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 Top
No 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 Plan
The 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.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with . . . no guest at all! With Jeff moving his belongings to a new abode while also covering the RNC and DNC for National Review and Scot's vacation schedule creating another hurdle, we felt it was time to break the glass on the window marked "VERY SPECIAL EPISODE."

For those relatively new around here, we've done two VSEs in the past, both when schedules were getting out of control. One compiled our Best Cover Songs and the other listed our Best Soundtracks. In short, some stuff we wouldn't get to cover in a different way. And, by the way, these are pulled off without a guest.

Thinking in that direction for a theme, we present to you the Most Essential/Necessary Compilations. For Scot, this meant one thing: artists/bands who have produced basically no complete albums worth consideration of a full Political Beats episode, but who have a Greatest Hits/Best Of package that contains absolutely everything you need of the singles. Some people really hate buying hits packages because they want to have the artistic statement made by the full album. But you can’t deny there are some collections that are just perfect in their brevity/simplicity. All killer, no garbage album filler to worry about.

On the other hand, Jeff thought about this a little differently: What compilations helped introduce him to the larger work of a band? And, being a post-punk guy, which collections helped bind together swaths of material you can't find elsewhere?

In the end, as usual, you get two slightly different perspectives on the show. You can decide which one is superior.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Brad Birzer. Brad is the Russell Amos Kirk Chair in American Studies and Professor of History at Hillsdale College. He is also the co-founder of and senior contributor at The Imaginative Conservative, and the author of a number of books, including Neil Peart: Cultural (Re)Percussions. Find him online at bradbirzer.com or @bradleybirzer on Twitter.

Brad’s Music Pick: Yes
Well, the buses outside don't add much weight to the story in our heads we began in our last episode of Political Beats, so we're thinking we should go and write a punchline; thus, welcome to part two of our discussion of the great progressive rock band Yes, wherein we discuss their career from 1974's Relayer onward to the present day. (Be forewarned -- we pick and choose after the debacle of Union (1991). Fondly remembered: Talk, Keys To Ascension, Magnification and Fly From Here. Not so fondly remembered: erm, Open Your Eyes.)

I could offer more prelude than that, but this is one episode where the music will do vastly more explaining than any written exegesis; Yes bounced back after Tales from Topographic Oceans with an album even more abstruse and outwardly difficult, yet light years more compelling. From that point onward and despite countless personnel changes -- up to and including swapping the "Video Killed the Radio Star" guys straight into their band -- the group maintained its unique sound and creative voice throughout the second half of the Seventies in a series of albums that age like casked scotch. (Check out the vigorous defenses of Tormato and Drama ye shall find herein!) Then the group collapsed after a disastrous 1980 tour and seemed to be over . . . until a South African guitarist/vocalist/songwriter named Trevor Rabin entered the picture.

All this and much, much more is covered on an episode of Political Beats that spans from the mid Seventies all the way to the late Eighties without once pausing for breath. Afterwards, we take a breather here and there, but for now? Tempus fugit, my friends, so you should click, because we're off to the races, going for the one. 

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Brad Birzer. Brad is the Russell Amos Kirk Chair in American Studies and Professor of History at Hillsdale College. He is also the co-founder of and Senior Contributor at The Imaginative Conservative, and the author of a number of books, including Neil Peart: Cultural (Re)Percussions. Find him online at bradbirzer.com or @bradleybirzer on Twitter.

Brad’s Music Pick: Yes
Tell the moon dog, tell the march hare! We take you close to the edge of the south side of the sky this week as we discuss the early adventures of Britain's answer to all the questions raised by hippies during the Seventies, the New Age of Atlantic: Yes. Yes were one of the pillars of British progressive rock music, but also (perhaps surprisingly) a major commercial success in America long before their peers. They were also a truly singular band during their lengthy heyday; the band underwent endless lineup changes as personalities clashed and artistic visions ran amok, and yet they have always sounded like themselves and nobody else successfully has.

Starting with local janitor Jon Anderson on countertenor vocals, Pete Banks on Hendrixian guitar, Tony Kaye on groovy late-Sixties B3 organ, fussily precise jazz drummer Bill Bruford keeping time, and Chris Squire playing a bass so aggressive it intimidates people into crossing to the other side of the street, Yes exploded out of London's club-gigging scene after drawing inspiration from watching a newly born King Crimson play the circuit. Their early style mixed originals -- first halting, then increasingly assured -- with spectacularly imaginative covers of everything from West Side Story to Buffalo Springfield and Simon & Garfunkel. But as Banks was jettisoned for Steve Howe, and then Tony Kaye traded in for Rick Wakeman, Yes ascended from a series of records beginning with The Yes Album and Fragile (1971) to superstardom, with all that entailed: sidelong songs, triple live albums, and extended soaks in the topographic oceans. All set to some of the most inscrutable lyrics but gorgeous music written during the decade.

So turn on your lava lamp and get ready to call over valleys of endless seas as you and I climb crossing the shape of the morning -- it's time to sink into a elevated musical fantasy world created by Yes during this, the first part of their career. We take the story up through Tales from Topographic Oceans (1973); next time around, we'll get a relayer to go for the one without too much drama, but for now click play and enjoy the sound of perpetual change. 

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Guy Denton. Guy is the co-host of The Wrong Stuff with Matt Lewis, contributor to The Dispatch and National Review, and until recently took Jonah Goldberg's guff over at The Remnant. Find him on Twitter/X . . . nowhere, because he is saner than the rest of us.

Guy’s Music Pick: Echo & the Bunnymen
There's really not much to say about this episode other than that it is the greatest and most important edition of Political Beats ever recorded. That's what singer/rhythm guitarist/world-class ego Ian McCulloch would no doubt say about this discussion of legendary U.K. postpunk greats Echo & the Bunnymen, and this time he might have a point, because this actually is one of the show's white whales: The Bunnymen may not have invented, but truly perfected, the platonic sonic ideal of "postpunk" over a series of four stunning records in the first half of the Eighties and if Jeff's use of descriptive superlatives were clipped and collected on their own, it would probably add up to at least a half-hour of raw time.

The Bunnymen were originally a drumless three-piece bedsit-room band from Liverpool -- vocalist McCulloch, lead guitarist Will Sergeant, and bassist Les Pattinson; it was the drum machine that was nicknamed "Echo" by fans. The addition of Londoner Pete de Freitas on actual drums in early 1980 immediately catalyzed the band: They launched out of the gates with their debut album Crocodiles (1980) and never looked back. From that point onward, they would play not just a major role, but arguably the defining role, in carving out the sonic world we now think of as "postpunk": fiercely arty, fiercely aggressive, and also fiercely beautiful. McCulloch sounded uncannily like one of his most well-known competitors in the postpunk arena -- U2's Bono -- and the run of work they put out between 1980 and 1987 tracks theirs blow-for-blow and is frankly superior in all respects right up until the end.  

And yet from our American perspective (and nearly 40 years after their heyday) Echo & the Bunnymen are often treated as a curious footnote from the world of Eighties music, obscure Brits who recorded That Song You Know From That Movie Soundtrack. They were the furthest thing imaginable from it: one of the most endlessly compelling and rewarding groups of a decade positively exploding with great music. We weren't kidding when we said there isn't really much to say about this episode, because the music will speak more eloquently than any words can. Bring on the dancing horses, and seal your pact with the Dark Mistress of Fortune underneath the killing moon. Perhaps it was your fate -- up against a will -- all along. Click play and never stop.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Joshua Treviño. Joshua works and writes at the Texas Public Policy Foundation and spent the entire 1990s listening a lot to Matthew Sweet. 

Joshua’s Music Pick: Matthew Sweet
For listeners of a certain age, just the name Matthew Sweet will evoke a particular memory, and it’s likely one that involves heartbreak. Breaking through with the power-pop masterpiece, Girlfriend, Sweet channeled the inner thoughts and emotions of Gen-Xers everywhere and married them to killer hooks and melodies. Of course, his career is more than just that.

Matthew Sweet bridges the gap between sweet, melodic power pop and the edgy alternative rock sound of the 1990s, leveraging the guitar work of Robert Quine and Richard Lloyd on his best music. His influences are clear -- you hear some Beatles, sure, but also influences of Big Star, the Byrds, and even Neil Young in the guitar tones.  

His run of albums from Girlfriend to In Reverse (or roughly 1990–2000) is what we focus on in this show, though additional time is spent on his first two solo efforts and some of his later-career output, particularly the trio of Under the Covers albums recorded with ex-Bangle Susanna Hoffs.

It’s great music and for many, including one co-host, it’s essentially brand-new music for the ears. They say nothing is certain in life, but we can guarantee you 100 percent fun when you tune in for this Matthew Sweet edition of Political Beats.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Tom Nichols. Tom is a staff writer at The Atlantic and author ofThe Death of Expertise: The Campaign against Established Knowledge and Why it Matters, with a new second edition out soon. Find him on X/Twitter at@RadioFreeTom. 

Tom’s Music Pick: Boston
This could be our first episode that is longer simply by listening to the entirety of the band's actual discography. Even if true, we still think you should choose Political Beats!

Boston is an unusual band, sui generis in many ways. To begin with, Boston is really one guy: Tom Scholz. Okay, Okay, he probably couldn’t pull this off without the voice of Brad Delp. And our guest is quick to point out Sib Hashian has some nice moments on drums on the Boston debut album. But Scholz wrote nearly all the songs, he developed the guitar sound, he spent years in his basement perfecting that debut album. 

And what a debut it was. You know every song here and all but one remain in heavy rotation on classic rock radio stations across the country. It was the biggest-selling debut in history for about a decade after its release. “More Than a Feeling,” “Peace of Mind,” “Foreplay/Long Time,” and “Hitch a Ride” continue to soundtrack summers annually.

But what do you do for an encore? And how do you evolve that sound, if at all? These are some of the questions we kick around throughout the show. It's always a blast to be joined by a guest who actually lived through the release of some of the music we are discussing. Tom gives a needed and appreciated perspective on Boston and the impact the music had on the rock world.

We’ll talk until you’re feelin’ satisfied and are prepared to walk on to another episode. Grab your Rockman amp and plug in to Political Beats.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Jay Cost. Jay is the Gerald R. Ford senior non-resident fellow at the American Enterprise Institute and the author of, most recently, James Madison: America’s First Politician. Find him on Twitter/X at @Jay__Cost.

Jay’s Music Pick: The Kinks
Haven’t we done these guys already? We sure did! But this is the part of the Kinks' career we didn't do any real justice to back six or seven years ago when Jay first joined us for our comically brief discussion of the Kinks' Seventies career.

We remedy that here, for the second part of our grand Kinks retrospective (covering everything from 1969's Arthur, or the Decline and Fall of the British Empire onwards) sheds light on an era of their career that has been largely forgotten, but which contains much of their greatest music. From the conceptual ambitions of Arthur, Lola, and an entire passel of early-to-mid '70s concept albums that are usually more mocked than listened to (wrongfully so, we argue), the Kinks reclaimed stardom, promptly kicked it right back to the curb in order to do concert/stage production hybrids for a few years, and then with superb 1976 Sleepwalker went right back to climbing the album and singles charts. And all throughout it Ray Davies's lyrical vision -- singular in both its profundity and also its occasional cheerful mundaneness -- guided the group through a series of records that, while no longer discussed as much as their classic Sixties era, were extremely popular in their time and justifiably so. 

We pretty much wrap up our discussion with Give The People What They Want (1981), so if you have to be a big Think Visual! fan, then this episode may disappoint you. But we doubt it. Because Political Beats is proud to have finally given the latter era of the Kinks their proper due, and in a way that we hope will make several new fans. Click play, sit back in your old rocking chair in your Shangri-La, and enjoy.

Introducing the Band:
Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Jay Cost. Jay is the Gerald R. Ford senior non-resident fellow at the American Enterprise Institute and the author of, most recently, James Madison: America's First Politician. Find him on Twitter/X at @Jay__Cost.

Jay's Music Pick: The Kinks
Haven't we done these guys already? We sure did! For the first (and possibly last) time, Political Beats has done something unprecedented and gone back to cover an artist for the second time. Why? Because frankly, our original Kinks take was Episode #7 (we're up to #130 now, seven years later), and we didn't know what we were doing with the format yet, didn't do the discussion justice, and frankly this should have been a two-part episode.

So now it is! Jay was great with us back in the day -- except for the part where we had to cut short the discussion because he had to pick up his kids from school -- so we've invited him back to do proper justice to Ray and Dave Davies, eternally warring brothers who fronted a band that started as the most mindlessly brutish of all the British Invasion '60s hitmakers ("You Really Got Me," "All Day And All Of The Night," "Tired Of Waiting For You," "Till The End Of The Day" -- all rockheaded classics) and then rapidly transformed into one of the most curiously intellectual bedsit-room British bands in history, as quintessentially "English" in the late Sixties and Seventies as The Band was effortlessly "American." The music during their early phase (discussed this week -- part two coming soon!) transforms from hitmaking international singles to insular, intensely well-written melodic and lyrical miniatures about English eccentrics and English life -- the sort of music that was destined to fail commercially in its moment but which later became (and remains) the subject of endless musical, emotional, and intellectual fascination. Join us then, as we take a second, far juicier bite at the apple and chronicle these glorious early years of growth for the Kinks, culminating in The Kinks Are the Village Green Preservation Society (1968), an album all about the seductions, perils, and aches of nostalgia. Later on, after this point, the Kinks would reemerge into the world at large, cultivating a massive international (and specifically American) fanbase during the Seventies and Eighties with a very different kind of music. But for now, get ready for stories of session men, insufferably perfect schoolboys, ugly urban tube stations at dusk, and utterly phenomenal cats as we take you back to the mysterious era known as "decline-phase late Sixties Britain" and discuss the last of the good old-fashioned steam-powered bands.