivid. His ballads become infinitely more heartfelt (most of them are secretly addressed to Brennan). And his arrangements become a world of their own: Tom Waits begins, in 1983, to create glorious junk sculptures out of sound, using uncharacteristic (often minimalistic) instrumentation to create music that nobody has heard before.Through such landmarks of the 1980s and 1990s as Swordfishtrombones, Rain Dogs, Bone Machine, and The Mule Variations, Tom Waits transcended his balladeering origin -- without ever leaving it entirely behind -- and created a body of work famous for its eccentric, compelling, and deeply influential series. Once you get past the fact that he has a voice like the sawblades of a lumber mill, entire worlds will open up to you. Click play and clap hands! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Scot and Jeff discuss the first part of Tom Waits’s career (1973-1982) with Damon Linker.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Damon Linker. Damon is a senior lecturer in political science at the University of Pennsylvania, and publishes a Substack newsletter titled “Notes from the Middleground.” Follow him at @DamonLinker on Twitter.Damon’s Music Pick: Tom WaitsThere’s a world going on underground, and Political Beats is here to explore it, in all of its seedy, alcohol sodden, and extremely performative oddity. Yes, its time to begin a journey into the heart of Saturday night, as we explore the career of Tom Waits, one of the modern musical era’s most notably stubborn, and brilliant, eccentrics. It may be difficult to explain the charms of a wrecked-voiced jazz pianist sketching portraits of the dissolute Los Angeles nightlife of the mid-1970s, but during this first part of Waits’s career -- when he climbed out of the Laurel Canyon rock scene to carve his own unique furrow as an affected beat-poet drunkard -- the man’s albums speak for themselves.During the second half of this two-part Political Beats retrospective, the gang will explore the fearless (and endlessly influential) art-rock musical turn Waits took during the 1980s. And there is true continuity between both phases -- at the end of the day, Tom Waits has never forgotten how to write a beautiful, memorable piano melody. But for now, settle in for a trip as far away from “rock and roll,” in some ways as Political Beats has ever traveled outside of Willie Nelson. Prepare to settle in with a drink and a smoke in a jazz lounge at 1:00 a.m. The night is only just getting started. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Scot and Jeff discuss Jimmy Buffett with Conor Friedersdorf.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Conor Friedersdorf. Conor is a staff writer atThe Atlantic, where he writes about politics and culture, with a focus on civil liberties, and he's the founding editor ofThe Best of Journalism, a newsletter on Substack where he highlights the best nonfiction that he encounters each week. Find him on X at @conor64.Conor’s Music Pick: Jimmy BuffettWhether you’ve had your fins up since the ’70s or just wandered in from Margaritaville wondering what the fuss is all about, you’re in the right place. In this episode of Political Beats, we’re kicking back and diving deep into the life and music of Jimmy Buffett — the man who turned tropical escapism into a full-blown philosophy and business model.Buffett’s career didn’t start with frozen cocktails and parrots on shoulders. He came up in the 1970s as a Gulf Coast troubadour, blending country, folk, and coastal storytelling into something all his own. His early albums like A White Sport Coat and a Pink Crustacean and A1A earned him a devoted following, while songs like “Come Monday” and “A Pirate Looks at Forty” showed a tender, reflective side behind the laid-back image.But then came “Margaritaville” — and everything changed. The 1977 hit launched Buffett into the stratosphere, spawning not only a signature sound but a full-fledged lifestyle brand. Over the next few decades, he built an empire: hit albums, bestselling books, restaurant chains, retirement communities, and legions of Parrotheads who came for the music and stayed for the state of mind.In this episode, we take a sunny stroll through his albums — highlighting the iconic tunes, the underrated gems, and the occasional head-scratcher (a decent portion of the 1980s). Whether you’re here for the deep cuts or just trying to figure out what the “Coconut Telegraph” actually is, we’ve got you covered. We try to unpack the stories, the sound, and the secret sauce that made Buffett not just a musician, but a lifestyle. And we attempt to answer the question: Did Buffett make a truly great album at any point or is the Greatest Hits collection all you really need?So pour yourself something cold, find a hammock — or a seat on the beach — and join us as we sail through the world of Jimmy Buffett: singer, storyteller, and the only guy to turn chill vibes into an empire.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Your Political Beats hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) get the opportunity to spend a little more time with singer/songwriter/bandleader/advocate/professor David Lowery (@DavidCLowery)Now-frequent (two times is frequent, right?) Political Beats guest David Lowery returns to the show to talk about his magnificent new solo record Fathers, Sons and Brothers.For those unaware, David is the founder of Camper Van Beethoven and Cracker as well as a long-time advocate for artists' rights. He also serves as Senior Lecturer in Music Business at the Terry College of Business at the University of Georgia. David previously joined us for more than three hours to discuss the music created by both of his bands -- the original version is here and the remastered version (higher audio quality and additional song clips) is right here -- so we don't spend time at all reviewing that content. The new album is good enough that it deserves its own place in the sun.As David himself describes Fathers, Sons and Brothers, "In lieu of an uninteresting written autobiography I’ve made this record. I do this not so much to tell my own story but to pay tribute to my mother, father, sisters, extended family, friends, and those who have shared their lives with me." It tells the story of his life, career, and loved ones. The songs are deeply affecting and carry a somewhat unexpected emotional heft. The closing kick -- "Vending Machine," '"Fathers, Sons, and Brothers," "Yonder Distant Shore," "Darken Your Door," "Giving Tree Father" -- is just one gut punch after another when you realize the stories being told. It’s all just further evidence that Lowery is peerless among his generation's songwriters and deserves even more acclaim than he has received.During this conversation, we spend time trying to define the sound of the new record (we suggest an extension of Gram Parsons's "Cosmic American Music" idea), the backstories behind a few of the songs, how the album’s narrative took shape and propels the record forward, and where he finds his joy these days in performing live music. There's even a question about religion buried in here.If you love CVB, you'll love this album. If you love Cracker, you'll love this album. If you love Political Beats, well, we're pretty sure you'll love this album. Many of the songs are cinematic in their scope; you literally can picture these scenes playing out in your mind. These tracks are elevated by spending time with the lyric sheet and appreciating the nuances and care taken in the storytelling. Be sure to check out David and Cracker (full band and solo dates) live through the rest of the summer. He indicated a more extensive slate of dates supporting Fathers, Sons and Brothers could be on the way this fall. If you’re out and about, you might see Scot at any Detroit-area show and Jeff at any Chicago-area shows. These songs certainly deserve to be seen live. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.