No Filler Music Podcast - Dad Tunes: Gino Vannelli

Episode Date: August 24, 2020

In our continued exploration of the music our father listened to, we listen to a the one-and-only Gino Vannelli. Combining jazz and pop with lyrics that read like a romance novel, at first glance Gino was your classic crooner. The tight pants and chest hair certainly made his album art leap off the shelves to anyone who may be interested at such a glorious sight. But visual stimuli aside - the music paints it's own picture. We listen to a track off his 1975 record Storm at Sunup and his 1978 record Brother to Brother. Tracklist Gino Vannelli - Brother to Brother Gino Vannelli - Storm at Sunup Gino Vannelli - The Evil Eye Fontaines D.C. - Televised Mind Vein - Errorzone Vein - Virus://Vibrance Gin Vannelli - I Just Wanna Stop This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

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that fill the space between the singles on our favorite records. My name is Travis. I got my brother Quentin with me here, as always. So, Q, the last few weeks, we started with the cars. Last week was Van Halen. This week is something different. This is our batch of what we're calling Dad Tunes. So we're not exactly talking about our favorite records right now.

We're talking about our dad's favorite records. We're sitting in the backseat of the station wagon, although I don't think he ever owned a station wagon, but whatever. But no, today, I think today's episode Q is the most dad tune so far that we've covered. The most appropriate, I would say, because everybody loves the cars. Everybody loves Van Halen. You know what I mean? Like I got into, like this is the one artist that I've never actually seeked out myself and listened to like independently.

Same. And we're talking about a man named Gino Vannelly. And if you've never heard of this guy, you're not alone. I don't think I've ever met somebody if I bring up Gino Vanelli. And I usually bring him up as a joke. Nobody ever knows who we're talking about here, you know. So, but our dad sure did. Yeah.

So I think if, I feel like if you were at the right age in the late 70s, you probably are familiar with his music, not, maybe not even his name, but you've probably heard at least a few of his songs. I mean, I wish we did have our dad on this episode, but we don't. So we're just going to, we're just going to have to take some guesses here as to how. How did our father stumble upon such a person? My guess is that this was a, this was something he heard as a radio DJ. That's what I was thinking to. He probably got, he probably got a promo record of Gino's to spin. Exactly.

So our father was a radio DJ in the 70s. If you want to hear more about that, go listen to our cars episode. We kind of talk about that a little bit. And you can go even further back if you really cared about our dad's life and listen to our episode on Larry Carlton. his guitar solos throughout the Seeley Dan catalog, and we talked with him about his radio days on that episode as well. Either way, so Q, this is the main thing I want to talk about with you. What do you classify A Gino-Vanelli as? Like, how do you, where does he sit in the landscape of music?

Because the only thing I can think of is like soft rock. And I don't even like using the word rock to describe him. No. When you think about when he came out in the 70s, right, there were a lot of

bands that were, I don't want to compare him to Steely Dan at all. But it's the same kind of vein. But he's in the same vein.

Like a jazz jazz fusion. It's a jazz-fusion. He's got his backup singers on almost every track. Yeah. Is he anywhere near

Steely Dan? No. Not even in the same building. But it's along the same vein. So I've read progressive jazz. Okay. Yeah, and soft rock.

You know, you mentioned last week you like seeing what Wikipedia has to say as far as genres go because, you know, anyone who who wants to edit a Wikipedia article can throw their own genre on there. So everything gets thrown in there, you know. Rock, soul, soft rock. He's kind of like the, I don't know, Tom Jones or, like, you know what I mean? Like, almost like the, the Vegas act, you know?

Sure. And I bet you he has done Vegas before. Yeah. But one thing that's pretty cool about, about Gino is, this is a family affair. He did everything with his two brothers, Joe and Ross. Joe was the keyboardist. And Ross handled the mixing board at all the concerts. And I think they all kind of had a hand in.

songwriting as well. So that's cool. And they brought a lot of really cool synthesizer music like into their their songs, which is still fairly new in the 70s. And that was all Joe. But Gino Vanelli, I don't know what, what his, like if this was genuine or if this was just kind of a persona that he put on. But man, if you see, I mean, most of his. album covers are just like this weird macho ladiesman kind of thing that he was going for. Well, the chest hair was definitely a sign up the times or whatever. Well, yeah, but every single, like, does he have to have the shirt button down all the way? So you can, you know, with the, with the hair on full display, was that necessary?

But think about it though, dude. There's probably some sort of a study that's been done, I bet. that with album sales yeah back in the 70s at least if we take if we unbutton and expose chest hair the record sales go up i mean you might maybe dude because why would you what i mean once you once you do it on the first record you're not going to jinx it and not do it on the on the next record and see those those record sales go down and there's nothing better than that didn't his debut record album aren't man yeah i know i love it he's got this he's got like the uh you know, the bandana around his neck or whatever.

Yeah, the scarf. The scarf thing. Yeah, it's really funny. There's probably an official name for that. But another thing, I just want to bring this up because I thought it was really funny, well-written. I read this article that this, I don't think this magazine exists anymore, but it's called McLean's magazine article from 1979. It's writing about specifically one concert that they saw. So it's kind of like a concert review.

And here is how they describe Gino's outfit. Let's see. Okay. Actually, I'm going to read this whole first paragraph because it's really well written. It says, on stage at Carnegie Hall in New York, three singers and seven backup musicians pile up an elaborate scaffolding of music for Gino Vanelli's entrance. Joe, his brother and co-producer, sits in his cockpit of keyboards.

At the back of the hall, Ross, another brother and co-producer, man's the sound mix board like an air traffic controller, making sure the music gets off the ground safely. Gino walks on stage in black pants so tight you could read the date on a dime in his pocket. That's journalism, dude. Pants stretched and winched to trampoline intensity. pants with prehensal pressure to send Gino flying up into Carnegie Hall's second balcony. So if that doesn't paint a picture, dude.

How many teenagers in that audience went on decades later to criticize their children for wearing tight pants? How many? A lot is the answer to that. He was only 26 for this appearance here in Carnegie Hall. And this was in 1979. So let's bring it back to our dad. Okay. Our dad, I would call him a major Gino Vanelli fan.

I think he saw him like, what, three, four times? Yeah, he probably saw him around that era. Probably saw him during this story. And I think he's actually told us a story about that. Yeah. So like, you know, I think if I were to guess, our dad was probably into the musicianship, right? And the, you know, because like we said earlier, this is in the vein of jazz fusion. So there's some cool guitar solos, great guitar solo stuff that happens throughout.

It's, you know, jazz-centric. So, yeah, before we play our first song, yeah, just think Steely Dan, you know, put him. Yeah. Put him in that. I mean, not with the. Yes, nobody can compare to Steely Dan, like we know that. Yeah. But it's the same vein.

All right, Keelot, let's get into the tunes here. I'm going to split the first song that we play into a couple clips. And we're going to cover a song from his. album Storm at Sunup, which came out in 1975. Then we're going to jump down to his album, Brother to Brother, which was a few albums later, which came out in 78. So Storm at Sunup might be his best record. And I think this is our dad's favorite album for sure.

So is that based off of record sales or what is? This is based off fans of the album. Okay. This was one of the last albums of his that really was more, uh, progressive more jazz rock than anything else because it kind of seems like slowly you know as they went on writing records they kind of started to get more like soft rock contemporary trying to to appeal to like a wider audience so this is this this this album's pretty cool in that it kind of it's almost like a I mean I don't

say a concept album. It doesn't, like the whole album doesn't necessarily tell a story, but the first two songs, Storm at Sunup, which is the title track, and Love Me Now, it is one long, like one solid movement. So it's linked together and it flows from one track to the next. We're just going to focus on track one, Storm at Sunup, because Love Me Now is actually a single. We don't play singles here, Q. And we don't play singles here, man, even if it's Gino Vanelli. All right. So let's listen to some Gino. Let's see what he's all about. So I'm going to play the first couple minutes of Storm at Sun up here.

Again, this is from an album of the same name. Came out in 1974. Here we go. So what did you think, Travis? Is that the first time you heard that? No, I think I've heard it somewhere in my memory. What is that? that's a home alone song somewhere in my memory.

What? Only you know the actual title names of home alone songs. I guess they all have names, huh? Come on now. I'm not a big soundtrack guy. Okay. I'm a huge soundtrack guy. I know.

Something that I think I picked up from our father. Anyway, it is not a fair comparison to compare him to Cilly Den. It's just not. It's a different, it's a whole different thing. So I take back my Steely Dan mentions because it's just not, it doesn't, it's not relevant. Like it's not appropriate. But, well, let's say, let's put it this way then. If you don't like Steely Dan, then I feel like you're going to just group Gino in into the same camera.

No, I don't think that's true though. It's different types of music. It's like, you know what I mean? The only reason we're saying that, the only reason I said that is because I read the word jazz fusion on Wikipedia. And so Steeley Dan broadly gets painted. with that brush. Exactly. If you do not like Steely Dan,

that's going to be the broad brush that you stroke with. But Steely Dan is so much more than jazz fusion. That's what makes some Sealy Dan, right? Yeah. Maybe this is the more traditional definition of jazz fusion. I don't know. But either way, long story short, I feel like what he is doing here,

and maybe this is why this is a concept album, like you said, there's a clear, like, buildup. It's also, uh, progressive progressive rock as I'm seeing that on on here too, which I can see. Like it's a, this is like a, I don't know, like a story, right? I mean, you can tell that he's building towards something. Yeah. But I also wanted to say this, dude.

I feel like he may have been a fan of Star Trek. Because I hear a little bit. Yeah, I was going to say. I hear the Star Trek. When you say he, you're, you got to be talking about Joe specifically. Okay. He's the one that wrote all the, all the synthesizer parts. Joe Vanelli and another guy named Richard Baker

to all the synthesizer stuff and this was to quote this article or this review of this album this was state of the art synthesizer technology at the time so they were doing stuff that was never heard of an album before so you got to think about that too okay

so I'm going to read this a good chunk of this here this is just some random this random music archive website there's no, like, credit to whoever wrote this. It's just some username. But they say the album starts with a hint of obligatory synthetic thunder, rolling in the distance, followed by a dramatic Broadway-style vocal-over-electric piano introduction, wherein Gino informs the lucky lady, who was the most recent recipient of his lust,

that, quote, if I could choose, I'd calm this dawn, but the storm is me. insensible and free. See, this is what I'm talking about, dude. This is why he's got his hair, his hair exposed, his chest hair. I mean, not the best songwriter, dude. But he's got an audience in mind for this, dude. So the song as a whole, and if you listen to it all the way through to the end of the second track, Love Me Now, by the end of it, I mean, this guy's going through,

he's like breaking up with the girl. Okay. Yeah, the song tells the story of a confused, sometimes irrational and unpredictable man breaking up with his woman. So, you know, Steeley Dan would never write such a simple song, Q. Right. Their lyrics are way more snooty, I should say. We've talked about that before.

Steeley Dan just writes about the most obscure intellectual references, you know, that they could cram into a song. This is a 26-year-old Gino who writes about the only thing he knows, right? Well, he's even younger when this one came out, dude. he was 26 and 79. Oh, okay. And this came out in 74, dude. He's just a kid, man.

This is what he knows, you know. Yeah. When you walk around and you look like that, this is all he's ever had to worry about. Yeah. So, I'm going to read this a little bit here, and then we're going to play the second clip. You've got that Broadway style introduction

with just electric piano and voice. Next comes several waves of lush synthesizer-generated orchestration. So everything you're hearing is synthesizer. And the drummer here is credited. His name's Graham Lear. And he goes on to play for Santana in the 80s, which is cool. Really awesome jazz drumming in this album. All right.

So let's see what happens next on Storm at Sunup. I'm excited. So that just plays right into track two. So that's why you go see a Ginovenile concert right there. To see this saxophone. solo to see the awesome drumming. I mean, you know, it's not a surprise at all that he went to drum for Santana, right? I mean, yeah. Not at all. I mean, and to see Joe, you know, sitting in his cockpit of keyboards, you know? Yeah. So is Gino doing, does he do anything on stage besides sing?

I think he just sings. But you got to also keep in mind that his brother Joe is also busing out those bass lines on the synthesizer. Okay. So there's no bass player up there? No, I mean, I think they toured with a full band. But on the records, most of what you hear is coming from Joe's synthesizer. And, you know, for the concerts, he was able to have like, you know, basically a full orchestra, like electronic orchestra just with Joe's skills behind the synthesizer, which is cool. Yeah, that is cool. And I could see how that would be something you'd want to

go witness in the 70s if that's a new thing, right? Right. So, yeah, I just wanted to play the bulk of that. Well, that was the whole song. But yeah, I think that little jazz breakdown is really, really cool. That is cool. And definitely progressive. It falls in the vein of progressive rock for sure.

And that's what people are saying, you know, like this album is maybe their best moment as a group because as you go on, they get more and more mainstream and contemporary. But with that being said, let's jump ahead a couple albums. I'm going to play a song that always stuck out to me. This is one that I always remember off of brother to brother. And this is going to kind of show more of the big production kind of sound that you'll hear from a Gino Vanelli song. But hey, before we play that track, let's take a quick break. So this one is called The Evil Eye.

So yeah, that's more rock and roll. Oh, yeah. For sure. That's definitely the heaviest track on Brother to Brother. Well, what I was thinking, as I was listening to that, I want to hear a heavy metal version of that song. Like, I feel like a metal band could take that and do something really cool with it. I mean, it's called the Evil Eye, you know what I mean?

It's just, it's right. It's, it's, it writes itself almost as like a metal song, you know. Even with that riff, that riff is a really solid riff that you could do. a lot of stuff with as a guitar player. Yeah. So, Travis, I guess I've got to ask you the question then. Is Ginovinnelly metal? Just kidding. But to your point, though, I did want to bring this up.

Because when you read the first sentence on Wikipedia, it says here, he is a Canadian rock singer. Okay. So. Says who? Well, exactly. Rock is such an umbrella term. But like we were talking last week about

is Van Halen metal, you know? Right. Is Gina Vannelly rock? If you listen to that song, you could maybe... Yeah, after the evil eye. Sure.

Jazz rock fusion. That's the thing. It's just like, you know, I guess what he has an electric guitar in some of his tracks. Yeah. Therefore, it's rock.

I mean, I just don't know. I don't know what makes I guess it's just because it has elements of rock, therefore it is a rock. You know? Maybe it's that simple. And I don't know anything else about Gina, honestly. Like, I just listened to the Storm at Sunup today. And I'm very familiar with brother to brother, but I don't know anything else about the guy.

I haven't listened to any of his other stuff. Well, Q, the night is young, you know. You could spin them all up, get him going. light yourself some candles, pour yourself some wine, and have a night with Gino. A night with Gino. Mm-hmm. Sounds lovely. Yeah.

As long as he lets me twirl that thick, curly chest. I bet you he doesn't have the chest here anymore. It's not the 70s anymore, dude. You think he's waxed it all off? Shit, it's not going anywhere, dude. Something's happened to it, for sure. It can't be as magnificent as it was. I mean, 50 years ago.

I did, I think for the, for our cover art for this episode, I think you should just get the highest resolution image of this album cover and just have it be his chest hair. Just the hair. Just focus on the chester. I mean, I can do that. I can send you a copy of that just for you. I'll make my own image for it. We'll put, how will we just? It's going to be glorious.

Okay. I can't wait to see this. As long as I can find a higher enough resolution image, I'll make it happen. So, that's our episode on Gino Vanelli. You know, I had a feeling that it wasn't going to be too in depth because, I mean, I'm not going to listen to Gino after this. I'm not, like I didn't. Come on, now our dad could be listening.

He probably will be, and I'm sure he'll totally understand. I will say this. We kind of poked fun at Gino. I feel somewhat bad that our father couldn't be here to defend his music choices. But like, look, man, like I said, solid tracks. The two that you brought to the table, nothing to be ashamed of as far as like, I listen to Gino Vanelli. That's something you can say proudly.

You know what I mean? You can say that proudly now, Travis. I mean, I don't listen to him. But I'm saying it's nothing to, uh, it's nothing to be ashamed of. You know what, dude, he's not doing himself any favors with these album covers. Dude, it was the 70s, though. I bet you. Still.

I'm just saying. I'm just saying, I guarantee you, if he didn't do the poses that you're seeing, the number of purchases from his female target audience would, I mean, you got to bring him in somehow. When you're flipping through records at the record store and you see that. You can't say no to that chest. You can't. Oh, hair. All right. Dude, look at this album cover, man.

The gist of Gemini. He's just like squatting down at the end of a piano. I know. I know. It's funny. I love it. It's kind of one of those weird perspectives where it's like, what exactly is going on here? Oh, I see.

It's pretty great. He looks like the guy, that episode on Star Trek, it's my second Star Trek reference today. I don't remember what it was. It was on the original series, but I think it's like the captain is in some sort of like machine. that he's rolling around in like a wheelchair. But he kind of looks like that if you squint.

I wish I could agree with you, but I haven't given Star Trek, it's proper. I think it's Pike. Pike, is that his name? Captain Pike. Well, all right, dude. And did you think we'd ever do a Gino episode? I think we talked about it. I think we joked about doing a Gino about L.A. episode.

And here we are. Dude, Brother to Brothers is one of my favorite songs from that. From, like, one of my favorite dad tunes. Yes. Brother to Brother, one of my favorite dad tunes for sure. Well, yeah, that was our intro song, right? Yeah.

That is what played us in. So, yeah, that is a good track. It's got a lot of, just like Stormett's son up, it's got a very like, it's like a production, you know? Yeah, and I think that was, that was the main thing with, with Gino Vanelli, and especially if he saw him in concert back then. It was a huge production.

Yeah, that's his appeal, yeah. If your dad, if you're our dad, you went to a Gino Vanelli show to appreciate the musicianship, you know, the cool things you're going to hear a synthesizer do that you never heard before back in the day. Yeah. If you're somebody else, you might be going to see the chest hair. Let's get real. I mean, that would have been half the reason I bought a ticket, dude.

It's like a 50-50 split in the crowd, you know. All right, man, enough jokes about chest hair. It's time to do our weekly segment called What You Heard. which here's what I like about what you heard Q. The song that I have for this week is the complete polar opposite of Gino Vanelli, which is what we like doing what you heard. Same. I'm going to go first, dude.

I'm really excited to play this for you. All right. All right. So I'm going to give another shout out to K-E-X-P. I heard the title track off of this record there. last week. So this is a band called Fontaines, D.C. You ever heard of them?

Fontaine, what? Fontaines, D.C. I used to drink. I used to drink something that was like a Fanta or something like that. Yeah, that was terrible. So this is an Irish post-punk band. They've only been together for a few years. They formed in 2017.

They just released a new album called a hero's death. Dude, this is the most impressed I've been from an album in a while, dude. Just absolutely fantastic. This is the first stuff of theirs that I've heard. They also have an album that came out last year called Dog Roll. So here's how I can describe, like, the guitar riffs. It's like equal parts, Brit Daniel and what's the, what's the good, the guitar?

guitarist of Interpol, that vibe. Daniel Kessler. Yeah. So I hear some Brit Daniel riffs. I hear some Daniel Kessler riffs. That kind of vibe with like a really cool. The way he sings is just very, well, fuck, dude. Let's just play it.

All right. So here I'm going to play. This was actually one of the singles from this album. Again, this album is called A Hero's Death. It just came out last month, I believe. And this is track three on the record. It's called televised mind. I loved every second of that.

Yeah, man. The whole album is surprising like that. It took me about 10 seconds to add that to my album's list on Spotify. Oh, get ready, dude. It's so good, man. And that came out this year. Just came out last like a couple weeks ago, dude. Yeah, yeah, that's great.

It reminded me of the, yes, I definitely heard the Interpol. Oh, just wait until you hear some of the other songs, dude. Okay. It also reminded me of that band that I brought to the table a couple months back called the Unwound, that 90s post-hardcore band. Yes. With the, yeah, with kind of the monotone delivery and all that stuff. Yeah.

And so what I like about it, and my guess is this is an A and B-side situation, but like halfway through the record, it kind of changes tone and that gets a little more somber. And then it kind of stays that way for the most part throughout the. rest of the record. So it's just really, really great listen all the way through. So again, the band is Fontaine's DC. It's their brand new album, A Hero's Death. That song was called Televised Mind. All right, dude, what you got for us? All right, Q. We're going to crank up the distortion a little bit. All right, sweet. Last week, I brought a Vaver Wave song to the table. I remember that. I'm still on that vapor wave train. Like, I'm still in the hole.

But I managed to find another group. I don't remember how I stumbled on these guys. But they are really interesting. It is a hardcore rock band out of Boston. And the funny thing is I heard. So their, okay, their name is Vane, but they've changed their name to Vain FM. And they've kind of reworked their entire sound and approach.

and they had this album that I stumbled upon where it's like reworkings of their previous stuff, but like electronic almost. Anyway, we're not listening to that. We're listening to their old stuff. I guess the point of that was that like these guys are kind of changing and evolving and they're not going down this road anymore,

which is weird. But anyway, they came out with this record called Error Zone. Came out in 2018. And it kind of made a splash. in the hardcore world. Man, if you're squeamish, don't look at that album cover. Yes.

Yeah. Seriously. It's some sort of a something going on with somebody's eyeball. Let's put it that way. But that... It's very clockwork orange as far as like the clamps on the eyeball. Sure, sure. But everything about this band is kind of a nod to 90s hardcore new metal.

Now, so this came out in 2018? Yes. Wow, okay. You're saying, you say, wow, okay, because the record looks like it coulda came out in the 90s? I don't know. I just for some reason thought that, yeah, I thought we were talking about another 90s. I wasn't listening to you as what the problem was. I see.

So anyway, it has the 90s new metal. It's got characteristics of new metal, but it's not a new metal knockoff band or whatever. It is, I'm going to quote pitchfork here, Q, which, you know. Everyone knows where we stand on pitchfork. It's a love hate. Well, where we stood, where we stood. I think they've gotten a lot better than back in the day when we used to read them all the time. Anyway, so listen to this cue.

For hardcore bands, clean vocals usually signal a turn toward melody, accessibility, and so-called maturity. Cough-Cave-in, cough-cough. Or Emery Cough-Coff, cough, cough. In Vane's case, there are another whiplash in a series of sudden jerks, confounding expectations, but providing no relief. So anyway, because you got to play a nice long clip cue, we're going to play a good portion of the song because we have to get to the clean vocals.

And we talked about this a lot on our Emery episode. That's why we like Emory so much. It's the way they would go back and forth. Yeah. Emery would do it in a much more like, to me, much more like premeditated. I don't know. But to the point the pitchwork is making here

is that these guys do that too, but it's more like sudden and jerky, you know? A little bit more sporadic. That sounds great. Let's hear it. Yeah, I like it because it reminds me of Emory. I actually like this a lot better than Emory. This is way more effective than Emory.

And that is the reason why I continue to revisit the weeks end, that album by Emory, because of that. Well, I think you're going to like this. This is a lot more aggressive. I'll just tell you that. Bring it on. So we're going to listen to the title track. Again, this is a band called Vane. And this song is called Error Zone.

I don't typically gravitate towards stuff like this, but there's something about this record that really stood out to me. And Q, I want to play really quickly, just the opening like 30 seconds of the first track, because I want you to hear something else that they do that you almost never hear, at least from my little experience. I've never heard something like this done in a hardcore new metal song. So let's play the first track here. This is called virus slash slash vibrance. Actually, that's like a colon slash slash like a website address. Virus vibrance.

Interesting. Yeah, the, like the drum and bass kind of... It sounded like they sampled in a drum beat there. I mean, they definitely, you know, mixed it in a little bit different there. That was cool. Well, here's what... Yeah, that did sound like a drum and bass kind of beat. Yeah, so the funny thing about that is that's the direction that they seem to be heading in.

Like, when you listen to the record that came out this year, it's got... It's bizarre, dude. It's remixes of some of their songs. And I think, I don't know if they are the ones who remixed... their songs or if they I mean when you look at the record the track list it's other people mix their songs but I guess the point is

if you listen to some of the other ones that don't have another artist credited on them they do stuff like that it's like they took their old songs and reimagined them in a way but with some of that drum and bass kind of stuff more electronic stuff to it so anyway they're changing their sound cool but Arizona is a really solid hardcore

record I'm going to quote pitchfork again here dude they say more than a particular sound Arizona evokes the late 90s era when technology collided with rock and metal. Yeah, I was thinking like, I don't know, tool or... Yeah. Slipknot did some of that kind of stuff. Yeah.

Corn, of course, did some of that stuff. Anyway. Dude, and I love that we threw in some Irish post punk and some hardcore emo stuff on our Gino Vanelli episode. That's what we got to do, our What You Heard's forever. because it makes it interesting at least I think it does if you if you manage to stick through the geno you got some some hardcore there in a couple of different ways because you could you could say that that band that you brought to the table was post hardcore Fontaine's DC absolutely

Fontaine's DC post hardcore so I'm going to listen to that record tomorrow first day I'm excited for you man all right awesome I love that kind of stuff man I love that then you're going to love this album, dude. All right. I'm strapping in. All right, man. So next week, like you mentioned, we are headed toward dire straits, which I think that's going to be a kick-ass episode, and are we going to reveal our guest? Let's do it.

All right. Let's do it. So we have sitting in with us to talk about dire straits is Mr. Tyler Darling. Also known as Mr. Spoon himself. Mr. Spoon, I think is what we've called him. He is the host. of the Spoon podcast. What is the official name of it, Q?

I turn my podcast on. I turn my podcast on, which is, if you don't get the reference, then you're not a spoon fan, as we like to say. But yeah, I'm excited, man. He's great. I'm really excited too, man. I feel like we're just going to be shooting shit just like we do with each other with this guy.

He's cut from the same cloth, I'll put it that way. If we had a triplet, he would be that triplet. Totally. And Dyer Straits is, dude, I'm excited to play dire straits on this podcast, dude. Yeah, definitely. Some good shit. Definitely.

All right, man. So that's that. You can find us on our website, no filler podcast.com, where you can find all of our previous episodes and show notes for each episode, which include track lists. So if you're wondering, hey, what was that song that I heard on No Filler the other day? Go to our website. You'll see a full listing of all the tracks we played, including,

what you heard, intros, outros, not just the album songs, or not just the songs of the artist we covered. And you can also find us on the Pantheon podcast network. That is the music podcast, where what does it call? The network for music lovers, something like that. And we should probably know the tagline of the network that we're on. But either way, all you got to know is it is a podcast network of like-minded content similar to ours. It's all music related. So there's plenty of great shows for you over at pantheon pods.com. And that's that. We are continuing our trip in the backseat of the station wagon for a few more weeks here as we talk about dad tunes. These are bands that our dad listened to when we were growing up that shaped our little,

our little music minds queue at an early age. You know what I mean? It left an imprint. A very early age, yeah. All right, Q. Next week. dire straits with Mr. Tyler, darling. That's going to be a cool episode. I'm excited to chat with him. Yeah, I'm stoked. Do we have an outro song for us, Q? I think I'm just going to fade us out with his biggest hit,

which is, I just want to stop. That one got him number four on the Billboard magazine chart and number one in Canada when it came out. Holy moly. Holy canoli. All right, so that's going to do it for us. Today, thank you as always for listening. My name is Quentin.

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home into a winter wonderland with green boxes piled under the tree. So slip on a cozy pair of Christmas pajamas and hang up some new ornaments. The most wonderful time of the year starts at Simons. Hi, I'm Sophia Loper Carroll, host of the Before the Chorus podcast. We dive into the life experiences behind the music we love. Artists of all genres are welcome. And I've been joined by some pretty amazing folks like glass animals. I guess that was the idea was to try something personal and see what happened. And Japanese breakfast. I thought that the most surprising thing I could offer

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