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 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.