No Filler Music Podcast - Yes's Fragile and the Origins of Progressive Rock

Episode Date: September 15, 2019

On this week's episode we finally shake ourselves out of the shoegaze daze and pay homage to one of the greatest rock records of all time: 1971's Fragile by progressive rock pioneers, Yes. Before we dive in, we explore two groups that laid the groundwork for the genre and proved to the music world that rock and roll had a lot more to say beyond the 12 bar love song, Days of Future Past by The Moody Blues and The Thoughts of Emerlist Davjack by The Nice. This is a music-heavy episode, with lots of clips from the record that you may have missed if you only tuned in for the singles. Let's take a listen and hear what made Fragile such an iconic record, with its complex melodies and arrangements that only a group like Yes could deliver. This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

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It's hockey season, and you can get anything you need delivered with Uber Eats. Well, almost, almost anything. So no, you can't get a nice rank on Uber Eats. But iced tea, ice cream, or just plain old ice? Yes, we deliver those. Goaltenders, no, but chicken tenders, yes. because those are groceries and we deliver those too, along with your favorite restaurant food, alcohol and other everyday essentials.

Order Uber Eats now. For alcohol, you must be legal drinking age. Please enjoy responsibly. Product availability varies by region. See app for details. This album we've just done, although it's got more complex sounds on it, different instruments, we have musicians in the band, especially Rick, who's capable of doing it. He's capable of playing a grand piano for three bars, a melaton for two bars.

and the move for the next one, absolutely spot on them perfectly. And as long as one knows that the musicians in the band are capable of doing it, then nothing's too complex, really. And you're listening to No Filler. The music podcast dedicated to sharing the often overlooked hidden gems that fill the space between the singles aren't our favorite records. And the voice you heard there in the beginning was Mr. Chris. Squire, bass player of progressive rock band Yes, in a 1971 interview on the BBC, talking about the

complexities of the melodies and arrangements on Fragile, the album that they put out just a few months earlier. And as he had mentioned there, with the addition of Mr. Rick Wakeman on the keys, the band felt there was nothing that they couldn't do because they all had the confidence in their fellow band members, that they could actually pull this stuff off. And man, did they ever on this record. And that's what we're going to talk about today. I got my brother quitting with me as always. So, Q, we've dipped our toes in the 70s,

maybe once or twice in the almost two years that we've been doing this podcast. So I'm excited to be coming back to that decade. And this is just one of those iconic albums from that era, you know. I know one of your watcher heard is way back in the day. That's right. That's right.

From their self-titled album, I believe. Or maybe it was some other album you grabbed of theirs. Yeah, it was from Time and a Word. That's what it was from. Yeah, man, there's so many good songs from this band. I'm hoping we're going to dive into just a little history of progressive rock, dude. I hope you brought the goods. Oh, yeah, we will.

We're going to do like a bird's eye view of progressive rock. We're not going to go too deep into it. But, you know, it's always nice to sort of, you know, look at the stepping stones that got us to this point, you know. Yeah. Yeah. So, I mean, what albums were coming up before this that, like what were those stepping stones? Just in general, the rock and roll landscape. Yeah.

Well, let's look that up real quick. Yeah, let's find out. Okay. So just from, you know, just taking a quick peek here, you know, 67, 68, dominated by the Beatles. I mean, they were doing some pretty great stuff around then, but it wasn't anywhere near like what, what yes did. And then you had, you know, your Simon and Garfunkel tunes. and Sly in the Family Stone, so, you know, funk kind of disco stuff was starting to emerge. But, I mean, where did progressive rock come from, you know?

Like, how did we get there? So from what I discovered, from what I read, progressive rock, which is synonymous with art rock, classical rock, and symphonic rock. the term or at least the I should say the the genre coincided with the economic boom of the mid-1960s in the UK where record labels allocated more creative control to their artists as well as I'm not going to I'll just leave it at that so and then when you think about you know maybe some like I said the stepping stones before that like where you get little hints of it, you know? You think about the stuff that the Beatles were doing, like on Strawberry Fields Forever, right? Where they started to do more of that experimental stuff.

I've actually got a quote from Paul McCartney from 67, where he said, we, the band, got a bit bored with 12 bars all the time. So we tried to get into something else. Then came Dylan, the Who, and the Beach Boys. We're all trying to do vaguely the same kind of thing. So basically rock music was starting to take itself more seriously, right? So some of these artists wanted to like what he was saying.

Like, hey, you know, we're tired of running the 12 bar blues stuff, you know. Yeah. And not to go on a tangent, but, you know, George Martin had a lot to do with it. And he started to pull in orchestral instruments and stuff like that into Beatles recordings. Yeah, exactly. That's exactly right. So there's a lot of, you know, this is by no means. means like the definitive answer as far as like what was the first progressive rock album.

But a lot of people, a lot of people point to the Moody Blues Days of Future Past record, which is a humdinger. Have you listened to that before? I mean, it's been a long time. So here's the thing. So, you know, that came out in 1967. So I think we all know Tuesday afternoon and nights and white satin, right? Yeah, so that was the album they did with the orchestra.

Exactly. That orchestra from London. Exactly. And that's why it's considered one of the first progressive rock, like studio releases, you know. But those songs that I was talking about, those two singles that I think most people associate with the Moody Blues, at least I do. came from that record. They weren't called that on the record. If you look at the record, the track names are like,

the day begins is track one. And then, you know, track four is lunch break. And then track six and seven is evening and the night. So it's literally, you know, one day, right? It's like, yeah, it's like a concept album. Yeah, it's like a concept album. So the record label was called. called Deeram Records. Actually, you know what? Let me just let some of the fellas from Moody Blues

talk about this. So this is Justin Hayward and John Lodge, both members since the origin. These guys are talking, I'm not sure when this interview came out, but this is, well, you know, decades after, but they're talking about... It looks like it came out in 2017. Okay, so this interview is from 2017. So this is, this is, this is, 50-year anniversary of this album. So I think they did a tour where they played the record, you know, and this is from sort of that time period. They were interviewed during a tour where they were sort of doing the album at the 50-year anniversary, right? So this is them reminiscing about how this came about and all that kind of stuff. If you look at the back of the

sleeve, Days of Future Past, you'll see there's a photograph, and it's the five members of the group plus the recording engineer Derek Varnels, the staff producer at the time who was Tony Clark and another person with his back to the camera and that person was a man called Michael Barclay and it was his concept he was in charge of special projects for Decker and he originally came to the group with this idea of demonstrating stereo that stereo could be as interesting for rock and roll as it was with classical music he wanted to incorporate classical music and what he called a pop band, put them together to show the full frequency sound of the record and of their

radiogram. And I don't think he's really interested in the Moody Blues. I don't think you know who we were at that stage. But I think we went through the contracts of the bands they had. And for some strange reason, they decided on us. That's crazy, dude. So basically, um, the Moody Blues were like, I don't know, they were falling on hard times kind of thing. They didn't have much success prior to that, or at least they, you know, down their luck kind of thing. And so, for whatever reason, like he was saying, he doesn't know why they, why the record label came to them with this idea. So they wanted to bring in a pop band, like he said, to record an adaptation of Anton

Dvorjacks, I'm probably mispronounced that, Symphony number nine to demonstrate their latest recording techniques which was named Dramatic Sound. So like what this guy said, they wanted to basically showcase, hey, you know, pop music can

sound just as great as you know, classical music when it's recorded using our new techniques or whatever. So Moody Blues, they were the guinea pigs? Essentially, yeah. But they wanted to incorporate their own material into the record, which is why you have, basically, when you listen to

the record, it's the orchestra playing parts of the symphony as interludes, and then Moody Blues integrate their songs, like, into it. Yeah, it's pretty great. And you're saying a lot of people point to this as the first, kind of, you know, the first Prague rock album. Yeah, and that's because, That's because of the orchestral integration stuff. So let's listen to a track off of this. So let's play, and I'm going to tell you to jump ahead, cue, to the three, sorry, to the two and a half minute mark of track six. And this is called Evening.

I can feel the sun slipping out to the side. And the world still goes on. through the night to see strides over colorful skies the form disappearing from you so yeah i mean there's you know there's not much overlap happening there right and and um you know this was sort of you know one of the first times that this had been like an entire album was devoted to this idea of like hey let's blend these two these two genres together you know and you know this makes you think of metallica sure doing it well that's funny because that's thought about bringing that up.

You know, because like when I heard Metallica's S&M when I was young, you know, 12, 13 or whatever, I thought it was like the coolest thing ever, you know. But this has been happening since the 60s, right? Yeah, dude, real quick, you know they just did another one? Oh, I know. Yeah, they recorded it and it's going to be played at movie theater. So I'm probably going to go see it. Yeah, you should.

Okay, so let's just move real quickly to another album that is sort of, cited as an early example of progressive rock. It actually came out the same year. Actually, I'm sorry, came out the following year. This is an album or an artist that I never heard of before called The Nice. And it's comprised of Keith Emerson of Emerson Lake and Palmer, right? Which is another well-known progressive rock band that he formed after he was after this band, David O'List, Brian Davison, and Lee Jackson. So the reason I listed off the names of all the

members is because of the name of this album is The Thoughts of Emerlist Dav Jack, which is sort of a pseudonym that they made up by combining the last names of all four members, which is kind of funny. So anyway, there is a track on here, there's some singing and stuff, and unlike the Moody Blues record, they are not playing with an orchestra, right? They have, you know, they play a, you know, a flute, they play the trumpet, they play, you know, a harpsichord, an organ. So you're going to hear, you know, orchestral instruments, but it's not from an orchestra. It's from these guys, right? So what's interesting about this track, and this is called Rondo, and it's track number four. And you're going to hear snippets from Dave Brubbeck, as in Dave Rubeck, right?

His song called Blue Rondo a la Turk, which is where the name came from. And then you'll hear pieces from Sebastian Bach's, Takato, and Fugue in D minor, which is a very well-known classical piece that we all know, right? This is an instrumental song. There's no singing in the song, but it sort of piggybacks off the idea of rock and classical music combining, right? And jazz in this instance. Cool. I'm excited, dude. I've never heard this band before. All right, so let's give it a listen. Again, this song is called Rondo by the Nice. All right, Q, so you can hear the, you can hear that Dave Rebeck melody, like I was saying, from Blue Rondo a Tirk. Let me skip ahead.

real quick to the part where Keith Emerson starts to integrate the melody of Takata and Fug in D minor. So yeah, I mean, again, it's rock band starting to, you know, quote unquote take rock and roll more seriously and like try to elevate the genre by, you know, going beyond the 12 bar blues like McCartney was saying and, you know, going out of the three-minute love song and into stuff more quote-unquote serious, right? Well, who was, was that McCartney that said that? Yes.

And he said that in 67. I don't like it. I don't like it. That makes, that just sounds like they're saying like, he didn't say, it wasn't him in particular that said that they were trying to take themselves more seriously,

but he was trying to say that they got bored with the traditional rock song structure that had been, the blues structure, the blues rock structure, right? Yeah, saying that taking it more seriously just makes it seem like, oh, well, finally. Oh, yeah. here's some music that actually matters.

Yeah, that wasn't, he wasn't quoted as saying that. That's what, that's just kind of the idea behind progressive rock is that, you know, that was the idea at the time was like, hey, let's, let's elevate rock music. Let's merge these, let's merge these genres that you would think it would never, you know, find its way on the same album or the, you know, the same track. And it seems like these artists realized that there was an appetite for it. Well, and that's the thing. I mean.

So they started experimenting more. The success of Days of Future past by Booty Blues could have. Yeah. It might have been what proved that, you know. Yeah, I bet so. One more piece of information here, then we'll get into yes. We'll talk about the album that we came here to talk about today. So one of the other things that was happening at this time that helped sort of propel progressive rock was the arrival of new technical gear and electronic.

instruments such as, right, you know, Moog synthesizers, right? And like, you know, things like the, the, the melaton, right? So that allowed these rock bands, these keyboardists or whatever, these organists to, you know, play something that sounded like a flute, you know, but on their keyboard, right? Yeah, or they could play, you know, get like a grand piano sound and not have to lug a grand piano with them on tour. Right. Right. Exactly. So. And they could have, you know, two or three stacks of electronic keyboards with them on their set and get all these different kind of, you know, harbtsichord sounds and all that kind of stuff without, like, having to lug all these different equipment, you know, instruments with them on tour.

It totally makes sense. Yeah, exactly. So, you know, the Moody Blues no longer had to bring the London Symphony Orchestra with them, right? When they toured for this album, right? So anyway, all of that is happening around the same time. And then 1971, yes, puts out fragile. And that is the record that we're talking about today. It is such a good record, man, all the way through.

Like I said, it's a masterpiece. Not only is it, you know, one of the greatest progressive rock albums of all time. It's one of the greatest albums of all time, right? Easily. So, yeah, let's talk about that. Let's get into it. So, Q are you going to give us a quick, history of the band or are we just going to

because you know it's yes they're in the Hall of Fame like how much do we have to talk about their their background we can just talk about the album if you want we can name off the roster of who yes was in 1971 because they've gone through a lot of members but we can kind of name off the roster in 71 and what everyone

did because they one of their keyboardists left the band and then they got Rick Wakeman on keys for Fragile so they kind of had a change up in their lineup at the time So Rick Wakeman is one of those artists

that incorporated the Meletron into their repertoire as it were so he was a beast beast yeah he's ridiculous and so as a guitar player he's insane and the bass player I mean we've you know shit

do you have to see it they're all amazing so let's just name off the roster again we haven't named them all off yet the lineup of yes at that time was John Anderson lead and backing vocals then you had Steve How

on electric and acoustic guitars Chris Squire bass guitars Rick Wakeman which played all of the keys right so he's listed on the lighter notes for this record as the hammond organ the grand piano the rmi 368 electra piano and harpsichord the melaton and the minymuk synthesizer he's an absolute beast man yeah he's responsible for anything that sounds like you know it could be from an orchestra on this record is from rick wakeman and then bill brufford on drums

and percussion. So that was the lineup at that time. I know that, you know, they've gone through dozens of members over the decades, right? But that was, that's the, that's the yes crew for Fragile. So, Q, this was their first album

with Rick Wakeman on the Keys, isn't there, right? Yep. So he was like, don't worry, guys. Let me bring my equipment with me. And then he brought like everything, right? Like I said, he brought like every single type of way you could play keys on a record.

He brought it to the table. Yeah, and then they were able to pull this stuff off live because he could just like seamlessly spin around and go from from one keyboard to the next, you know, and just play it flawlessly. So something I read about when I was just looking into progressive rock like over the decades is that by the time you get to bands like Journey or, you know, sticks, a lot of people would mislabel them,

as progressive rock just because they had multiple keyboards on the record. So like a lot of times the word or the genre would get thrown around and it would, you know, bands would get mislabeled as progressive rock

even if they didn't necessarily, you know, stick to the true, like, nature and, like, spirit of progressive rock. You know, like bands like Journey would make these really poppy radio hits and they had multiple keys or keyboardist

in the band or on the record and somehow that classified it as a progressive rock album even though that's not the case, right? Yeah, right. So, but like you were saying, this Rick Wakeman dude comes in, you know, he had, he was a big fan of classical music

and that shines through in this album a lot, dude. Actually, let's play a little bit from Fradual real quick. So track one was Roundabout, which was one of the singles. So Roundabout and then another song called Long Distance Runaround, which, I mean, could really be another, like you could really just tack it on to Roundabout as like one full piece.

That was the only single they released. So Roundabout was A side, long distance, run around as B side. All right, so here's a little bit from track two. This kind of showcasing, you know, Wakeman's, Wakeman kind of nerding out with some classical stuff. This is called cans and Brahms. It is extracts from Brahms, Fourth Symphony and E minor, third movement. This is funny to think, like, Wakeman's like, here's what I can do, guys.

You know, like, check this out. Right, yeah, sure. Now, was that the first time that yes, had done something like that on a record where it's literally just a classical piece? I wish I knew the answer to that, man. I wish I knew the answer to that. But I'm pretty sure, yeah. I mean, they didn't have Wakeman before this album.

And this was also the first album of theirs to reach the top 10 charts here in America, which is definitely notable. So let's get into some real, like, let's get into the meat of this album. All right. Well, I think we've established, we've done a really good job establishing that progressive rock ties in classical music with rock. It's the marriage of those two things. And, you know, of course, there's a lot more that goes into it than just that.

But that's, you know, there's a reason that synonymous with progressive rock is the term symphonic rock, right? This is why, right? So we've covered that. So now let's listen to why yes and on this album in particular did it perhaps better than anybody else that came before them. Yeah, I do. I mean, there's just some songs on this record that are just like. I mean, they give me chills, man. Let's jump down to track four.

This is easily my favorite on the record. It is so fucking great. There's like a few, like, I guess you could call them movements in the song. I'm going to play a couple of those. So this song is called South Side of the Sky. So yeah, I mean, that song is fucking rocks hard, man. It rocks. Epic, dude.

hard and like you know that could let man that guitar line dude throughout the whole right song yeah and then there's there's that there's that organ in the background right so i was trying to think to myself like just now it just you know while i was sitting here like it's not like this is the first time that organs were incorporated into rock music you know like no you know like the doors right you think about the doors and and i looked up his name because i didn't know it off the top of my head but Ray Manzarek, right, of the Doors. Oh, yeah, he was all about it. I mean, I fucking love that.

The organ stuff that shows up in those Doors songs from the 60s. And that's before this record, you know, obviously. So it's not like it's the first time that this was done, but like I guess it's part of what makes it progressive rock was the way that they incorporated that kind of stuff. And the way that they did these interludes, right? Because you're about to play another part, right?

Yeah, I faded out as they kind of went into this little instrumental, quiet piano part. Now I'm not going to play. I'm going to fade us back in once it kind of goes into a whole different vibe a little bit later on in the song. I just want to read the lyrics real quick. There's a really great website called genius.com that they dive into, you know, what parts of songs will mean.

Like, it's all crowdsourced, I guess. You know, you can add your own annotations. So they're unreviewed here. So this guy could be full of it. But I'm going to read it because it sounds interesting, and I think it might be true. So the chorus, which is, I love this line, he says, were we ever colder on that day a million miles away?

It seemed from all of eternity. So it could be that he is talking about polar explorers, how cold it was to them in the south side of the sky. guy, which, you know, most likely is talking about Antarctica, and how far away they felt millions of miles away from the rest of the world. Anyways, yeah, that's cool. That's why interpretation in the lyrics. That's more an interpretation.

A river, a mountain to be crossed, the sunshine in mountains sometimes lost, around the south side so cold that we cried. Anyways, epic song. But before we jump into the next clip, let's take a quick. break. And we're back. I'm going to jump to clip two. See what else we got. Let's see what other flavors they got for us on this one. So here's clip two from south side of the sky. Yeah, I mean, I think you can, I think you can definitely point back to days of future past as sort of like the starting point of all. It's because it proved to rock musicians and, and, you know, the

the fans of rock music that, you know. They had an audience for this. Well, and that like, hey, you can take a rock song and movements to it and, like, add interludes to it, you know, and make it, like, compelling and, like, you know, write these really complex arrangements and transitions for rock songs, you know. Yeah. Yeah. And it's really interesting.

Yeah. And the other song, well, I've got a few more, a couple more songs to play, but the other main song that I want to focus on. it's similar in that way, you know, it's got movements and something. That's why I picked it because I feel like that's what makes this album so amazing and why it's, you know, people point to it as like one of the most important prog rock albums of all time. Yeah, so I want to play maybe the whole song.

It's almost three minutes long, maybe not the whole song, but I wanted to play this one instrumental track called The Fish, just because I like it. It's a song that Chris Squire wrote only using his bass guitar. That's his nickname. He goes by The Fish because he has a tendency of taking long baths. And he's also a Pisces. So here's a little bit of track 6 called The Fish. Yeah, I think that track really showcases what Bill Brufford brought to the table behind the kit.

Yeah, the drums. Yeah, the drums are really cool. You know, there's some sort of like, there's some sort of, I don't know, xylophone or something like that behind that. Yeah. Yeah, and I said that was an instrumental track. I mean, you know, they're singing. So that was the subtitle, I guess, of the song. That's just the name of a fish, the family name of a fish, whatever, you know,

it's scientific name of a species of fish. But yeah, it's just kind of a interlude kind of track, if you want to call it that. Yeah, really cool. So we haven't really talked about John Anderson yet and like what a unique voice he had. Yeah. Like it really does, you know, especially on the last track south side of the sky. Like, man, he can like yell. You know, it's almost like he's, he's, yeah, he's singing really loudly at some points very like passionately.

Oh, it's, yeah, no, I mean, it's, he's got, he's got a voice for, for, for, for, for sure. Sure. But, you know, it really helps sort of, I don't want to say like, you know, juxtapose or whatever, but like, you know, it provides you good contrast with, you know, transitioning. Because, you know, obviously he's also doing these like very like melodic, like harmony type stuff too. Yeah, he does just do a lot of the backing tracks himself. Yeah. So, I mean, it showcases how versatile he is, right? Yeah. And we should note too that he, he, he, he, he, he, He was one of the founding members of the band, so he is yes.

Sure, yeah. So this ended up being a music-heavy episode. We didn't want to bore you too much, you know, with historical details because, I mean, really, that's not what this podcast is about anyways. Well, and for a band, you know, we talk about bands that are as popular and, like, well-known as, as yes, and we don't feel like this podcast is about diving into the deep history of some of these super well-known bands that plenty of people know much, much about, right?

So we're more about like, hey, let's just listen to the music and talk about it, you know? Yeah, and you know what, dude? There's probably at least a couple podcasts that you can find in the Pantheon Music Network that dive a little bit deeper into this kind of stuff, you know?

Yeah, they either dive into yes or dive into progressive rock, so yeah, check that out for sure. Pantheonpodcast.com. So anyway, all right, let's, You said you got one more song for us, right? Yes. So this is the last song on the album. Another doozy.

This one's 11.5 minutes long. And again, I've just kind of picked a couple different movements, I guess, from the song. We're going to start with the beginning of it. It is called Heart of the Sunrise. Yeah, I mean, again, you know, shout out to Bill on the drums there. Because, I mean, that's almost like, that's jazz, you know. some jazz drum. Yeah, I liked how the majority of the beginning of this song is just kind of a, you know,

playing back and forth, you know, feeling each other, you know, bass and drums. Sure. You know, and then Wakeman's kind of just in the background, like, you know, just quietly doing, doing, you know, pretty stuff on the organ, kind of in the background. But, uh, and then what's his name? How? Steve Howie. kind of like it kind of fades into his crazy guitar work towards the end of that so the first

the beginning of that song again just got to remember this is an 11 and a half minute song but I faded it out right as it was going to like quiet down and then Anderson comes in with with his vocals so let's play clip two shall we that's great man yeah it's kind of a lengthy clip but again 11 and a half minute song i couldn't fade out like with so many parts in that but you got yeah you got to hear that you got to hear that whole segment to really get the impact of it yeah yeah but you know not to say this again but like that really showcases how how versatile his vocals are you know because that's a very soft like delivery on this one versus on um south side of the sky on south side of the sky

his voice had a little bit more edge and a little bit more bite to it you know the thing about the way that Anderson approached his vocals on this record you know was just the same way that the the music itself

you know flows in and out of of these softer and harder moments you know yeah great record um I know it's good that we're getting lengthy here dude I want to play just a smidget of another kind of little small track.

Then we got to do our watcher heard. I know, hey, we'll breeze through those, okay. But I wanted to show this. I want to play this song. It's track three. It's called We Have Heaven. So this reminds me of what Animal Collective does so well, where it's just layers and layers and layers.

And there's vocal layers in this song that are really cool. So anyways, this is a. another one of my favorites on the record. It's called We Have Heaven. Whimsical little song. I love that one. That's interesting, yeah. So there's some,

there's some tracks on, on that album by the Nice that I played a clip from earlier that have that same kind of whimsical vibe to it. What's the name of that style of singing? It's like, like, seesaw or something, you know, where it's like back and forth

and it builds. Anyways, dude, I love that. Yeah. interesting. So, you know, like we say a lot on this podcast, you know, we just barely scratch the surface there. Yeah. And like we say every week now, got to listen to it.

You, you know, from track one, I mean, this is one of those, like, you absolutely have to listen to it all the way through. Yeah. But I think you're, the tracks that you picked, I think definitely, uh, showcase. just how versatile the album is, you know? Yeah, and you know that one... You're going to hear all those different things when you listen to this album.

Like, you're going to hear all that, you know? Yeah, and that song I played first for us, the cans and Brahms, there's another track on here called Mood for a Day, which is pretty much another classical piece. It's really pretty classical guitar. Yeah, cool. Yeah.

Yeah, I think that's... Or it's a lute or something, I don't know, something like that. Definitely something about Steve Howe, Steve Howie, Steve Hoey is just how incredible of a guitar player is. Like if you listen to the beginning of Roundabout, right, that classical guitar

in the beginning of that. Yeah. It's one of the most iconic like intros to a rock song of all time, you know? Yeah, totally. All right, dude, we got to wrap it up because you know what we're bringing back? I mean, they're already back,

so we're going to do it again. What you heard. Yeah. Yes. Who started last time? was it you? I don't remember. Well, dude, I'm excited because let me go first.

All right, go ahead. Did you know that Spoon released a album from there? Have you listened to it? I haven't listened to it. Okay, good. I thought it was just a track, right? One track? It's just one track.

What did I say, album? Yeah. So this is from the series of Sneaks era, right? Yes. And it was never released. You know, they just released that greatest hits collection called Everything Hits at once. And there was a single on that.

Yes. There was a brand new track from that. That I wasn't very, I don't know. It's okay. I wasn't too interested in it. Yeah. And you know what? If this is your first time joining us,

scroll through our episodes, we cover Spoon extensively for a good like three, four months. Not straight, but we cover a lot of their albums. We're big fans of Spoon. Anyways, dude, this song is awesome. it's called Shake It Off and let's just let it play. I fucking love that song, man. I love it.

Yeah, I just, he's one of my favorite. I mean, shit, we know this. We know. Dude. Like, he's, he's one of our favorite vocalists, one of my favorite rockers of the last. Guitar player, singer songwriters. Yeah, dude. And it's just, man, it's great to hear a track from that era, man.

Yes. So again, so that was from a series of sneaks. That was from that era. That's 1998 is when that came out. And here's what, here's what, Here's why I love that song so much, dude. It's got like some country twang to it, even with Eno's drumming style in that song.

And that's cool because these guys are from Austin. Yeah, dude. I just love it so much. Well, I mean, this is before they, right before they broke up with the record label, right? And then they came out with girls can tell. Girls can tell. So yeah, yeah, that's awesome, man.

You know, it just makes you wonder, like, do they have enough material? from that era to put out a whole record because I would love that. That would love that. I mean, because if they're, think about it, man, that song's been sitting there for almost 20 years.

Um, yeah. So that's, that's cool, man. I, uh, yeah, like I said, I hope they keep releasing singles like that from that. I mean,

think about it, dude, if there's a single like that from that era, I bet you there's unreleased material from the girls can tell era and they kill the moonlight era. Dude, we got to wait another, I mean,

we got to wait like 50 year, uh, anniversary status. Like, you know, we're getting all this shit from the Beatles now that, uh, that, uh, George Martin's son has been working with. Do we got to wait that long, dude? And we're gonna, they got it. They've got it right now.

Oh, I know they say, well, they had all those Beatles recordings. I'm saying, time will come, dude. We'll be hearing new stuff from Spoon for the rest of our lives, regardless of whether or not they're still together. I feel like we're, we're, we're going to keep hearing recordings from them that are resurfaced like this one. Anyway, so again, that was called Shake It Off. That was a B-side that they released for the single No Bullets Spint, which came out alongside their everything hits at once, best of album that just came out this year.

So if you're a fan of Spoon or if you liked what you heard and you haven't heard of Spoon before, like Quentin had mentioned, we covered them extensively. we did series of snakes all the way through Gimme Fiction, right? Yeah, so we covered four albums of theirs. Yeah, we covered four albums of theirs over four episodes. So go back and check those out in our feed or on our website. All right, so let me play my What You Heard for the week. So this song is actually brought to you by our older brother, Spencer.

Hey, no. So I was in the car with him for, you know, maybe eight hours in total over the weekend. We took a little road trip down to Houston to catch a baseball game. And we were listening to music as we would do, right? And he had discovered this artist who goes by Canaloo, or that might be its actual name. I don't know. So he is described as a psychedelic funk artist. Cool.

And we're just going to play the title track off of his album called Lotus Gate, which is his only full-length release to date. And it came out this year. It actually came out in June. So it's pretty fresh. Awesome. Anyway, this song is called Lotus Gate. Mm.

That is a tasty jam. indeed so yeah and so the the and I think this is why he he had thought to to cue him up on the in the car was that we were listening to like some actually key we were listening to your psych daily playlist and chas bundrick or chas bundick came up yeah dude I was thinking of that too you know what I was going to say vocals right I was going to say it sounds like Toro Imois mixed with like Michael Franks Michael Franks Dude now that is a fucking I haven't thought about that guy But anyway Great track

I think the rest of the record is Sort of I mean if you like that The rest of the record is pretty similar That was great Anyway So there you go There's our watch your hurts for the week If you don't know what those are

Obviously Basically we just bring we each bring a track to the table, something that we heard over the last few days since we last spoke. And again, it's just another way to share more music with you guys. Yeah, dude, I'm glad we brought it back, man,

because I love listening to music with you, dude. Yeah, and, you know, I'm glad that we're playing it at the end and it's to the beginning. So, you know, if you stick around long enough, you get to hear a couple extra tracks. But that's it. So that's what we got for the week. I think unless you've got another idea, Q,

there's another track off of that, that album by The Nice that I think would make an interesting side track, only because it's a really interesting track. Okay. So yeah, that's going to do it for us today. We'll be shouting at you next week with a little side track covering a little bit more of the Nice.

So we'll be playing another couple prog rock songs for you. So until next week, hop on to Pantheon podcast dot com. You'll find a link to our website on there. And you can check out a lot of other great music podcasts that are in the network. Lots of great, great musical content. And again, we're going to fade us out with another song from Fragile. This one is called Mood for a Day. And as always, thank you so much for listening. My name is Quentin. And my name is Travis. We'll talk to you guys next. week. Don't forget Pantheonpodcasts.com. Check it out.