Caropop

• Shane Buettner (Intervention Records)

  Running a boutique audiophile label is not easy, as Shane Buettner has learned in the 10 years since he founded Intervention Records. There are licensing agreements to be negotiated, artists to please, mastering engineers and pressing plants to be engaged, vinyl formulation and cover design to be arranged, plus marketplace changes and ever-increasing competition to be navigated. The label’s first release was Stealer’s Wheel’s debut, with standout pressings featuring Joe Jackson, Judee Sill, Matthew Sweet, the Flying Burrito Brothers, Peter Frampton, Everclear and others to follow. With so many labels jumping into the audiophile pool, has licensing recordings become harder? What dictates pricing? Do Buettner’s customers care more about 180-gram vinyl or tip-on jackets? And how did he land Intervention’s new Sun Records deal, with Kevin Gray-mastered 45 RPM releases from Carl Perkins and Johnny Cash on the way?

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• Caropop Happy Thanksgiving 2025

  It's our Thanksgiving message for 2025!

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• Louie Pérez (Los Lobos)

  Louie Pérez has written many great songs for Los Lobos, but “Saint Behind the Glass” is especially close to his heart. It was inspired by a saint statue from his family’s home and now is part of the exhibit American Prophets: Writers, Religion and Culture at the American Writers Museum in Chicago. Perez offers that song’s origin story, digs into his songwriting dynamic with singer-guitarist David Hidalgo, discusses their trippy side project the Latin Playboys, reflects on the impact of Los Lobos’ smash cover of Richie Valens’ “La Bamba” and says whether, 10 years after their last album of original material, Los Lobos is preparing new music. He also reveals a recent health issue and whether it affected his return to the stage, he addresses how artists can respond to the current administration’s toxicity toward immigrants, and he offers inspiring words for anyone involved in the act of creation.

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• Bob Merlis

  Bob Merlis ran the Warner Bros. publicity department for much of his 29 years at the label, and he has tales to tell. He recalls his adventures as a Columbia University student presenting concerts by the Byrds and others, as well as his rock journalist stint, his encounter with “supernova” Little Richard and a classic misunderstanding with the Carpenters. Soon he was working with Dion DiMucci, ZZ Top, Debbie Gibson, Talking Heads, Devo, the B-52’s, the BoDeans, Madonna, R.E.M. and many others. Which act was the beneficiary of “the cheapest promo in the history of Warner Bros”? Who reacted hostilely to his publicity ideas? Who was especially cool? How did the label vibe change? After Merlis left Warner Brothers, what was Chris Isaak’s valuable advice? And what role did late Rolling Stones/Beatles manager Allen Klein play in Merlis’s next act?

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• Paul Kelly

  Paul Kelly has been one of Australia’s—and the world’s—premier singer-songwriters for decades, having been introduced to American audiences with the mid-‘80s albums Gossip and Under the Sun and songs such as “Before Too Long,” “Darling It Hurts,” “Dumb Things” and “To Her Door.” His new album, Seventy, finds his voice and songwriting powers undiminished as he continues delivering deep reflections, vivid storytelling and ear worms, including “Rita Wrote a Letter,” a sequel to his 1996 song “How To Make Gravy.” Here he reflects on his life as a musician in Australia, his travels to the U.S., his evolution as a songwriter, his enjoyment of setting poetry to music, his years of being “a recreational heroin user” and what he has learned. Is songwriting his way to make sense out of being human? (Photo by Dean Podmore)

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