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Elsewhere, “Chicago At Night” tells an especially bleak tale of a young woman being swallowed by the unflinching pace of city life. “Believing Is Art” recalls the tense build-ups of Telephono, but trades all-out ferocity for icy restraint. While Girls Can Tell is no doubt a thrilling document on how Spoon became Spoon, these 11 tunes are some of the band’s most chilled and detached. It’s a devastating track made all the more effective by the band eschewing its earlier alt-rock tendencies to create something much more emotive and personal. In the chorus, husky piano casts a dark pallor over the stinging guitar, a sonic combination the band would revisit time and time again. Inspired by ‘60s R&B and Something Else-era Kinks, the immediate differences between Girls Can Tell and the band’s prior releases are apparent from opener “Everything Hits At Once.”Įno rolls into a steady beat as Daniel’s wounded, weary voice comes to terms with a freshly dissolved relationship.
#Pearl jam albums best to worst series#
Spoon also does post-punk honest with the flattening “Got Nuffin” and teeth-gnashing “Written In Reverse.”Īfter the near fatal album rollout behind A Series of Sneaks, Spoon released a shade-throwing single, the stellar Love Ways EP and, most importantly, the record that laid the groundwork for the band’s slow and steady rise to indie rock icons. “Who Makes Your Money”’s hushed ghost-funk can come off obtuse at first, but Daniel’s soulful vocal performance and the mid-song krautrock breakdown reveal greater layers after a few revisits.
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Half the takes are actually original song demos touched up with a professional mix by longtime engineer Mike McCarthy.Īll in all, Transference is the true grower of the Spoon discography, a record offering increased rewards to third and fourth listens.
Rather than use a traditional producer, the band recorded much of Transference on its own, wishing to make, in Daniel’s words, an “uglier” record.
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It also cracked the Billboard 200’s top 10, the band’s highest position at the time, by selling 53,000 copies in its first week. Released after Spoon’s chart flirting Ga Ga Ga Ga Ga, it’s a weirder record that updates the muted tones of Girls Can Tell with a decade’s worth of experience in studio trickery and tighter playing. Transference is, by no means, the late-career letdown some fans paint it as. Like Radiohead’s Pablo Honey, Telephono is a window into an alternate timeline where Spoon was simply drowned out by its influences, never finding its signature, hip swinging style. While the band are no strangers to strangling guitars into chaos, the grunge fury of “Claws Tracking” and “Not Turning Off” sound uncharacteristic and trite. This may seem like a trivial detail, but it stresses the jagged aggression Spoon tried so hard to pack in these songs. It’s also the only Spoon record where Daniel ever uses the word “fuck” as a lyric. Telephono features 14 frenetic, frenzied alternative rock songs heavily indebted to the quiet-loud-quiet dynamic the Pixies grafted into the sub-genre’s DNA a few years prior.
Spoon’s rough, nervy debut is, arguably, the only true dent in its discography. Previously, Paste offered another definitive Spoon ranking of its top 10 songs, but today, on the release day of the band’s ninth studio album, Hot Thoughts, we attempt a ranking of every Spoon record. Throughout the years, Spoon has managed to hone a distinct, tell-tale sound that only takes a few seconds and key instruments to identify. The band’s other sole original member is Jim Eno, a deceptively talented drummer and veteran audio engineer. The man behind all of these brilliant songs is Britt Daniel, whose sharp, pinched bark and smooth croons also make him one of the greatest voices in modern rock ’n’ roll. While they are a stellar rock group first and foremost, some of their best material goes down bizarre, unconventional paths with nary a guitar in earshot. Spoon expertly fuse experimental eccentricities with tightly constructed pop songwriting to cover topics ranging from matters of the heart to the search for true personal identity. While consistent is a convenient descriptor, high album scores aren’t what make Spoon such a beloved group. This detail isn’t mere flattery in 2009, review aggregate site Metacritic tallied the numbers to reveal Spoon as the “overall top artist of the decade,” with the majority of the band’s albums scoring above an 80, meaning great. In every feature, review or other written piece about Spoon, the adjective “consistent” is almost always used to describe the Austin rock band’s critically lauded discography.
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