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Spoons
Nova Heart / Symmetry - 7"
Ready - 1982
Mike Milner
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The late 1970s and early 1980s were fertile grounds for the growth of new wave music in Southern Ontario. The young musicians at the time were of the right age to have heard of the sixties rock and roll bands but not to be overly influenced by them, and to have been teenagers when the golden age of Canadian pop music was on the radio (thank you CanCon). Their musical influences were broader and deeper, and consequently their music reflected that.
Arguably, one of the finest representatives of this genre was a group called Spoons (and not the Spoons, just Spoons). This quartet came together in 1979 in Burlington (ON), on the north shore of Lake Ontario just west of Toronto. As with so many other bands, things got started when the four members met and became friends at high school. Although there have been a few personnel changes throughout their history - and it should be noted Spoons are still together - two of the original members, Gordon Deppe (lead vocals and guitar) and Sandy Horne (vocals and bass) have been there from the beginning. Deppe has been the main songwriter as well, although other members have also contributed. The two other original members were Rob Preuss on keyboards and synthesizer and drummer Derrick Ross.
It is common to assume that successful artists have spent years toiling in obscurity before the brass ring suddenly appears. Spoons, on the other hand, hit the ground running. After releasing an independent single in 1980 (the quirky 'After the Institution' on Mannequin) they entered Daniel Lanois' Grant Avenue Studios in Hamilton the following year and recorded their debut LP Stick Figure Neighbourhood . The album received positive reviews (in particular from the magazine Canadian Musician in their Nov/Dec '81 issue) and the general consensus was that Spoons were a group to keep an eye on. What stood out was Gordon Deppe's guitar, the tight ensemble playing, the excellent vocals and the all-around interesting songs. In other words, a very good first record, especially for such a young band, and a portent of things to come.
If the Spoons' debut record put them on the radar, then their second offering, Arias & Symphonies, placed them squarely front and centre in the Canadian music scene. Gordon Deppe had indicated during interviews that the follow-up to Stick Figure Neighbourhood would be more dance-oriented, and the commercial appeal of Arias & Symphonies could not be ignored. The album contained three hit singles; 'Nova Heart', 'Arias & Symphonies' and ''Smiling In Winter'. It was recorded partially in London at AIR Studios and in Toronto at Sounds Interchange.
The songs on Aria & Symphonies revealed real growth in the band's musicianship and songwriting. Not only were they radio-friendly, they were tighter and more focused. Deppe's singing was more dynamic and noticeably up front in the mix. There was an excellent balance of all of the instruments, with an emphasis on sparse guitar lines, keyboard textures, synthesizer melodies and prominent bass lines. While not immediately obvious, closer listening reveals carefully layered background and harmony vocals, adding an ethereal quality to the songs.
For this recording, noted British producer John Punter (Japan, Roxy Music) was brought on board. He was an inspired choice, and the resulting recording featured a more sophisticated and lusher sound, with more space between the instruments and a greater use of dynamics in the songs themselves. Punter was au courant with the new wave music scene in England, having worked with a number of bands in that genre and thus making him the perfect choice for producing the music Spoons were recording. (In fact, Deppe has said that some people, upon first hearing the music, assumed Spoons were English). Punter was also very knowledgeable about the most recent musical technology, allowing Spoons to incorporate cutting-edge instrumentation into their songs. For instance, Deppe explained to CM that they were able to use instruments which were not really well known to add certain textures to their songs (the hand claps in 'Nova Heart', for one). "We caught a lot of sounds and new developments just as they were happening," he noted, "and a lot of that was thanks to the new producer."
The standout track from Arias & Symphonies was without a doubt the radio-friendly single 'Nova Heart', which garnered the group some serious airplay. Its infectious beat and strong backbeat (listen for the handclaps) along with Horne's excellent bass playing and Deppe's tasty guitar licks made it perfect for dancefloors as well. The format is basically ABAB (verse, chorus, verse, chorus, solo and chorus). After the synth solo, the chorus is repeated and the band uses a fade to complete the song. Lyrically, 'Nova Heart' was a futuristic coming-of-age story that perfectly complemented its modernist sound.
Through one of those serendipitous acts of fate that seem to occur just when they are needed, the era of music videos was just commencing, and Spoons were perfectly placed to take advantage. The group's members were very photogenic and the video for 'Nova Heart' (which appeared on the initial episode of MuchMusic) would soon become a staple for the station.
Noted Canadian music writer Bob Mersereau ranked 'Nova Heart' #96 in his 2010 book The Top 100 Canadian Singles. And it is a testament to the quality of Spoons' music that the record is still being played on the radio to this day.
('Nova Heart' was released in both 7" and 12" formats in a number of countries, many sheathed in attractive picture sleeves, like the Italian seven-inch version pictured above.)
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Ready
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