Chris Stamey is a towering figure in alternative pop, a singer, songwriter, and instrumentalist who can deliver jangly guitar rock, thoughtful acoustic sounds, or moody, late-night blues with equal skill and effectiveness. Anticipating power pop in 1976 with the Sneakers, Stamey fused the sensibilities of Big Star to new wave pop with the dB's on 1982's Repercussion, later blending angular melodies with playful melodicism on his 1987 solo effort It's Alright. Stamey detoured into introspective semi-acoustic pop with his former dB's bandmate Peter Holsapple on 1991's Mavericks, and he embraced the sounds of mid-century popular songwriting and added a retro style to it on 2019's New Songs for the 20th Century. On 2025's Anything Is Possible, he explored a variety of sounds of the past with a contemporary lyrical outlook, and he put his spin on a handful of rock & pop classic on 2026's Modernism. Regardless of context, Stamey understands the importance of melody while also demonstrating the many ways in which it can be shaped, depending on its surroundings. Born December 6, 1954 in Chapel Hill, North Carolina, Stamey was raised in the Winston-Salem area, and alongside longtime friend and collaborator Peter Holsapple, he first surfaced in 1972 in the short-lived Rittenhouse Square, which issued their sole LP the following year. While attending the University of North Carolina in 1975, Stamey teamed up with drummer Will Rigby to form the cult favorite power pop combo Sneakers; the group were later joined by guitarist Mitch Easter, the future Let's Active frontman who would emerge as one of the era's premier producers. The band traveled to New York City in 1976 to appear at the famed Max's Kansas City but dissolved soon after, at which time Stamey returned to the Big Apple to set up his own label, Car Records. In addition to issuing the posthumous Sneakers collection In the Red in 1978, Car also issued the magnificent "I Am the Cosmos," the lone solo single of ex-Big Star mastermind Chris Bell; concurrently, Stamey played live with Bell's one-time Big Star partner Alex Chilton, and in 1977 issued a solo single, "The Summer Sun." When Rigby and bassist Gene Holder relocated to New York, Stamey joined them as the dB's, releasing the 1978 single "If and When" before expanding into a four-piece with the addition of Holsapple. The dB's' quirky yet melodic approach anticipated the emergence of the Southern jangle pop explosion, influencing acts like R.E.M., though initially they couldn't even land an American record deal, and their first two albums (the much-acclaimed 1981 efforts Stands for Decibels and Repercussion) appeared only in Britain. Stamey left the dB's in 1983, issuing the solo LP It's a Wonderful Life later that same year; after releasing 1984's Instant Excitement EP, he recorded and toured with the Golden Palominos, squeezing in the Christmas Time mini-album in 1986. A year later, Stamey signed with A&M to make his long-awaited major-label debut with the superb It's Alright; despite uniformly solid reviews, the album made little commercial impact, and he spent the next several years as a producer and guest musician, completing an album that A&M reportedly rejected. The LP finally appeared on Rhino in 1991 under the title Fireworks; that same year, he reunited with Holsapple for a semi-acoustic album, Mavericks. For 1995's The Robust Beauty of Improper Models in Decision Making, Stamey made a radical shift away from his pop past, teaming with cornetist/guitarist Kirk Ross for an exercise in free improvisation. Stamey spent the remainder of the decade focusing on producing records for other artists at his Modern Recording studio in Chapel Hill, but he returned to his own recording career with 2004's Travels in the South. Less than a year later, Stamey had another new album ready for release, a collaboration with Yo La Tengo and Tyson Rogers credited to the Chris Stamey Experience and titled A Question of Temperature (2005). A few years afterward, Stamey reunited with Peter Holsapple, releasing Here and Now in 2009 and supporting it with a tour. He then turned his attention to an ambitious live staging of Big Star's third album, 3rd (aka Sister Lovers), acting as the musical director for the star-studded concerts. The first of these debuted at Cat's Cradle in Carrboro, North Carolina in December of 2010 and over the next few years, Stamey brought Big Star's Third to London and to 2012's South by Southwest. (A 2016 Big Star's Third show in Glendale, California was recorded for the live release Thank You, Friends: Big Star's Third Live... And More.) That year also saw the reunion of the dB's, who played live and released the new album Falling Off the Sky that summer. Stamey continued with his busy workload in early 2013 with the release of the dreamy solo album Lovesick Blues. Two years later, he issued Euphoria, a record that touched upon many of his pop obsessions. 2019 saw the release of an especially ambitious effort, New Songs for the 20th Century, with Stamey writing and arranging 26 tunes modeled on mid-century pre-rock sounds with a bevy of guest vocalists and musicians. 2020's A Brand New Shade of Blue was a similarly minded follow-up, with a greater emphasis on cool '50s vocal jazz and vocals from Brett Harris. Stamey and Holsapple reunited once again for the 2021 release Our Back Pages, in which they recorded new interpretations of tunes from their back catalogs. That same year, Stamey helped co-ordinate the release of I Thought You Wanted to Know: 1978-1981, a collection of early demos and live recordings from the dB's. Those Pretty Wrongs, a modern jangle pop band featuring Big Star drummer Jody Stephens, approached Stamey to engineer and write string and horn arrangements for their third studio album, 2023's Holiday Camp. Stamey stepped away from his other commitments to return to his solo career with 2023's The Great Escape, a set that blended his pop sensibilities with a light country accent, courtesy of pedal steel guitarist Eric Heywood and John Teer and Dave Wilson from the celebrated bluegrass outfit Chatham County Line. The album also included guest appearances from his fellow dB's alumni Peter Holsapple and Will Rigby, and included a cover of a rare Alex Chilton song, "She Might Look My Way." For 2025's Anything is Possible, Stamey paid homage to classic pop sounds of the past, particularly music that sounded sweet on the surface but was emotionally complex underneath. The LP included ten original songs from Stamey, as well as a cover of Brian Wilson's "Don't Talk (Put Your Head On My Shoulder)," and featured guest appearances from Marshall Crenshaw and Wilco's Pat Sansone. Stamey's love of classic pop of the 1960s and '70s also dominated his next album, 2026's Modernism, which was dominated by covers of songs by the Kinks, the Beatles, the Left Banke, the Box Tops, Sly & the Family Stone, and more. Guest musicians on the sessions include Jody Stephens, Jon Wurster of the Mountain Goats, and Mitch Easter. The album also included a version of the Rolling Stones' "Ruby Tuesday" that was recovered from an uncompleted 1977 recording sessions, with Alex Chilton on guitar and drums. ~ Jason Ankeny & Mark Deming, Rovi

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