Album of the Week: Spoon&#8217

Album of the Week: Spoon’s They Want My Soul The best success a band can have is through consistency. I’m not talking about playing the same style in each album you put out, but instead putting out quality music while not being afraid to push boundaries and try new things. Coming a long way from the lo-fi punkish alternative rock sound of their debut alum Telephono back in 1996, Spoon are back with their first album in four years with They Want My Soul. It might not be as commercial sounding as their chart topper Ga Ga Ga Ga Ga that came out in 2007 or as raw and risk-taking as their earlier material, but Spoon’s new album shows originality, proving that over time they haven’t strayed from their artistic identity. They call it rock & roll; I just think it’s a breath of fresh air in a year of highs and lows. Releasing their first album off of a new label after leaving a long-time relationship with Merge Records to join Loma Vista Recordings, Spoon is part of an eclectic brand that suits their style perfectly. A few tracks are straight-up rockers with forceful guitars riffs while others offer a mellow take with a heavy base of synth and keys. You can’t deny that front man Britt Daniel still brings his Sinatra beatnik soul, putting his heart into every track over the wonderful rhythms. There’s still that trademark groove that sets Spoon apart from a lot of other bands. You will be head bobbing and feet tapping; if you’re adventurous you might even feel the need to jump around like you’re on a pogo stick. People are already getting sad that summer is coming to a close and it’s not even the end of August. It’s time for a last-minute BBQ or final trip to the beach to bask in the sun. It’s also time for the top tracks off of my Album Of The Week. It’ll be a great guide to what tracks to jam out your car stereo or to just wake up the neighbors in the privacy of your own home. One thing is guaranteed: Your music taste will thank you for it. I’ve fallen in love with the first single off of They Want My Soul in “Rent I Pay.” The drum beats combine with the infectious guitar riffs to create a genuinely catchy tune that you can listen to over and over again. The bass licks really make “Rainy Taxi” special; when everything else kicks in you’ll be cutting the coolest rug on the block. A new wavy track in “Outlier” makes me think I’m at a New Order and Depeche Mode concert; this synth-groove number is definitely one for the ravers. Bluesy, soulful and a great departure from everything else on the album, on “I Just Don’t Understand” Britt’s acoustic guitar reels you in and the rest takes it over in the best way only Spoon can. Spoon officially release They Want My Soul on August 5, and you can get a special vinyl release at select record stores listed on the band’s website. If that isn’t cool enough, Spoon will be part of a stacked bill at the 2nd edition of the 2014 Boston Calling Music Festival going on during September 5 – 7 at Boston’s City Hall. Until then, grab yourself a copy of They Want My Soul and enjoy. Spoon’s website: spoontheband.com.

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April 13-19, 2017
APRIL 13-19, 2017 FACEBOOK.COM/WHATZUPFORTWAYNE • WWW.WHATZUP.COM TICKETS ON SALE NOW! TICKETS ON SALE NOW! MORE COWBELL! FROM GRAND FUNK RAILROAD 2 ----------------------------------------------------------------------------------- www.whatzup.com ---------------------------------------------------------------- April 13, 2017 whatzup Volume 21, Number 35 ou may have noticed that we spend a lot of time in this space discussing whatzup.com. There’s a good reason for that. This past Friday, for exam- ple, whatzup.com tallied 3,596 individual visitors, and we’re averaging Ybetter than 2,200 unique visitors per day, up about 50 percent from this time last year. We cannot, at this point, calculate how many people visit the site in a week, but we’re quite certain that it’s substantially more than the number of people who pick up the print version each week. Not that we want to discourage those of you who pick up the print version of whatzup from doing so, but you should check out the website as well. Why? Because we can do stuff on whatzup.com that we cannot do in print – things like providing a complete karaoke and DJ calendar; publishing a movie page that includes all of today’s, or tomorrow’s, or the next day’s movie times at all the movie theaters in the area; providing videos of performances by area bands; pro- viding up to date listings of all the national concerts in the region, not just what fits onto three, four or five printed pages – and that’s just scratching the surface. So sit down with this paper – or with your phone or at your computer – and enjoy this issue of the Fort Wayne area’s one and only free-distribution weekly arts & entertainment publication.
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Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers.
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In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
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Spoon Schonebergkonzerte
KONZERTBÜR O PRESSEMITTEILUNG VOM 08.12.2017 Konzertbüro Schoneberg GmbH Amtsgericht Münster · HRB 3232 USt.-ID-Nummer: DE126111533 Geschäftsführer: Till Schoneberg Spoon www.schoneberg.de schonebergkonzerte 2018 auf Deutschlandtournee „Hot Thoughts“ (2017), das mittlerweile neunte Album von Spoon, ist das wohl mutigste und klanglich innovativste Werk ihrer Kariere, selbst wenn man Britt Daniels diverse andere Outputs hinzunimmt. Mit Respekt für ihre bisherigen Erfolge, die die Band sowohl bei Kritikern beliebt, als auch finanziell erfolgreich gemacht hat, radiert „Hot Thoughts“ doch eben alle bisher vorgefertigten Meinungen über die US-amerikanische Band aus. Das bedeutet zwar nicht, dass es nicht immer noch eine hohe Dichte an einnehmenden Ohrwürmern auf dem neuen Album gibt (es sind ja immer noch Spoon, über die wir hier reden - auch wenn „Hot Thoughts“ das erste Album ohne Akustik-Gitarre ist) – aber ihren textlichen Bogen spannen sie nun von sinnlich bis listig, während sie nach all den Experimenten der Vergangenheit ihren Sound zwischen den Genre-Stühlen gefunden haben. Anerkennung sollte man auch dem Produzenten Dave Fridmann zollen, dessen Magie in Cassadaga, New York der Band noch einen diabolischen Glanz verleihen konnte. Ohne Frage kann man schon die bisherige Discographie von Spoon bzw. Britt Daniel, Drummer Jim Eno, Bassist Rob Pope und Alex Fischel vom Debüt „Telephono“ aus dem Jahr 1996, über „A Serie Of Sneaks“ (1998), „Girls Can Tell“ (2001), „Kill The Moonlight“ (2002), „Gimme Fiction“ (2005), „Ga Ga Ga Ga Ga“ (2007), „Transference“ (2010) und „They Want My Soul“ (2014) als einzigartige Gewinnserie bezeichnen, aber dennoch ragt hier „Hot Thoughts“ als neues, futuristisches Kapitel im Schaffen der US-Amerikaner heraus.
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The Echo: December 9, 2005
Taylor University Pillars at Taylor University 2005-2006 (Volume 93) The Echo 12-9-2005 The Echo: December 9, 2005 Taylor University Follow this and additional works at: https://pillars.taylor.edu/echo-2005-2006 Part of the Higher Education Commons Recommended Citation Taylor University, "The Echo: December 9, 2005" (2005). 2005-2006 (Volume 93). 14. https://pillars.taylor.edu/echo-2005-2006/14 This Book is brought to you for free and open access by the The Echo at Pillars at Taylor University. It has been accepted for inclusion in 2005-2006 (Volume 93) by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. Wilt passes responsibility Football head coach resigns Deck the Halls Inside photo THEECHO spread reflects dorm open houses DECEMBER 9, 2005 T AYLOR UNIVERSITY SINCE 1915 - VOLUME 93, NO. 14 Surges Students ﬁ lm SINBAD scare Taylor records Homeland Security exercise students BY KELSEY DUFENDACH BY TIM SUTHERLAND CONTRIBUTOR CONTRIBUTOR Two severe thunderstorms A team of 13 Taylor Uni- pelted Taylor on consecutive versity students and faculty Tuesdays this fall. Each storm from the Communication brought tornado warnings, Arts Department left for the sending students to lower Muscatauck Urban Training levels and interior rooms for Center in Jennings County on safety. Wednesday to ﬁ lm a training The storms caused some exercise for law enforcement students to worry about their agencies. The project was electronic equipment and the called Operation SINBAD, valuable data within it. With which stands for Southern winter quickly approaching, Indiana Bioterrorism Attack some students now fear elec- and Defense.
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