IN BLOOM: The Posies

As the band marks their thirtieth anniversary, Posies principals Jon Auer and Ken Stringfellow take a long look back. (Photos by Dot Pierson)


It’s no exaggeration to label the Posies as the quintessential power pop band. Over the course of their three-decade career, both as a band and as the mother ship for a series of solo albums procured by its two principals Jon Auer and Ken Stringfellow, the group has created a sound brimming with effusive hooks, flawless harmonies, adroit execution, and the kind of ringing melodies tailor made to leave an everlasting impression. While fans have absorbed and admired the sounds that resulted, sadly the wider world has yet to take notice. Chalk it up to a series of setbacks — a shifting series of record label affiliations, changes within the band’s line-up, and what Stringfellow sees as the lack of a distinct public persona.

“We discovered that a band with two singers was hard to get their heads around,” Stringfellow says. “It’s easier if you have one Axel Rose doing crazy stuff, and you can point the finger at him and make him the focal point. People were thinking, let’s focus in on Ken Stringfellow, or let’s focus in on Jon Auer. It was hard for them to think, let’s focus in on these two guys for whatever reason. We’re not the easiest thing to describe.”

Yet, at the same time, Stringfellow tends to blame the band itself for its lack of wider recognition.

“We were diverted into other realms,” he admits. “I don’t think we had as much faith in ourselves as we should have. We gave up too soon in many ways. That initial breakup in 1998…Anybody can say if I had to do things over again, I’d do it differently. I could say I should have been more mature at an earlier age, because of course I wasn’t. I had the tools that I had and did the best I could with them. Record to record, we had different line-ups and slight variations in the sound, and with all the different projects I’ve been involved with, we are hard to get a bead on. If we were a metal band, it would be so easy. Here’s a metal band, they play metal. They play metal festivals, they play metal festivals…the marketing is done. With us, we’re a very melodic rock band, but in that sense, so is Boston and so is Coldplay.”

Such is speculation of course, but now, as the band celebrates their 30th anniversary, they are getting a second chance of sorts to bring their music full circle and remind both fans and those unawares of the great music that the Posies made out over the years. The campaign is set to start with the reissues of three seminal albums originally released on Geffen imprint DGC — Frosting on the Beater, Dear 23 and Amazing Disgrace, each replete with what Stringfellow refers to as a “shit ton of bonus tracks.” In addition, the band is about to launch an extensive tour that will feature the original band responsible for the Frosting on the Beater album — Auer, Stringfellow, drummer Mike Musberger, and bassist Dave Fox. It amounts to a full-scale reunion of the band’s seminal line-up, and one in which the two principals are eager and excited to unveil.

Blurt spoke with Auer and Stringfellow from their base in Seattle only a few days before the tour was set to get underway. (Tour dates can be viewed at the website.) Both men were clearly filled with anticipation and delighted at the prospects of revisiting the Posies’ earlier glories.

BLURT: For starters, tell us about the plans you have in store to mark this auspicious anniversary.
KEN STRINGFELLOW: We’ll be hitting the road with the vintage line-up and playing a retrospective collection of music from all parts of our catalog. Plus, our catalog is being given a sonic upgrade and made available again. Our releases have been only spottily available in recent years. Many of our CDs are out of print and the vinyl is long out of print as well, so it’s nice that the music is getting a renewed focus and be in a place where people can come to it and actually hear it properly…even better than in its original sonic glory.

JON AUER: We’re putting some effort into — I don’t want to say, “capitalize” because I don’t like that word. It sounds too commercial and it doesn’t sit well with me — but I think what is interesting is that organically, what’s occurring with the reissues has completely coincided with the fact that legitimately, some people are actually celebrating the 30th anniversary of our band. To be honest, there were some delays in trying to get those reissues ready for public consumption, and there were some business-related issues with the old labels we had to deal with and with new labels anxious to get involved. So I think that there’s some cosmic kismet going on here… without getting too hokey about it. It does feel like good things have converged at this moment in time for us. It’s also interesting that there are a lot of younger music fans, fans of music of the ‘90s, who are looking at us now. It’s kind of come full circle. On the last couple of tours that we’ve done, we’ve noticed that there are younger fans coming out…people in their late teens and early twenties. I’m amazed by it, and super happy about it. Of course we love all our fans, but it’s nice when you’ve been around as long as we have to have people that didn’t know you the first time around and now, because they’ve discovered the music, they’re making an effort to come out and see us. They’re very vocal about it.

BLURT: Do you have the rights to the earlier releases? Or did you have to purchase the masters?
KS: They kept the music in print for awhile, but as we moved away from the physical era, it became harder to find. Universal still owns the rights, but Omnivore leases the albums from Universal.

JA: We left it to Omnivore because they have the relationship with Universal. It was a little challenging at times because, obviously, we’re not the biggest fish in the pond. We had to generate some money upfront in terms of licensing, and that’s why we did a PledgeMusic campaign. That’s fair enough, but even before we sold a copy, the company wants to get paid for the licensing on all the physical product. We’re not doing this to make a bunch of extra money. We’re doing this to put these records out again in this great format.

BLURT: What’s the timing for the re-releases to come out?
KS: Dear 23 which was originally released in 1990, and it‘s coming next month. Frosting on the Beater, which was released in 1993, will come out in August. And Amazing Disgrace, which originally came out in 1996, is coming at the end of September.

BLURT: That’s three of eight albums. What about the others?
Our first album, Failure, was rereleased a few years ago. That’s still around and they did a great job with that. (Read the review HERE and listen to a track from the album HERE.) Then there’s Success. That album has its 20th anniversary this year, so there’s been some talk of getting that one out again as well. That one we do have the rights to. The next two on Rykodisc, Every Kind of Light and Blood Candy (reviewed HERE) are out of print amazingly enough. I’d like to see those two made available, but that might take awhile. Originally, we thought this would follow right on the heels of the Failure rerelease which we did in 2014. But here we are in 2018 and timed to our 30th anniversary, so I guess that was kismet right there. (Read the review of 2016 album Solid States HERE.)

BLURT: After the box set a few years ago, and the bonus tracks added to Failure, will you be completely exhausting the archives at this point? 
KS: At this point, we’ve put out everything that’s interesting and worth listening to. Most of the stuff you’re going to get on these re-releases was not on the box set that came out in 2000. We found way more stuff. We were a little more organized this time around, so it’s incredible how much stuff there is. It’s probably six CDs of album material worth of non-album material from three albums. It’s kind of crazy. We were very prolific in those days, especially when we made Failure and re-released it as a cassette and quickly found Rick Roberts and Mike Musberger to join the band. We were just starting to play live as a full band. We didn’t really tour for Failure, just a couple of West Coast runs, and we were all living in the same house. So we were really cranking out tunes because we had a lot of time. We were doing the band full time, and touring wasn’t taking up all that much time yet. It took a year to make Frosting on the Beater, so during that time we were writing a lot of songs. We eventually got a little more efficient and started touring more, but it’s funny how much less prolific we became at that point.

BLURT: Were you amazed at what you were discovering when you checked out some of this stuff for the first time in so many years? Did it kind of make your jaw drop in amazement? 

JA: There were moments when the proverbial dropping of the jaw did occur. What was most interesting was that sometimes you recognize these things differently with that much distance from it. Not hearing something for awhile, and then going back and actually hearing it from the source is almost like looking at old pictures of yourself and going, “That’s how I looked?” So now it’s, “That’s how we sounded?” We have enough distance on them now that it’s almost like listening to somebody else sometimes. I was so pleasantly surprised and pleased that we wouldn’t simply have to repackage the stuff we already put out to have the excuse to make these reissues. There is stuff here that was released before, but half of it is stuff bootleggers have, but no one’s ever heard it with this quality. Even the bootleggers don’t have what we found. It feels good that we’re putting this stuff out. We’re putting the final touches on the masters of the bonus tracks for Frosting on the Beater, like literally right now. The liner notes are done. There are 27 bonus tracks. There’s great photos. There are liner notes from Ken and me. It all coalesces. It’s a pretty amazing package. It’s got the attention to quality that a label like Omnivore puts into their releases. They really know what they’re doing and they’re really easy to work with. We love those guys.

When does the tour kick off?
KS: We’re taking the Frosting line-up of Jon, myself, Mike Musberger on drums and Dave Fox on bass and we’re starting in Victoria Canada and working our way around in a big circle and before we end up back up in the northwest in early July at a show in Seattle on July 7. Then we’ll be playing some festivals in Europe around Labor Day weekend and we’ll be doing a European club tour that starts in Barcelona on September 29 and wraps up in Sweden around November 6.

BLURT: Are you looking forward to going out again?

JA: In 2016, we were on the road for 4 1/2 months, and though we won’t be out as much this year, playing with the guys from the Frosting on the Beater band is one of our peaks. That was a live band that had a great chemistry and we were on fire that point. Everything was falling into place anyway. I’m not a nostalgic trip kind of guy, but I can’t help but feel look back at that era with a great deal of pride. I’m also looking forward to hanging out with these guys. Musberger is a drummer’s drummer. Talk about jaw dropping.

BLURT: Are you thinking that with the 30th anniversary, this is an opportune time to wake people up to the fact that the Posies remain vital and active, and maybe stir some interest with folks that didn’t give you the recognition the first time around? Is that part of the strategy, this reintroduction?
KS: I don’t know how much new audience we’re going to get. It would take a sympathetic journalist such as yourself to talk about it and say now is the time, especially if you’ve never heard this band before. You have no more excuses because here is the classic music. It’s a valid point. I feel that even the people that loved the music can now here it the way it was meant to be heard. I hate to admit it, but the Dear 23 CDs of 1990 just did not sound very good. The math was still being worked out on how to transfer audio to digital. If you liked that record and loved all the songs, you wouldn’t have realized how good they sounded until now, because the original tape masters are a lot more flattering than the CDs that were released at that time.

BLURT: Hopefully this campaign will make a lot of people sit up and take notice.
KS: I feel that we came up at a time when screaming was more in fashion. The things we do with the harmonics in our vocals are really cool, and I don’t think that anybody else really does that kind of thing. There are other melodic bands that are great, but the concept of the Everly Brothers fronting an indie band is kind of a strange idea and a unique one, and I hope that people will still enjoy it.

BLURT: It does seem like this is really a new beginning for you guys. An opportunity to pull it all together to remake and remodel. 

JA: We’re a band that’s rested on the laurels of our classic records, and there has been a lot of quality as a result of the way we’ve challenged ourselves. But to be able to take stock of it now and have the timing work out the way it did is invigorating in a way. So I think this will set the stage for something new after this period.

BLURT: Is there any talk about going back into the studio and making some new Posies music?
JA: There’s talk and I’m sure it will happen at some point. We’re focusing on the matters at hand, but especially after doing the last record, it’s totally viable that we will do some new stuff. It’s not just about celebrating this anniversary. However, I feel it is invigorating and we might still have some good records left in us. We’ve lost some band mates along the way so that’s not lost on us either. We’re not going to be around forever, so we should do it while we can.

BLURT: What’s the status of your solo projects these days?
KS: I’ve been involved with a lot of genre explorations. I did a country record with Holly Munoz a few years ago and I did something with the Disciplines which was kind of like a garage band sort of thing. My solo records have all different flavors. My last solo album is several years old now, so between the country record, the last Disciplines record, the retrospective tour and these reissues, I’d like to get another album out sooner rather than later. It kind of seems like I haven’t left a lot of space for the solo thing. Who knows?

JA: I’m always working on things other than Posies projects, as is Ken. I’m currently working on three or four projects for other people, although now that I’m on the road, they’re going to get some last minute mixes. I don’t know if you’ve ever heard a record of mine called Songs from the Year of Our Demise, but that was a record that did a lot for me and a lot of other people really enjoyed it. It was a very personal record. I play nearly everything on it. I tried very hard and I put a lot of work into it. I had a project in the last couple of years called 6 1/2 and though it was really left of center of the Posies, it was also more of a collaboration too in the sense that it was really unexpected. The Posies was the first band for all of us, so it was the one that got us to where we wanted to go, or close to where we wanted to go. But at the same time, there’s so much longevity in this group that when we do things outside it, where it might have hurt us before, now it only helps us and it informs it, and it also allows us to do things on our own which is just as important, especially when you have a long-term relationship. You have to keep things fresh and exciting. You have to try to do other things besides the norm, the things you’ve always done. It’s important.

BLURT: So how do you rate the importance of doing your own things? Is it of equal stature, or do you see them simply as side ventures?

JA: I’m a Libra, so not to get all cosmic and stuff, I do listen to other people’s opinion a lot. But it’s like trying to pick your favorite song. They’re different things. The majority of people were introduced to us via the Posies. There’s an attachment there — it’s also about where people were when they heard certain records, when they turned 21, when they first heard Frost on the Beater, or they got married to Dear 23…those are formative memories and I can see how people want to remember us like that. But I’ve had people who have never heard the Posies who have heard my solo records and Ken has people like that. There are people who were introduced to the Posies through his work. And there are people who know my work as well. It really depends when you joined the conversation. At this point, I wouldn’t want to just do the Posies, that’s for sure.

BLURT: It would make sense that you really have to focus on the Posies at this point, no?
KS: I kind of agree. I feel like we had some really good momentum going on with the last tours we did in 2016 and had a great vibe. So it makes sense to kind of carry on and make more music. It’s kind of got it all in a sense. The solo thing I do corners certain areas. Usually when I play, it’s solo and it’s quiet and intense, but here we can do duo tours where we get down and really quiet, or we can do these rock band tours, so it kind of covers all the bases that I would do in my solo work and more, so I’m intent on sticking with it. It’s a good brand.

JA: If people just want the Posies, they can always have that. I do think that what occurs outside of it is quality as well. I do understand that there’s special about the Posies and it’s based on the relationship of me and Ken. But when add something to this relationship, it seems to work. I don’t think that whatever we do outside of it isn’t special as well. As an example, there are things on various Posies records that I didn’t play on and things that Ken didn’t play on and people still think it’s the Posies. It might be my demo and it’s all me. And there are other songs where I didn’t play one note! People come up and say, “Oh, what gorgeous harmonies, but it’s just one of us.”

BLURT: Ken, when you toured with REM and Big Star, it must have felt like you were being lured into a whole new chapter of your career, no?
KS: With REM, I couldn’t rely on something that would always be there. That was just a tour to tour thing and how they wanted to put their band together. They kept asking me back, but I didn’t have any delusions that it was a permanent thing. That was just a fascinating and wonderful opportunity to play with one of my favorite bands until they changed their minds and went in a different direction. So I spent about ten years playing with them. It was great. The Posies split that took place in 1998 was because Jon quit, and he didn’t want to do anything more. He went through some hard times and just had to figure out some stuff. So he kind if dropped out for awhile. I would have gone on with the Posies, but without him, there was no way to go forward. So when REM came along, they presented themselves right at that moment and it was the perfect segueway for me. Okay, here is the next chapter presenting itself. Here’s a chapter at Posies central closing itself. I had no choice, but it was a great recovery.

BLURT: So when you were playing with those bands, were there lessons you learned that you were able to take back to the mother ship?
KS: Yes, for sure. They were much less precious and much more spontaneous in the studio than we ever were. Considering what was at stake for them every time, that they were following up a multimillion selling album and had multimillion dollar budgets, they went the opposite way you’d expect with that kind of pressure. They kind of were wonderfully cavalier, and that’s how they had always been, and they didn’t want to start becoming more calculated. They were becoming less calculated, which I think was fantastic. Sometimes, when REM was in the studio and taking a break, we might start jamming and come up with an entirely new tune on the spot and come up with words for it, and then have an entirely new song that night. We never did anything like that in the Posies. Everything was demoed and then re-demoed, and then we’d choose our bonus tracks from all the various demos we went through for each album. Four track demos, eight track demos, and so on. But REM was never like that, so I learned that you don’t have to be so formal, even if you’re making an expensive record. Especially if you’re making an expensive record. It’s much better with the more spontaneity you put in there.

BLURT: And what is the status of Big Star?
KS: Last year we released this live recording and did a theatrical release as well. It’s an amazing concert film. (The DVD is reviewed HERE.) The performances are absolutely jaw-dropping and it’s got a great cast of musicians — Mike from REM, Robyn Hitchcock, Pat Sansone, Jeff Tweedy, the Kronos Quartet who did the strings… Big Star’s 3rd: Alive and More is the name of that. It’s amazing. (BLURT covered several of the BS3 shows: Chicago 6/28/13, and Memphis 7/5/14.)

BLURT: Any chance that group will reconvene? It must be like herding cats to pull all the players together.

KS: It’s all possible. It’s just that it’s expensive to herd those cats. It takes a minimum of a dozen people to do the show the way Chris would like to do it. It takes a special festival situation to have the cache to make that happen, regardless of attendance.

BLURT: Still, when the two of you join forces within the Posies context… that sets the bar.
JA: The only bar that we have to meet is in the songwriting department. That’s the only standard that we have to meet…whether we think the songs are up to snuff. The rest of it is just window dressing in a way — the arrangements, the production… with a good song, you can do any production on it, and it will still shine through as a good song. That’s the only standard we really adhere to, and honestly, we also have a responsibility to ourselves. It’s not just to our fans or to give the audience what they might expect. Actually, if there are people who didn’t like the direction we were taking, or didn’t think we had enough guitars on a record for example, after awhile they got into it and would appreciate the fact that we weren’t just giving them the same stuff, and that we would change and evolve. There’s something to be said for that. In answer to your question, the only thing we have to adhere to in terms of standards is that the songs are up to snuff and that they’re good songs.

KS: Even if you like at every record we’ve done, there’s no Dear 23 Part Two or Frost on the Beater Part Two. Everything we did, for better or worse, even if you were trying to judge it, we could never be accused of trying to give the people what they want. At the same time, we tried to be diverse and still be the essence of who we are. We’re songwriters and vocalists and musicians. So I think the songs and the vocals are the threads that run through all the music the Posies make. That’s really what defines us — our abilities in those departments — and we’re good musicians. We play pretty well, and we’ve had some incredible musicians in our band, lots of different ones. There’s definitely something good going on here.

JA: Can you imagine the shock people must have had when they heard a Beatles record like “Hard Day’s Night” and then got Revolver? Did the same band that did “I Want to Hold Your Hand” really come out with “Yer Blues?” Sometimes the audience has to catch up too. It’s not an insult to the audience but when there’s something you’re used to, you have to acclimate yourself to something new. It’s like that with food, a new haircut. You have to get used to new things. It’s part of human nature.

In 2010 BLURT published an extensive interview with Ken Stringfellow. Read Part 1 HERE and Part 2 HERE.)


Posies 30th Anniversary Tour Dates

For ticket links, please visit the Tour page.

North America:

Fri., May 18 – Victoria, BC @ Capital Ballroom
Sat., May 19 – Portland, OR @ Doug Fir Lounge
Sun., May 20 – Eugene, OR @ WOW Hall
Mon., May 21 – Bend, OR @ Volcanic Theatre Pub
Tues., May 22 – Sacramento, CA @ Harlow’s
Wed., May 23 – San Francisco, CA @ The Independent
Thurs., May 24 – San Juan Capistrano, CA @ Coach House
Fri., May 25 – Los Angeles, CA @ Bootleg Theater
Sat., May 26 – San Diego, CA @ Soda Bar
Mon., May 28 – Phoenix, AZ @ Valley Bar
Wed., May 30 – Santa Fe, NM @ Santa Fe Brewing Co.
Thurs., May 31 – Dallas, TX @ Club Dada
Fri., June 1 – San Antonio, TX @ Paper Tiger
Sat., June 2 – Austin, TX @ The Parish
Sun., June 3 – Houston, TX @ Bronze Peacock at House of Blues
Mon. June 4 – Little Rock, AR @ Capitol View Studios
Tues., June 5 – Memphis TN @ Layfayette’s Music Room
Wed., June 6 – New Orleans, LA @ The Parish at House of Blues
Thurs., June 7 – Nashville, TN @ Mercy Lounge
Fri., June 8 – Birmingham, AL @ Saturn
Sat., June 9 – Athens, GA @ Georgia Theatre
Sun., June 10 – Charlotte, NC @ Neighborhood Theatre
Mon., June 11 – Annapolis, MD @ Ram’s Head On Stage
Wed., June 13 – Philadelphia, PA @ World Cafe Live
Thurs., June 14 – Fairfield, CT @ Stage One at Fairfield Theatre
Fri., June 15 – Somerville, MA @ ONCE Somerville
Sat., June 16 – Washington, DC @ The Hamilton
Sun., June 17 – New York, NY @ The Bowery Ballroom
Tues., June 19 – Pittsburgh, PA @ Club Cafe
Wed., June 20 – Cleveland, OH @ Music Box Supper Club
Thurs., June 21 – Kalamazoo, MI @ Bell’s Eccentric Cafe
Fri., June 22 – Detroit, MI @ The Magic Bag
Sat., June 23 – Chicago, IL @ Park West
Sun., June 24 – Madison, WI @ High Noon Saloon
Mon., June 25 – Des Moines, IA @ Vaudeville Mews
Tues., June 26 – St. Paul, MN @ Turf Club
Thurs., June 28 – Milwaukee, WI
Sat., June 30 – Denver, CO @ Levitt Pavilion
Sun., July 1 – Salt Lake City, UT @ The State Room
Fri., July 6 – Bellingham, WA @ Wild Buffalo
Sat., July 7 – Seattle, WA @ Neptune Theatre


Fri., Aug. 31 – Vlieland, NETHERLANDS @ Into the Great Wide Open Festival (sold out)
Sat., Sept. 1 – Hoogwoud, NETHERLANDS @ Zomerpop Festival
Sun., Sept. 2 – Wiltshire, UK @ End of the Road Festival
Sat., Sept. 29 – Barcelona, SPAIN @ Upload
Sun., Sept. 30 – Zaragoza, SPAIN @ La Lata de Bombillas
Mon., Oct. 1 – Cordoba, SPAIN @ Hangar Cordoba
Tues., Oct. 2 – Cadiz SPAIN @ Aulario de la Bomba,
Wed., Oct. 3 – Granada, SPAIN @ Lemon Rock
Thurs., Oct. 4 – Valencia, SPAIN @ 16 Toneladas
Fri., Oct. 5 – Madrid, SPAIN @ Sala Caracol
Sat., Oct. 6 – Pontevedra, SPAIN @ Teatro Principal
Sun., Oct. 7 – Azpeitia, SPAIN @ San Augustin Kulturgunea
Tues., Oct. 9 – Paris, FRANCE @ La Maroquinerie
Wed., Oct. 10 – Utrecht, NETHERLANDS @ Tivoli
Thurs., Oct. 11 – Groningen, NETHERLANDS @ Vera
Fri., Oct. 12 – Heerlen, NETHERLANDS @ Poppodium Nieuwe Nor
Sat., Oct. 13 – Alkmaar, NETHERLANDS @ Podium Victorie
Sun., Oct. 14 – Hengelo, NETHERLANDS @ Metropol
Tues., Oct. 16 – Düsseldorf, GERMANY @ Zakk
Wed., Oct. 17 – Kortrijk, BELGIUM @ Wilde Westen
Thurs., Oct. 18 – Mechelen, BELGIUM @ Cultuurcentrum Mechelen
Fri., Oct. 19 – London, UK @ The Garage
Sat., Oct. 20 – Leeds, UK @ Brudenell Social Club
Sun., Oct. 21 – Glasgow, UK @ King Tut’s Wah Wah Hut
Tues., Oct. 23 – Manchester, UK @ The Deaf Institute
Thurs., Oct. 25 – Bremen, GERMANY @ Tower
Fri., Oct. 26 – Hamburg, GERMANY @ Häkken
Sat., Oct. 27 – Berlin, GERMANY @ Berghain Kantine
Mon., Oct. 29 – Helsinki, FINLAND @ Savoy Theatre
Wed., Oct. 31 – Larvik, NORWAY @ Sanden Kafe at Kulturhuset Bølgen
Thurs., Nov. 1 – Stavanger, NORWAY @ Folken
Fri., Nov. 2 – Bergen, NORWAY @ Madam Felle
Sat., Nov. 3 – Trondheim, NORWAY @ Teaterhuset Avant Garden
Sun., Nov. 4 – Oslo, NORWAY @ John Dee
Tues., Nov. 6 – Gothenburg, SWEDEN @ Pustervik
Wed., Nov. 7 – Stockholm, SWEDEN @ Fasching
Thurs., Nov. 8 – Malmö, SWEDEN @ Inkonst



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