No Filler Music Podcast - Ep 12: Spoon - Girls Can Tell

Episode Date: May 13, 2018

On this week's episode we continue our dive into Spoon with a look at Girls Can Tell. This album shows a clear shift in sound from the more aggressive and punchier approach of their previous works, with Britt Daniels acknowledging that anything is fair game when it comes to a Spoon song. Pianos, vibraphones, and even harpsichords are introduced into the songwriting process, creating the blueprint for how Britt and company approach the music of Spoon from that point on. It's safe to say that Girls Can Tell is when Spoon becomes Spoon. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/ep-12-spoon-girls-can-tell Learn more about your ad choices. Visit megaphone.fm/adchoices

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Explore the new Peloton Cross-Training Treadplus at OnePeloton.ca. The music podcast dedicated to sharing the often overlooked hidden gyms that fill the space between the singles on our favorite records. My name is Quentin. I've got my brother Travis with me here, and we are getting back into our love for Spoon. our favorite band of all time we're going to be talking about

their third studio album Girls Can Tell which came out in February of 2001 this is the one dude yeah I'm so stoked yeah this is my this is probably my favorite Spoon record there's just something about it yeah so last month we covered

Spoon's second studio album a series of sneaks and we kind of dove a little bit into all the controversies surrounding their relationship with their A&R guy at the record label that they were signed with briefly, Electra. And they're falling out with the label. And we kind of just left you hanging there at that point. They were without a label, and Britt Daniel even started teaching for a label. little bit. He was a substitute teacher. He worked at a bank for a little bit. And if you go back and listen to our sidetrack for that episode, you know, that was considered the dark period.

Jim Eno, their drummer, also referred to it as the locust period. A lot of things went wrong. Things just weren't lining up for them. You know, they got signed to this major record label and then just out of the blue, shit just hits the fan. And they get dropped just a few months after the records release. And they were just kind of hanging out in purgatory as a band. And we'll pick back up at that point in the story of Spoon. But first, let's get into our What You Heard's for the week. This is where we share some music that we've been listening to lately.

just a way to share some more music with you. Travis, I'll let you go first. My brother, what have you been listening to lately? Yeah, so just today, I saw that Beach House had released a few singles to tease their upcoming album, which is actually set to release on May 11th, which, depending on when we put this episode out, could be yesterday.

But either way. Cool. It will be out there once this episode gets released. Yeah. Well, I'm pretty excited, actually, to hear some new Beach House. Because for me, I stopped paying attention to Beach House, I guess around 2010, 2011. I was really into their album Teen Dream. Yeah, that's kind of the, that's the album that put them on the map.

Great record. But, dude, they've had three. albums since then. The thing with Beach House is that they seem to kind of evolve, I guess, with every album. Not necessarily like get better. I'm not saying they get better with every album. I'm just saying they're constantly changing, you know? What about band members?

Are they also changing band members? Well, it's the core two members, Alex Scali and Victoria LeGrand. And they've had like drummers and stuff that will tour with them. with this new album, which is called 7, because it's their seventh album, which is kind of crazy. Yeah. Yeah. Yeah, because they had two that came out before Teen Dream. So they've been doing this for 13 years, which is kind of crazy to think about.

That is crazy. But again, you know, Teen Dream came out eight years ago, so. Don't remind me. I know, dude. So, yeah, this album is called 7. And what you're going to definitely hear on this song, too, is there is a, I think they made this shift for on depression cherry, which came out a couple albums back, but it's got some electronic elements to it.

But they basically, they brought in this guy to kind of take on. So there's a drummer, their live drummer, their touring drummer is on this album. And then they brought in this guy Peter Kimber, who is, who goes by, Sonic Boom to sort of focus on the rhythm sections, which is kind of the big shift from sort of their previous work. So basically he is a, he is like a producer, synthesizer keys kind of guy. So anyway, this song is called Lemon Glow. And it's got me all kinds of pumped up for this album, dude. So let's just let it play. It's fucking great, dude.

That is great. It reminded me of Fantagram. Did you ever get into them? No, not really. Well, I guess it's probably due to this Sonic Boom dude coming in and dropping some electronic knowledge on it. I'm drawn to those kind of those beats, those electronic, that synthesizer thing in the background. The drumming is cool. I like the, it's just, there's something, something about her voice, Victoria's voice,

that's always kind of draw me into their music. She kind of sings, in this track specifically, with kind of that dreamy kind of voice. But, cool. All right, Q, so what have you heard, what you've been listening to? Well, brother, it's another psychedelic rock band. But, man, I, so shout out to. to my dear friend, Elena, she got me into this band. Have you ever heard of a band called Wolf People?

Nope. They've been around since 2005, and they are labeled a psychedelic rock band. But the album that I got into is called Ruins, is their latest album, which came out in 2016. And it's not, I mean, I wouldn't put them in psychedelic. rock. I don't know, I don't know where I'd put them under. But if you listen to albums that came out before Ruins, they were kind of, they were definitely, like if you listen to their first album, tidings, which came out in 2009, I believe, 2010, they were definitely, it's just like, like what you said about the band Temples, you know, like they're just pulling from the psychedelic rock gods,

You know, just nothing new. Fun to listen to, but nothing unique or interesting, you know. And then, since then, they've kind of evolved with the album Ruins. The band, so this is, I'm quoting from Wikipedia here, says they attempted to, quote, remove at least some of their folkiness. And according to their singer, Jack Sharp, they were heavily influenced by the music of Black Sabbath. Okay. Early UK hard rock, stuff like that. So, actually, so if you, if you play this album, the first two or three tracks are heavy.

Like, you'd love it, dude. Really emphasis on the, on the guitar riffs and really heavy distorted guitar lines. I think you'd really like it. But the song that I'm going to share with you is a lot, it is, it is fulky. They say they're trying to get away from their folkiness, but I don't know. For me, like, so I'm just getting into the new season of Westworld. Oh, me too, dude. And yeah, all right, cool.

Well, there's just something about the guitar line that just kind of fits in that world. So, yeah, I'm just going to play it, dude. I think you're really going to like this song. All right, let's hear it. So again, this song is called, actually I didn't mention it before. This song is called Kingfisher. this is off of Wolf People's 2016 album Ruins. Yeah, I did like that, dude. That was pretty sweet.

I thought you'd like it, man. Yeah, it's really good. And like I said, if you, if you listen to the album start to finish, like there's a lot of really heavy moments in the album too. I think you're really like it. Yeah, dude, that sounds, because that's not very heavy, right? No. Kingfisher is the first song on this record. that isn't heavy. Okay. Yeah. But, dude, the first few tracks are just fantastic, man.

Like I said, emphasis on the guitar work, really heavy distorted stuff. Really good. Anyways. So again, that's Wolf People, and that was their song, Kingfisher, which came out on their album of Ruins from 2016. I think it's about time to dive into some spoon once more. What do you say, my friend? Let's do it.

So when we left Spoon last month, shit just wasn't going right for them, dude. Well, they ultimately got their revenge when they came out with agony of Lafitte, which we covered on the sidetrack. So, I mean, they got the last laugh because that's kind of what brought some attention back on them, you know, and perhaps led to merge reaching out and signing them, you know. Yeah. So, but we're talking about Girls Can Tell today. And like you said, and I'm with you on this, this is definitely my favorite spoon album.

They were going for something different with this one. And they eventually got signed on to merge records. But according to Jim Eno, nobody wanted to put it out after they recorded it. Which, imagine their frustration once again. You know, they make this record. record, they think it's great. They couldn't find anyone who was willing to get behind it. Apparently, they sent the copy to Merge, and Merge just kind of sat on it for a few months, is how they put it, before someone finally gave it a listen, called the band and said they liked

it and wanted to put it out. So they started recording Girls Can Tell in 2000, so two years go by and then they don't release girls can tell until February of 2001 so that's three years and during that time they weren't even on a record label yeah I mean like he said that you know

they refer to it as the locust years you know I think they like Jim went and had some side gigs so did so did Brit you know like he was a school teacher I think we talked about that yeah so yeah that's probably why these songs have such a huge

such a change in like the sound and the vibes you know because they were in a whole different headspace you know because you go from like the highs of like being being signed onto onto a major record label like Elektra to get you know dumped essentially the vibes of the songs on girls much more mellow dude yeah and another thing that you will certainly notice is a piano being added which becomes like a staple of a spoon, you know what I mean? Yeah. But like I said, it's, you know what, let's just let Jim Eno kind of tell the story. So this is the drummer, of course.

And I think we played a clip from this interview when we talked about a series of snakes, but he's being interviewed by this College of Arts, I think, or something like that. Anyway, he talks about that change and sound between series of snakes and girls can tell. Part of what you guys brought to the kind of musical vocabulary is really great pop songs, but that are always housed with an angular element that are always cracking at some point that you don't expect them to. Right, right. So when you get to give you fiction then, it's like you have this whole sound that has just been developed all through almost that entire decade. Yeah, I feel like our first two records were different than that, though.

I feel like our first record was a sort of capture what we do live kind of thing. And Brady even says he's like, I wanted to be. be in a band that played fast, quick songs, short songs, because he felt like we would get more gigs. And that was a thing. If we could play hole in the wall on campus on a Friday night and headline, it's like, we made it, you know, that kind of thing.

And so that was the idea behind that record. And then series of sneaks was exploring a little bit more, but it was definitely still rock and roll, you know, like, well, like, I guess more. alt rock I guess you know and then when Girls Can Tell happened you know he had been listening to a lot of like Marvin Gay and and he basically threw everything up and is like I think you know anything is fair game to put on a spoon song good piano it's fine it's like it's no you know I'm just gonna do what I feel is

right and so a lot of that change of sound happened on Girls Can Tell and I feel like that is a changing point that we've been sort of crafting since then Yeah, I've got something to add to that. So Britt Daniel was interviewed by consequence of sound, and I believe we pulled a few quotes from this interview on our last episode on Spoon as well. Back in August of 2017, they kind of just had a rundown of their whole discography and just kind of having Britt Daniel kind of talk about each record and the sound that each record had. and he's kind of talking about the two albums Telephono and a series of sneaks that came out before

girls can tell he says we were sort of operating by these quote cool rules we were going to be a guitar bass and drums outfit and that's all we really wanted to do and at some point I was just like well there's all this other stuff that I really do like why not just try it then he gets kind of gets back into music that he's always really liked. Motown, 60s soul kind of stuff. And he says, and I'm pulling this from an interview from the Austin Chronicle in August of 2002, he says, for girls can tell, I was trying to write songs like the Everly Brothers. Those pop soul records are the ones I go back to over and over and over again. I want to write songs that sound more classic rather than a series of sneaks,

which my parents would definitely not like. Yeah, well, it's interesting because, you know, like Jim was saying, like he was listening to a lot of like Marvin Gay and stuff. And so, like, Brit Daniels is such a phenomenal musician that, like, he realized early on that he didn't want to, like, box himself in to just straight rock, alt rock type songs, you know what I mean? Yeah. And you can certainly hear that and girls can tell.

how about we jump into our first pick let's do it which I think is believing as art right it is yep track two believing is art this is probably my favorite song on the record

because there's so much there's so much that goes on with yeah and it's got I'm going to refer to it as noir because I don't have any other term that I can think of but with like and you'll hear it right from the

from the rip there's like this kind of organ sound to me the imagery that I conjure up is like like a city

at night and I record that with like noir I think I mentioned noir before when we were talking about Tosca but I don't know what term

to use but there's these dark darker notes that can get played a lot of times in jazz and stuff and I feel like Brett Daniels and the keys

specifically on Spoon songs a lot of times kind of have that vibe. I think Minor Tough had that vibe, which was the song we played for the series of Sneaks episode. But anyway, all right, so here's clip number one from track number two, believing is art. So yeah, you heard that guitar come in, that shift, you know, the organ sound almost kind of sounded like a, like it was going through like a, like a Leslie speaker or something, you know, kind of the spinning kind of sounds like vibrato kind of on it. Yeah, so another thing I thought was kind of cool that I read in that same Consequence of Sound interview.

They started using instruments like the vibraphone and the melitron for this album. Yeah, I think that's the vibraphone they were heard. Yeah, and apparently, Brad Daniel was super into the kinks at the time. He was on like a huge kinks kick, which is what led to them using the harpsichord in songs like The Fitted Shirt. and anything you want. And I thought this was funny too. Britt General says quoted saying,

I found this website right when online sales of music were starting. He says maybe it was called CD Universe. Remember that, dude? Yeah, dude. He says there was a flaw in their system. So as long as I entered a different address every time, I could order a free CD. So I ordered at various addresses the entire King's Catalog.

If it wasn't for that website, girls can tell might have had a different attitude and sound. So he was way into the Kings, dude. He was listening to their entire catalog while he was writing this music. Yeah, that's cool. And he was going for more poppy, you know, classic Motown tunes. Another influence for this record is an album by Elvis Costello called Get Happy, which had a major influence on their use of the vibraphone and melitron.

So, Britt Daniels starts, starts experimenting and getting out there and you know he tries to step away from that quote unquote cool rules that he was trying to adhere to for no particular reason where he just wanted to be a strictly you know three piece guitar bass and drums fun to see live that's so it seems like britainal started out trying to make it big you know yeah like what jimina was saying he was trying to pack the venue right right and get get attention to engine. And it's interesting that it took them getting dropped from a record label that decided to just completely change their sound. I think it's a pretty big change, dude. There's a, I mean,

there's almost a huge change between each of their albums, um, between a series of sneaks and Gimmy fiction. You know what I mean? But, uh, yeah, I think this is like the most drastic change that you'll notice between these two. Yeah. I want to play a clip. two from believing his art. This clip has this really cool thing that Brit Daniels does with this guitar. Just the cool signature, just random experimental stuff that he kind of does with his guitar. I'm assuming he's using quite a few different effects pedals to pull it off. What I like about what he does, it always seems like he's kind of just improvving stuff on his

guitar while he's recording, and it seems like he just looks. leaves it in most of the time. So here's clip two from believing his art. The way that he sings, it sounds like he's, he almost, like he makes this noise with his, his mouth almost like it sounds like a, like he's making like a splash sound or something like that. I don't know.

But did you catch that? I know what you're talking about. Yeah, I don't know what that is, but that's just badass. I don't know what that is. Yeah, so let's read the lyrics just for fun, because one thing that I always think is funny about the way Brit sings, a lot of times it's really hard to tell what he's saying.

But that's because he just has fun with his lyrics and his approach to how he sings them. Like you had mentioned in our previous episode, they're really good at keeping your attention. And so that part there, when he starts singing again, he says, think about it a while. The end ain't that bad. Take out the trash with one hand. It falls apart like a band. Just hold onto it tight. Yeah, and

Dude, let's see if we can, let's play that part again I just want to hear him seeing that part again Right there, right? Yeah. It's not even in the lyrics. Like it's, like he's just making noises with his mouth again. You make sure you wonder if that was just an improv in the studio or if that, you know, or if that was intended.

What's the lyric? What's the lyric that leads to that? That part right there is think about it a while, the end ain't that bad. Yeah. That's it. Anyways, I love that song. That is easily one of my favorite spoon songs to date.

Yeah, that's great, man. Oh, dude, you want to talk about the drumming on that track? Oh, fuck, yeah, dude. One of my favorite drum beats that Jim Eno has ever... Yeah, it's just, like, it drives a song straight from the beginning, man. Like, it's just awesome, awesome drumbeat. It's so unique, too. And, you know, as we covered in the last episode, like,

his background is jazz drumming. So I'm going to say it again, dude. What I love so much about the way Jimino plays, it really is simple, right? I mean, would you agree as someone who isn't a drummer? His drum beats are simple. They always are. I always compare him to Ringo Starr.

Ringo Starr is another one of those extremely simple drummers that just does it right. I don't know, you know, I don't know how to explain it. They both just, kind of like what we were saying about saxophone player for shot A. His name escapes me at the moment. But, like, that's the mark of a really good musician is one that keeps it simple, but effective, you know? Right, and that's what made Ringo Starr, so incredible. Yeah.

So let's bring up the fact again that for Spoon, they are going from, a quote-unquote major record label, Electra, to a very small, independent label when they got signed to merge and released girls can tell. Britt General says it's probably the smallest label that they've ever worked with. But at the same time, at this point in the band, this was the first time that they'd ever had any upward movement

in terms of sales, or they're starting to get offers to play more shows. When they played shows, the rooms that they were playing in started to fill up with people. You know, people started actually showing up and paying attention. Yeah. When they got onto merge. Let's get into our second pick. This is another one of my favorite spoon songs. It's called The Fitted Shirt.

And it's track five on the record. You want to just go ahead and play it? Then we'll go from there. You've got some, you looked at it. into the sort of the meaning behind the song a little bit, right? Yeah, apparently, Bert Daniel saw an old picture of his dad going to work, which, for one, it's funny that some,

Bert Daniel's what, probably in his 40s or 50s, I imagine? Yeah. And he has a picture of his dad. I just imagine Brad Daniel's mom like, oh, you look so cute in your shirt and time. I'm going to take a picture. Anyways. He says it was a look that I,

didn't see too much anymore. I mean, tight-fitted, you know, pants and shirts is, uh, shit, maybe back in the 90s, yeah. Because, dude, I mean, this is kind of a, kind of a cliche, but if you ever watch Friends, early episodes of Friends. Yeah. Dude. The, the fashion back then was, uh, just seemed to be really baggy. Yeah, dude.

I'm not talking about, you know what, man. Jinko, Gene. I'm talking, or food. glad that we were just kids during the 90s, you know. We got to skip over that. But yeah, so verse, verse one, when I was still growing up and dad head off to work, he put coat and tie on over a fitted shirt. Nothing else will fit right or seem so directly applied than fitted shirt hung on me.

I like, I like the lyrics of the song. I think that's what I like the most about this song, really, is the lyrics. It's a very, like, observational, like, I've always liked songs like this where, you know, there's no... He's singing about his dad's old used shirt that he inherited. You know, there's nothing deep about the song. There's no like meaning or anything, you know? He sees this picture of his dad.

He's like, man, he's looking sharp in that shirt. And then he goes and starts wearing his dad's shirt. He's going to go find some buttons so that he can start wearing that shirt, you know? Yeah. Yeah. So I'm going to, I just want to read the very end of verse two. So like the end of the song, I just like this part. He says, but when I go out tonight, I'm going to put on a fitted shirt.

One day it'll take and they'll start to make shirts that fit right. Until then, I suppose, I still got dad's clothes and that's all right. Yeah, I fucking love it, dude. It's great, man. There's a lot of simple songs on this record and a lot of really short songs too. I think the whole duration of this record is like 36 minutes or something. short. Yeah. Anyways, you want to jump into our last pick?

Yeah, let's do it. So this is the next song right after the fitted shirt. And we're going to play the whole song. It's really short. It's just over two minutes long. So this is a song called Anything You Want. So, Q, there's a couple of, uh, lyrics in this song that for, you know, the longest time, I was always curious as to what he's

actually saying, because like we said, sometimes he, the way he kind of sings, he'll basically write a lyric and just fit it into the song somehow. You know what I mean? Yeah, dude, I'm going to talk about, I'm definitely going to talk about the same line as you, at least, at least ones here. I've got a couple lines in here that I love too. Dude, let's just see if it's the same fucking ones that I'm about to talk about. Let's do it. I like it when he says you're at your, you're at your best when you got the guns turned 180 degrees. That's my favorite spoon lyric to date, dude. It's fucking, it's such a great line.

I love that line, dude. Yeah. You're at your best when you got the gun pointed at yourself. Yeah. And then, and then, um, uh, the, the very last lyric of the song. Yes. You were 19 and still in school waiting on the light on the corner by sound exchange. Yes.

I, no, I'm going to ask you, because you, since you lived, Austin is that he's referencing something in Austin no okay I thought maybe some some some maybe some CD store or some venue or something like that from Austin that he might have been no not Austin so here's the deal dude so he was interviewed by pitchfork in 2014 so sound exchange so he is referencing he's talking about so this actually happened so he's singing about his girlfriend From 98. Her name's Eleanor Friedberger.

I believe that's how you say it. I thought I've heard that name before. Well, she's a singer-songwriter herself. Okay. This is something that he specifically remembers. You know, he says he can see her standing on that corner. They kind of, the person interviewing him for Pitchfork also kind of points to that line. It's one of his favorite moments in Spoon.

He kind of just crams all of those words in at the very last minute there. Yeah. And Britt Daniel says, yeah, this is a song about Eleanor Friedberger. And it was a big picture song that at the end, it zooms way into this specific moment. And again, he says, I could see her standing on that corner. And the pitch of a guy says, part of the power of that line comes from the, way that the syllables get crammed in there at the end. Yeah.

It's like you have to rush the words out. Here's something I like what Bert Daniel says after that. He says, that's what's great about it, right? It originally wasn't like that. It was just regular syllables at the end. And the lyric before that was, quote, this is a song called Fuck or Fight. It's the same thing every night.

Okay. But Jim suggested it didn't fit the mood. Jimmy, you know. So I came up with it. But that other idea, apparently their then bassist Josh Zarbo thought that that ruined the song. But Britt Daniel thought that it really made everything personal and unexpected. And when they recorded it, their co-producer Mike McCarthy had him fade off of the mic at the end of the line. So it's totally personal and real.

That's how Bert Daniel says it. So he can't, yeah, so he kind of backs away from. the mic at the very end. You know, like, he's, he's cramming it all in and just kind of backs away. Well, like, if you, if you try to sing the lyric and keep up with them, you almost run out out of breath trying to, trying to get it all out, you know what I mean? And again, it's like, those are the kind of moments that make a spoon song, a spoon song, you know what I mean?

Like, you know, fuck the, the cadence of the rest of the verse and stuff and, like, trying to, like, you know, like, oh, you know, I got to, what was it like, you know, back when we were writing poems and stuff in like grade school you know what i mean got to check your syllables and make sure it all right right right like who cares you know what i mean like he wanted to get that out there and put it in there and like he said it made it personal and it just makes it stand out like that's and it's the last verse of the song the last like words of the song you know i mean it really makes you pay attention yeah yep and uh so to to kind of wrap this all up in a nice little bow. I thought it was cool. You remember I referenced that one of the big influences on Brit

for using the vibraphone and melaton was that Elvis Costello album Get Happy? Well, he listens to that album on cassette tape with Eleanor Friedberger back when they lived in Chicago together back in 98. Who knows if she was the one who showed him that record or what, you know? But it's just cool it that Elvis Costella record that he listened to with Eleanor had a big influence on this record and a specific memory of her gets thrown into one of these songs. And that's one of my favorite, one of my favorite spoon moments. Yeah, no doubt, dude. Yeah, so that's, girls can tell, dude.

I mean, like we say always, we're just barely scratching the surface here because we don't want to have two-hour episodes because I mean, good God. Listening to us for an hour is probably hard enough, am I right? What is some of your other favorite songs on this record, dude? I really like the opening track. Everything hits at once. Yeah, so that's the song that we introed the podcast with for this episode.

That's a great one. I like track three, Me and the Bean, which is actually a cover. And I think we might do that one for our side track, dude. we might maybe dive into a little bit of the artist that they covered. I won't mention who it is yet. I'll tell you what, another one. I think Take the Fifth might be my second favorite track. Yeah.

Take the Fifth is a great, a great song. Yeah, that one's good, man. I think Take the Fifth sounds the most like what they were doing on Kill the Moonlight. I feel like that's a good transition song into some of the stuff they did on their next album. Yeah, he does a lot of cool things with the piano and take the fifth. Really interesting stuff. Anyways, yeah, this is an album that you can easily listen to all the way through. Like I said, it's only just over 36 minutes long.

It's over before you know it, but you're going to want to listen to it again and again. And like we said, this is probably our favorite Spoon album to date. Yeah. So that is our second. installment of our Spoon love fest. Again, we're going to jump back into Spoon a month from now, I guess, and we'll touch on their 2002 album, Kill the Moonlight. So that came out, this is one that's coming out just a year after Girls Can Tell was released.

And there's a lot, a lot to talk about for Kill the Moonlight, dude. I'm not going to know where to start, you know, as far as picking songs, too. it's going to be hard, dude. There's so many good songs on Kill the Moonlight. Yeah, and Kill the Moonlight was like our, at least it was my introduction to Spoon. Like that was the first album that I heard of theirs. Yeah, same.

Yeah, it's going to be really hard to narrow it down to three songs, you know. Yeah. So, as always, if you want to know a little bit more about, about the artist that we cover, you want to dive a little bit more into what we talked about. If you hop over to our website, no-filler podcast.com. There you can read our show notes for each episode

where we provide track listing for all the songs that we played. We've got links to all of our sources. So if you want to kind of dive into a little bit more about what we talk about here, chances are you'll find more information on our website. You can also stream our episodes straight from the website through SoundCloud.

You can also subscribe to us on iTunes or pretty much any other podcast app that you use. We're on Stitcher as well. And check back with us next week. We're going to do a little sidetrack episode for Spoon. And yeah, that's going to be it for us today. For the outro song, I'm going to go with the Kings because when I found out that Britt Daniel was super into the Kings while he was writing this.

record I got pretty stoked, dude, because, you know, I was listening to the Kings a lot when I was living in Austin. Dude, it's all thanks to Wes Anderson for me, dude. He got me into the Kings because, I mean, he's got at least one King's song. It seems like in every single one of his movies. Not really, but, I mean, he's a huge Kings fan. And one of my favorite Kings records is called Face to Face, which came out in 1966. And, you know, he mentions wheeling out the harpsichord for the fitted shirt because of his love for the Kings.

He feels like that's probably why he did it. I immediately thought of this song on face-to-face called Session Man, which is probably one of my favorite king songs. And, yeah, that's going to do it for us today. Thank you, as always, for listening. check back next week for our sidetrack episode. And, Trev, are we going to do Interpol for our next full episode? Is it time for some turn on the bright lights? I think it's time, dude.

I think it's time, yeah. I'll need to do some serious preparation for that one, dude, because I want to do it justice. That remains one of my, like, when I look back at the albums that, like, I feel like it changed the way I, like, my relationship to music, like, change the way that I, like, felt about music. That's one of them. Yep. Yeah, I agree, dude.

Yeah, that's another one of those albums, like, kind of like what we said about Girls Can Tell. The entire album just has this really. This vibe, yeah. This vibe, yeah, dude. It just puts you in this headspace. Did you get into them as heavy as I did? No, no, dude We'll get into this, dude.

No, it took me a while. Yeah, I'll take the lead. I'll take the lead on this one for sure. Yeah, cool. All right, so that's going to do it for us this week. And we're going to play out this episode with some kinks. Again, my name is Quentin. My name is Travis.

Catch you on the flippity flop. See you all next time.