Ready to decode the legacy of The Tragically Hip and the enduring impact they've had on Canadian music and culture? Promise us your ears and we'll share an exciting exploration of the band's influence, creativity, and unique place in the hearts of their fans. Today, we're joined by the Emcee of Longslice Presents: Getting Hip to the Hip - An Evening for the Downie Wenjack Fund, Delhi stand-up, Pete Van Dyk. Today he plays the host on his podcast, "Live from the Dutch Hall." And he's invited jD, Pete, & Tim along for the ride. Together we reflect on our personal connections to The Hip, discuss the band's Canadian roots, and consider why their sound may not have resonated as widely beyond Canada's borders.

Make sure to get your tickets for Longslice Presents: Getting Hip to the Hip - An Evening for the Downie Wenjack Fund today: https://bit.ly/GHTTHTickets

Transcript

0:00:10 - Speaker 2

Long Slice Brewery presents Getting Hip to the Hip. 

0:00:27 - Speaker 3

Hey, it's JD here and I am sans Pete and Tim at the moment, but they'll be joining us in just a few minutes. I am here to set up what is a new series within Getting Hip to the Hip. It's called Getting to Know Your MC And there will be a second installment of this called Getting to Know Your Band, And basically these episodes are designed to allow you to get inside of Long Slice Presents Getting Hip to the Hip an evening for the Downy Wend Jack Fund before that event even occurs. That way, when you buy your tickets and you can buy them at GettingHipToTheHipcom and clicking on the ticket button From there it's easy peasy you just have to show up at the event. So there's that. 

I would say that Pete van Dijk is a great stand-up comedian and he will be emceeing us. He's also a podcaster, hosting a show called Live from the Dutch Hall, And just recently he had Pete and Tim and myself on as guests And he graciously gave us a copy of the tape. He had it flown in live from Delhi and I'm going to put it up on our feed. It's going to be well. It's going to come up to you in just a second, So why don't I stop Blither Blathering and we'll get to Live from the Dutch Hall with Pete van Dijk and our friends Pete and Tim, as we discuss the podcast on Live from the Dutch Hall. 

0:02:41 - Speaker 4

Hey, hey, hey, hey. Welcome everybody to the Dutch Hall. We're coming to you live from the Pool Shed in Pine Grove, ontario, for episode 445, believe it or not. 445 times we have done this stupid thing, and this time we have roped two people from different parts of the planet and one person who was from here but had to come back here on a long journey today. That's right, and I'm very happy to have them in. All first timers, all Dutch Hall virgins, and they're here to promote a podcast, which is a really interesting concept, especially for a guy like me from Southern Ontario. 

The hip is really was really a band that was pivotal, pivotal, pivotal Is that right? That's right. Pivotal to a kid like me. It came up at the right time. They were like hitting it the same time that I was getting in to be in the most awesomeest part of my life, you know, and these guys, two of these fellas have no such experience at all. One of these fellas would have a very similar one, and the idea of the podcast is to let these two guys understand what us two guys feel about this band. And so I entered with these myself. Yet, jamie, yeah, you haven't really now. 

Oh well, i'll start off by introducing myself. I am the host of the show. In two time You're supposed to say two time, two time. There you go. President's Club Award winner, pete Van Dyke No applause, no applause. And our guest today, the one that's come from Waterford, ontario. He's a. He's a Waterford native, that's right, norfolk County boy. But he's moved to the big city and he's made a life for himself. First time here in the Dutch Hall, ladies and gentlemen, say hello to Jamie, do everybody, jamie do. 

0:04:40 - Speaker 3

It is great to be back. Great to be back to Norfolk. I mean great to be back in Ontario's garden. Oh yes, Thank you. 

0:04:49 - Speaker 4

Shout out to us and our guests And you're going to have to help me, jamie, on the last names here, let's try, i will. From San Diego, california, is Tim Lion, lion, everybody, i'll take it Yeah. 

0:05:07 - Speaker 5

Happy to be here. Thanks for having me. 

0:05:10 - Speaker 4

Thank you, Tim, And coming from Malaga, Spain. 

0:05:14 - Speaker 3

Malaga, spain. This is Pete from Spain. He doesn't have a last name. Yes, of course he does Marchica, pete, marchica, everybody. 

0:05:22 - Speaker 4

Pete Marchica. 

0:05:26 - Speaker 1

My middle name is is is from Spain. What's your middle? 

0:05:29 - Speaker 4

name From Spain. Oh, i'm joking, i'm your. You know, actually I have a. I have a nephew and his middle name, his name is this is seriously, his name is Adrian adventure Pitaski And, like it's just so, he could go around his parents name on that So he could tell people my, my adventure is my middle name, right? Wow, i love it. That's my nephew, that's real, that's my nephew, like that's that is cool. 

Like you want to get named. It's like your parents just made you James Bond, yeah Right. Like it is major, coolest. No, this kid's got to live up to that middle name. He's got to live life, yeah Right, yeah, hopefully he's not trepidatious of everything, yeah. 

0:06:10 - Speaker 3

What if he's just like an accountant, You know? 

0:06:14 - Speaker 4

it'll probably be cooking the books. Yeah Yeah, the name like adventure. 

You know that's a, that's just a gift, that's a gift from your parents, so uh, I think it's a little bit of a, a little bit of a, a little bit of a. It's a gift, that's a gift from your parents. So, uh, i want, I hope so, yeah, yeah, i hope so, or curse, or curse. Um, i wanted to say the band we're talking about is tragically hip. That's right. The band, uh, that, uh, if you the credit tragic lips, from Kingston, ontario, and for some reason the tragically hip have been a band that have uh made it in Canada. They were enormous in Canada, but as much as we tried to explain them to the rest of the band, we tried to explain them to the rest of the world, the rest of the world just didn't get them. 

0:06:57 - Speaker 3

No, Would you agree with that, Jamie? I would agree with that. And uh, these two are the avatars for the rest of the world. 

0:07:03 - Speaker 4

Yeah, And now is there a. Is there a band, uh, either in the United States or in Spain, that you would say would be like a band that is beloved in your country, but the rest of the world doesn't get it, You know. 

0:07:21 - Speaker 1

Tim, you want to take that one for the US Oh tough one, Yeah that is a tough one for US actually. 

0:07:26 - Speaker 5

Yeah, yeah, i have no idea, because I feel like if you break, i'm going to have to do some homework. 

0:07:31 - Speaker 3

I feel like if you break in the US, part of that breaking in the US is breaking internationally. 

0:07:37 - Speaker 4

Yeah, like the rest of the world will like what you guys like. Yeah, there's not much that you guys like, unless there's some guy like you know, like what's the name of that fella? He's, like you know, proud to be an American, or like the, or like one of those country guys who were really like patriotic and over the top. That might be a little bit. That's the country singer. 

0:08:00 - Speaker 3

What's his? 

0:08:00 - Speaker 4

name. That might be too much for like people outside the States. 

0:08:04 - Speaker 1

Yeah, that's true. No, I know what you're saying. 

0:08:07 - Speaker 4

You know what's the guy's name The big? Yeah, i know who you mean. See, that's me. We're from Canada. We don't know the guy's name? Danim Vast. Yeah, we got tons of them. You know how? about Spain? 

0:08:22 - Speaker 1

You know there's a band here called Los Planetes, which translates to the planets, if you will, and you know they're extremely popular. I mean they've got like there's a couple of the members have spinoff bands. I mean you can't you can't go to any corner of this country and not know somebody who knows Los Planetes. So they're like sort of as an indie rock band, sort of like I guess you'd say the hip did. But but yeah, dude, outside of if you mentioned Los Planetes outside of Spain, nobody knows what they're talking about. 

0:08:54 - Speaker 3

Yeah, i've never heard of them, yeah. 

0:08:56 - Speaker 4

I know that the tragically hip themselves were friends with the band the real statics out of England because they had the same issue as them. They were huge in England but the rest of the world Real statics are from the town. No, not real statics, stereophonics They say those bands were on. Oh, it was about to correct. Yes, i apologize. The real stacks actually open for the hip, yeah, but the stereophonics, and so they'd always, if they came out with an album, the hip would give an album to the stereophonics, stereophonics would give an album to the hips when they came out with a new one, because they had this mutual like kind of like, you know, like sister cities and stuff like that. 

0:09:36 - Speaker 3

It was like the same thing, but like sister bands, you know, i feel like the last time stereophonics played in Toronto it was post score dying and they played a hip song. Yeah, that would make a huge sense And I didn't. But I didn't know that there was that connection. 

0:09:47 - Speaker 4

I just thought they were just doing a tribute to oh no, they were big fans of it, like big fans of each other, and they both had the same thing. They could never break in the States and they were like huge in their own countries And even in Canada the stereophonics didn't really make too much of a splash. I just remember that having a stay song. Yeah, i like that band actually. Yeah. 

0:10:07 - Speaker 5

I can only think of bands from the U S that have done well outside the U S. You know like bigger tours outside the U S, but there are a ton. 

0:10:16 - Speaker 1

There are a ton of like Canadian bands that like have had broken through to me, for Christ's sake. You got Neil Young, you've got the Lannis, you've got Brian Adams, right, nickelback, you know. 

0:10:29 - Speaker 5

Nickelback. Yeah, that one band Rush. is that what they're called? 

0:10:33 - Speaker 1

Yeah, yeah, i mean one of the greatest bands of all time. It's a real crowd splitter rush. 

0:10:41 - Speaker 3

I agree Because. I've never I was never a Rush guy. 

0:10:43 - Speaker 4

If you don't, if you like Rush, you really like Rush Big time. I think it's like Bruce Springsteen. You know, bruce Springsteen, the guys that like Bruce, they love Bruce, Like they really like Oh my gosh. 

0:10:54 - Speaker 5

Yeah, we have a good friend who follows Bruce and I just Yeah, they're like, they're you and Target on that. God bless Michelle. 

0:11:02 - Speaker 4

Yeah, and my cousin's husband is like that, he's traveled all around to see Bruce, eh, and he knows him Like it. Just it means so much to him. Man, i envy that about him, but I just don't get it. Yeah, it just doesn't. 

0:11:18 - Speaker 3

I like Springsteen, but I'm not. I wouldn't do a follow along, or Yeah. 

0:11:23 - Speaker 4

You're in camp too, like either you love him or you're like oh, he's the boss, you know he's good. 

0:11:29 - Speaker 5

Yeah, i like a couple, you know I like it enough It's fine, there's lots of bands I would go see perform live if I got a free ticket. 

0:11:38 - Speaker 1

Right, yeah, i got free tickets to see Springsteen. That's the only reason I saw him. But back in the day I think we told this on the pod or I may have mentioned it on the pod when we did some, when we recorded, but back in the day, when I started playing in bands, like 25 years ago, you were, if you were a Rush fan, you were closeted. Like and I'm not even like joking Like in the US like if you liked Rush and you had Rush records, you were closeted. You didn't talk about it. I remember I was playing in a band with a guy named Jason Hirsch and he was our bass player and we played in a band for like seven or eight months and then one day it went over his house and it was like I found a bunch of porno mags in his corner. Like he's like, yeah, dude, i like Rush, and like the same was for Zappa, and I was like, dude, it's cool man, this is a safe space. 

0:12:30 - Speaker 4

I have a huge kit set up in the closet. I drummed a new apparel. That's funny man, but it was kind of that. There was like you just didn't know if you're, because they split the room, you either love it, like people hated Rush, or they loved Rush. You know, even in Canada, even in Canada, they're hardcore. I don't get it, you know. I think some It might be musicians though too, because like Rush, right, because they're technically Yeah, i mean because you just. 

0:13:01 - Speaker 1

The work of like the musicianship is like the fact that Geddy Lee can play His multi-instrumentalist on stage and singing is fucking stupid, yeah, like you know It's like Radiohead too. 

0:13:16 - Speaker 4

Right Like Radiohead, like Yeah, if the musicians get them more than the non-musicians, would you say that's true. 

0:13:26 - Speaker 5

I don't think so. I think Rush had a special kind of nerd dump. You know, like, if you ever knew, like a group of kids that played D&D, yeah, yeah, yeah. Like you know, like I don't know, rush has their own collective. Like, i have lots of friends who are radiohead fans and many of whom are not. 

0:13:44 - Speaker 1

We now ostracized the Rush crowd from Pete's podcast and now ostracized the D&D. 

0:13:55 - Speaker 4

I don't know. 

0:13:57 - Speaker 5

I saw D&D. friends, we're all good with each other. 

0:14:01 - Speaker 4

I've never played before. Have you done that Never? 

0:14:05 - Speaker 5

I won't touch a 12-side. I tried, like, when it became a thing, i tried with some kids in my neighborhood and I sat down with them and I was like are we going to drink some wine? Or you know, and that was the seventh grade Like it just felt like we were supposed to be naked or I don't know. It was just weird. Yeah, like It was really weird. I was like how far can we take role play right now? 

0:14:26 - Speaker 4

Yeah, you were an advanced. 

0:14:27 - Speaker 5

There's too much of a tease for me. 

0:14:29 - Speaker 4

No, i was like you were saying Dungeons Dragons makes a seemed a little like they was going to get a role. Did people wear costumes for that stuff? 

0:14:37 - Speaker 5

Well, no, i just felt like it was this level of intellectualism, you know, like that wasn't it being experiencing games and rush was kind of the same way, and maybe, you know, maybe the hip was too smart for the US, maybe it might be. 

0:14:51 - Speaker 4

It might be like there's, but I don't know how smart it was. It was like there's a. It's an interesting thing because I've only because of this podcast started. You know he's kind of reflect on you know I was a hip like, i am a hip fan and it, but I don't know if I'm associating it is just because they were around through a good part of my life. You know what I mean. Yeah, like I was young and having a good time and every show I went to or I could see them a lot, you know. So they were at a lot of like festivals and concerts that I would get a chance to go to. 

0:15:25 - Speaker 3

They were always on the bar, like whatever bar you go to, they were playing hip, you know yeah. 

0:15:30 - Speaker 1

They were like the LA. They were like Canada's version of X. If you live in LA, right, sure They were. They were still playing Cause like yeah, right, i know, but actually you could like go to any club on a given night in the 80s and 90s and that band was playing, and they're still playing. 

0:15:51 - Speaker 4

Yeah, they're still playing, and then I never seen a. 

The other thing that I think was was interesting about the hip, when you'd see them live, is like I've seen a lot of bands that would jam, you know, like they would like jam out a song, so it didn't sound like a radio version of it, like, but the hips the only one I can really say that vocalist was doing it too Like where the vocalist was jamming vocals, you know, and so you'd go to see them at a show and he'd be like gibberishing up there, you know, while they were like jamming something else out in the middle of a song, and then you'd go see the next tour and it would actually be a song that was on that album, you know, and like, do you remember seeing that too? 

Absolutely, yeah, i was called it breadcrumbs, right, like it was like little breadcrumbs and you're like that's going to be something like. I remember nautical disaster before it was nautical disaster, right, and then like, so, like I thought that was kind of cool, cause you kind of I don't remember another band that kind of let you in on the what's to come, you know, like, and and and let you watch the creative process, like the writing process, on stage, you know as obvious. 

0:17:05 - Speaker 5

Maybe the, maybe the doors, yeah, yeah, that's what's good. Jim Morrison did a fair amount of that, but there's not many. I mean, that was like lead singers riffing Yeah, there's not. Not many people are able to do that at all, is this? 

0:17:19 - Speaker 4

douchey. It really like it has the potential to go a little bit yourself in grandizing. You know, like, where it's like. Look at me, i'm an intellectual and you know even Jim Morrison and then Gord Downey. They both kind of you know they're like I'm not gonna do that. Their critics could accuse them of that, of being a little bit like you know in their own head or like too impressed by themselves. But I didn't get that impression from either of them but because I liked them. 

0:17:47 - Speaker 3

Yeah, me too. 

0:17:48 - Speaker 4

But and I like watching the creativity of it, you know, But doors is a perfect example, because that would be, I would say, the closest which I never got. to see them, So yeah. 

0:18:00 - Speaker 1

Pete, did you have you? because I don't know how much you dug into the pod, but we you know, one of the things that Tim and I struggle with is that you know, when we did the, when we did the pod, we recorded everything, because everything's recorded up into this point. Pretty much We're just kind of trickling the pods out leading up to the finale. 

But like a lot of folks, like you know, we had a week to digest the record and then it was week over week over week over week And, like so many people, like dude had fucking a year or two years to like and it had their whole lives to get to know this band. I think it's, you know, i'm not gonna we'll smoke up my own ass, but maybe I'll hold a little Tim's ass. But we, you know, i think it's, you know, i think it's, you know it's a little bit of a Tim's ass, but we, you know, i'm. I think it's pretty impressive because at this point, now that we're kind of all done, i fucking love this band. I mean, i've gone back and listened to the records we weren't super keen on and they're just dude, they're. I don't know what American rock fans were fucking thinking back in the day when this band was like pinky. 

0:19:14 - Speaker 5

Is that why? Yeah, i really think that a big part of why they didn't quote make it in the US, which they did to a degree, they just weren't selling out stadiums. But I think a big part of it had to do must have had to have been because of ill attempted marketing. Like, like, when bands go on tour, there are people behind the scenes that are doing promotions in every city. They're hanging posters, they're giving away tickets, they're talking about on the radio all of these things. You know everybody in LA who does this for a living And I talked to him briefly about it and he said marketing probably was marketing, i and can't. 

And I'm like, oh, you know, and the labels, when the hip was on with labels who weren't promoting them in the US, like, oh, they're gonna play in these six epicenter cities, we're gonna sell out them, sell out them more, maybe if all the Canadians show up, sure, that was, that was what happened. But man, if they were promoted more in a real way, like other bands on their US labels which I can't remember right now, i think they would have totally hit it. When they were on in my house the other day I said to my wife if this was playing in 1992, i would have been totally into it, cause we were talking about bands we were into in 1992. And some of them, like right now, i might have thought they were pretty good back then, but some of them right now I absolutely do not listen to. 

But if I would have, heard the hip in 1992, I would definitely be going back to albums right now, I believe. 

0:20:48 - Speaker 4

Yeah, it's interesting, that's really all. 

but with both what you guys said, it's really interesting cause I it's not what I expected, like number one, you've just let my audience know you've been, you've been through the entire catalog of the hip, which, when you said it takes you time to process a tragically hip album, i mean I remember like in real time, when these things came out and we would like line up at sunrise at midnight to get the new road apples or whatever you know. 

And but each album like road apples compared up to here and day for night compared to road apples, or like, or fully, completely, you know they were. they were as soon as you put in the new album you were like, ah, like this is, this isn't as good as the last stuff, and then you'd listen to it like a hundred times and then it would become your favorite album. you know, like totally. And I find Jack White like I'm a huge Jack White fan and it's the same thing with his stuff, cause he's pushing himself and he's growing, you know, and then it kind of takes you a bit to get your head around what he's trying to do And then after a while you start digging it, you know. 

That's a good example And I think that's. That's the kind of like I. You never liked the hip album when you first got it. You always liked it a couple of weeks later. You know, Like Is it. 

0:22:15 - Speaker 5

Sorry, is that true? Is that true for you, jamie? Were there any albums you just were like just had on repeat, psyched, go, go, go, go listen to it a hundred times a week. 

0:22:26 - Speaker 3

I was in love with like from the moment I heard it Like. So There you go, but and fully, completely too Trouble at the hen house. The first time I heard it I was like I'm not sure about this, but you're right, it was, it was, it was different, they were, they were, you're right, They, they were growing and I was stuck behind. Yeah, yeah, now that's like my favorite record. 

0:22:46 - Speaker 4

Yeah, yeah. 

0:22:48 - Speaker 3

Like like hands down. 

0:22:50 - Speaker 4

Yeah, and then, like I, yeah, cause yeah up to here was the only one I would say that I was like I'm in, this is everything's great. And then the only thing is that a lot of songs kind of sounded similar maybe, but but but then everything I was comparing everything up to here And then, and that's just. And then I just wasn't like like you said, i just wasn't developing like the. That's why it takes me a bit just to catch up, cause I'm slow, i'm just. You know, you're just a consumer, you're being fed, fed shit, you only know what you know And then get something new and takes you a bit. 

0:23:28 - Speaker 1

But you also never know how long it's going to take. I had a. I had a record I won't need to mention cause it's just not even important, but the record from a band that I really liked And when they're it took seven years. Seven years. It came out in 2007 and it wasn't until 2014 when I picked it up again And I literally thought this was the shittiest record I had ever heard. And I picked it up again and it turns out being my favorite record And it was like like it takes time, but for for what, tim and I? the gauntlet that fucking JD's put us through the last seven months, like how many? 

0:24:05 - Speaker 3

albums There's 14, 14 hours, 14 or 15. Yeah wow. 

0:24:11 - Speaker 4

And then, uh, yeah, that's crazy, man, that's crazy. So the what was I thinking? Oh, you're to um, you know, david Bowie's black star, that album, last album, yeah, yeah, same thing. I was like you know, i wanted Ziggy Stardust and I got black star. I was upset. And then, uh, you listen to it and you're like this is the greatest thing he's ever done. This is man. That album is incredible. Oh, yeah, and uh, yeah. And then the more you know the fact that he, uh, he doesn't, he, he leaves on an open note Like he doesn't, uh, he doesn't end on the top, on the home note, the number one, the one he doesn't end on, the one you know that's a and he knows he's going to die. 

0:24:53 - Speaker 1

You know, that's crazy, That album it's funny because I remember when I bought that album right when it came out, right after he died, because he died a couple of days before my birthday, because he died a few days after his birthday, which is January 8th Mine's a 16th and I bought it and I just didn't. I wanted to get it, i couldn't. And then a friend, when I moved back to Spain, explained to me that it was a lot of the songs are built on flamenco chords, spanish flamenco chords, and I was like get the fuck out of here. And then I we listened to it together and explained it to me And I was like, because a drummer of our band? and I was like, oh, that makes sense. And then the whole record made sense to me. 

0:25:33 - Speaker 4

It took years, isn't that great. That's a beautiful thing about music, our art in general. You know like, no matter what kind of the art, the comedy is the same way you can work your whole life. You're never going to know all the risks and all about it You're never going to. It's just so infinite in the amount. So like, that's what I like about it, about it, you know, like you can, you're never going to feel like you've got all the answers you know, when you find art, when you find art like that, that's timeless, that's, that's, that's the best stuff I think you know. 

0:26:04 - Speaker 5

Yeah, that's right. Yeah, something you can put on, i mean, just at any point in time. It's just that's, that's. Those are the keepers. Yeah, i don't know if we'll feel the same way. Pete, have you gone back to any any? Bob Rock produced albums. 

0:26:18 - Speaker 1

You know it's funny. I haven't yet, tim, but I really am looking forward to it because I think it's going to happen. I think eventually all end up like sending a letter Is Bob Rock still alive? 

0:26:28 - Speaker 5

Yes, oh, my gosh Yeah. 

0:26:30 - Speaker 1

Okay, then I'll send him like an apology letter and like be like Bob, i'm sorry, cause there are people that love. 

0:26:36 - Speaker 3

We are the same now And when it came out it was pretty universally derided. And there are people that absolutely adore that record now And I'm I'm one of them. Like, like, i really did not like that record the first time I heard it. Like I remember meeting Greg in the grocery store We were doing fully and completely at the time And I was like, so I did some pre listening and uh, wow, every song sounds the same. It's all droney, it's you know. And now I think, like depression suite is amazing. I love morning moon, um, queen of the Furrows is like weird and out there. But I but I dig it, but it's not, it's not. It still doesn't feel quite like a hip record because there's no Lang Lawn and St Clair backup vocals. You know it's, it's, it's just different. 

0:27:24 - Speaker 4

Yeah, do you hear that? Uh, i think it was at the Gino's or something. Uh, after CORE Downey died, uh, muse filled in and they did um, it's a, she did a cut. No, it's not, it's not. I said the wrong name FIEST, fiest. Yeah, fiest did, uh, did the vocals and it was for it's. Uh, it's a good life if you don't weaken. Yeah, it's a good life if you don't weaken and uh and. But like when the background vocals kicked in and then it was like, then you're like Oh, this is the hip. Yeah, cause before it was just a cover, you know. 

And then, as soon as you heard St Clair's backing, it was like Oh man, this is, this is cool, you know, yeah, yeah. 

0:28:07 - Speaker 5

Um, yeah, i was. I was asking Pete, because this morning when Amy was making coffee, I was like coffee girl. It just happened. So, bob, bob is coming in. Hey, knock on the door. 

0:28:23 - Speaker 4

Hey, i was hoping, uh, we, so this has been. This is really cool. If you guys, uh, who are listening to this show, if you want to check out this podcast and see how these two people were converted to the ways of the tragically hip um, uh, how can they find the show, jamie? 

0:28:39 - Speaker 3

go to getting hip to the hipcom and, uh, you can go anywhere that you find your podcasts you'll get getting hip to the hip And it is. 

0:28:49 - Speaker 4

It's going to all uh, culminate with a grand finale live show in Toronto on September 1st. Yes, sir, and people can get tickets for the show Same place. 

0:29:00 - Speaker 3

Getting hip to the hipcom and, uh, click on tickets and, uh, you know, uh, we'll get a great host for that evening. 

0:29:08 - Speaker 4

Well, thank you. Yeah, i'll be hosted by myself and uh, we have uh the finale of the podcast and you have uh entertaining the audience of uh. was it 50 mission cap or? 50 mission 50 mission, which is a hip cover band. They'll be playing, and where is it? 

0:29:25 - Speaker 3

It's at the rec room in Toronto on Bremner, right across from the sky dome. 

0:29:29 - Speaker 4

Oh sweet, it's going to be super fun. So please check us out And, uh, we will be running a uh draw here at the Dutch hall for a listener to get a free uh free ticket to the event. How about? 

0:29:40 - Speaker 1

a pair A pair. 

0:29:41 - Speaker 4

You can bring a friend. Thank you, that's nice, yeah, and I can even give you a ride if you want, if you're local. So we got all those things working for us, and there'll be details on that at the end of the show, but I don't want to keep these guys any longer doing business. Um does. 

0:29:59 - Speaker 1

This is the sky down where the blue jays play. Yeah, Oh fuck, that'd be cool. They're playing a game that they're not, they're out of town. 

0:30:08 - Speaker 3

Are we taking a game? for sure, yeah, Hey, pete. 

0:30:12 - Speaker 1

Pete, i've been wanting to tell you a joke, man Come tell you a joke, yeah, please do, just to turn After he's done. 

0:30:20 - Speaker 5

Then, pete, you play guitar to Pete and see if you guys can trade. 

0:30:25 - Speaker 4

Yeah, you have to do that. Okay, I'll trade your talents. I know two chords. 

0:30:30 - Speaker 1

So so you know Creedence, right. You know Creed's Clearwater, right. Yeah, yeah, ccr yeah. Yeah, so do you know what the difference between John Fogarty and Marvin Gaye is? 

0:30:43 - Speaker 4

No, I don't. 

0:30:45 - Speaker 1

So Marvin Gaye heard it through the grapevine, but John Fogarty played it through the grapevine. Yeah right, Tim, just snickered at that one. It's one of my all-time favorites Whoa man, don't tell that at the finale. Pete, let it sit there. 

0:31:09 - Speaker 4

Only if I'm really stuck I'm going to pull that one out of the toolbox. You're not going to speak to people like this. No, guys, i want to thank you for spending this time with me and getting to, for taking the time to get to know me and my audience. I really am excited about the podcast And I think it's going to be interesting. Yeah, i hope so. You guys got you guys did kind of shit on them a little bit right. Oh, yeah, they hold back. Yeah, but I think it is interesting to know that even some of the opinions that you held not so long ago may have already changed by the time the finale is going to be For sure. Yeah, Totally have. Yeah, yeah, that's cool, man, and I think that's kind of a testament to why I think they're worthy enough to still be concentrating on. 

You know is because this shit can happen. This stuff can really happen where people can be turned on to something new and it's new to them. So who cares if Gord's dead? you know, like these guys, never. You know, if you never heard it, like my daughter's. A perfect example Her and the bass player in her band. The bass player in her band said did you hear. Remember when the hip came out with those new tracks? Yeah, and they were all like 90s era sounding. 

0:32:27 - Speaker 3

They were like road apples. 

0:32:28 - Speaker 4

Yeah, yeah, they were great, you know, and my daughter's friend brought that to me and they're like, have you heard this? And then they started getting into it and it was brand new to them. Oh, that's hilarious, and so like to watch my kids get into it. What I was into is really a kick. So like, and then like, i think that this is a great example of it. 

And one time I went fishing in BC and the guy was Australian. That was like running our tour And I asked him about the question what in your country is the band that you guys would love and nobody else gets? Do they say midnight oil? He did say midnight oil And I go well, we all know midnight oil. You know, like beds are burning. And he goes like fuck that song. You know, like you guys don't know midnight oil. If you think it's beds are burning, look into their back catalog when they're a punk band, you know. And then, and it was way different, really Way different, and nothing like anything that made them popular, but it's so, it's. maybe there's bands like this everywhere. You know you can. 

I never knew about like all all that old good soul music because it never played on any radios that I got to listen to. You know, like I just found out about Al Green like five years ago, like that breaks my heart. You know where was Al Green my whole life? But so there is a lot of good stuff out there And I think this podcast kind of shines a light on that. So I think it was going to be, while we're checking out, so getting hip to the hit, check it out. Everybody And Tim, thank you very much for, for, for the, for doing this for me. 

0:34:03 - Speaker 5

Yeah, thanks, pete. 

0:34:04 - Speaker 1

Thanks Pete. Thanks JD, Good to see you guys? 

0:34:07 - Speaker 4

Good to see you guys. Yeah, and we will see you on September 1st Sounds great. 

See you September 1st, can't wait. All right, take care, guys. Okay, this show would be nothing without our sponsors at CleanFlow. If you'd like to support them, go to cleanflowcom That's K L, e, e, n, f L O dot com and check out all the great products. Lube up your life with clean flow. And if you'd like to support our show, go to patreoncom. slash dutch hall And you can join our queen, jen Husko, and being a part of dutch hall royalty. 

And if you're a business that's looking at any sponsorship opportunities, you can also look on Patreon and look at options there. And every time someone on our show gets a little tight ass about what we're putting out on social media, i will put that on Patreon. There was one just recently that Kevin made me not agree not to put out, so I put that on Patreon. And we also have the one that Charter's obviously banned us from putting out. It's on Patreon, so all the band materials on there. So it is well worth the money. There'll be content And you'll also get invited to special events, like my 50th birthday show that's going to be happening in October. This will happen if you are joining our Patreon, or if you even are too cheap to do that. You can go and give us $5 a year. Just E-transfer that to the dutchhallgmailcom and you will become a shareholder of our program, and shareholders get the same rights as the Patreon supporters do. So that's a way you can help us out as well. 

And lastly, oh, it goes to Port. Johnny's show at the Lazy Flamingo and Hus Village and Hamilton every Monday starts around 8.39 ish around there. Go to see Johnny at the Lazy Flamingo and I will be headlining there tomorrow. And that is it. That is all of our sponsors. I think you can give us some feedback at the dutchhall gmocom or we are at the tall on Instagram. That is it for sponsors, jamie. That is it for sponsors. I promise that's everything. 

And, of course, you got to keep getting hip to the hip. What You got to keep the lights on. I keep the lights on exactly getting hip to the hip and the go get some tickets to the grand finale, the rec room in Toronto on September 1st. Jamie, thanks again for coming in. Thank you very much. It's been really nice And, as I said, you, i've been watching you promote this thing, i've been watching you put it together and the way that you have curated it, the way that you've cared for it and the way that you've, like, put thoughtful effort into every step of it. It shows through This is being done at a high level, and I'm really proud of the effort you put in. So keep it up, and I'm going to continue to support everything you do, cause I'm real happy to know a guy like you. So thanks for coming in, buddy. 

0:37:18 - Speaker 3

Thanks for having me. It's great to be here. Finally, yeah, finally We worked it out. 

0:37:22 - Speaker 4

Yeah. So everyone that's been our show 445 tele friend shared around, be nice to each other And until next week we will see you and T see you next Thursday. 

0:38:01 - Speaker 3

Thanks for listening to getting hip to the hip. Please subscribe share rate and subscribe podcast, some such. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Ever find yourself reminiscing about the good old days when tunes from The Tragically Hip filled the airwaves? My pals, Tim and Pete, and I sure did, as we took a deep dive into their 6th studio album, Phantom Power. We discovered that our own past experiences and relationships managed to shape our views on this collection of radio hits, which seemed like a pivotal moment for the band. 

We weren't just content with superficially jamming out to the music. We dissected the unique sound and lyrical themes, compared them to previous Hip releases, and found ourselves swapping stories from past concerts. One standout memory was Tim being recognized by lead vocalist Gord Downie backstage. We also discussed the historical context of the album, like how its recording coincided with a major ice storm and a surprise tour that benefited a children's cancer camp. 

Stick around as we analyze some standout tunes like 'Poets' and its references to Gwen Jacobs' fight for women's equality. We also shared our thoughts on 'Fireworks' and how it reminded us of Canada's victory in the hockey series against Russia in 1972. So, whether you're a die-hard Hip fan or just love a good music chat, this episode is for you!

Transcript

Speaker 1 It's June of 1998 and I'm done with York University. To celebrate, my friends and I embarked on a camping trip to the Pinary Provincial Park just down the road from Grand Bend. It was just outside the liquor store in town that I heard a finished version of Pullets for the first time. Gord had long been one of my favorite Pullets, so to me this song resonated in a way that I can't quite describe. It was a feeling of euphoria and relief. This new record was going to be just fine, i thought to myself. Little did I know that several tracks on this record would stand the test of time and join the pantheon of great hip songs I still enjoy to this day, from the meandering escape is at hand to the traveling man, to the exquisite Bob Cajun and the downright delicious Emperor Penguin. Phantom power was right in the pocket, coming off of the exceptional trouble at the henhouse. As I got inside the truck to head back to the campsite I turned the volume up and just let Pullets sink into my brain. This was living. Today. We're going to hear from our friends Pete and Tim to check out what they think of Phantom power. Will it stack up? Find out today. On Getting Hip to the Hip. 0:01:41 - Speaker 2 Long sliced brewery presents Getting Hip to the Hip Hey it's JD here. 0:01:58 - Speaker 1 Welcome back to Getting Hip to the Hip. This week we are talking about Phantom Power, the sixth studio record by Seminole Canadian rock band, the Tragically Hip. I'm joined this week, as always, by my pals Tim and Pete Fellas. how are you doing? 0:02:19 - Speaker 3 Hey guys, hey guys, hey guys, glad to be here. Good to see you, i'm ecstatic to be here. 0:02:26 - Speaker 4 I'm ecstatic to be here right now. 0:02:27 - Speaker 1 Oh, I love it. 0:02:28 - Speaker 4 I love the energy This is happier than a pig and shit. 0:02:31 - Speaker 1 Oh boy, oh boy, that's pretty happy. I've seen some, some porcine creatures rolling in fecal matter and they sure love it. Okay, so if you are wanting to experience The Tragically Hip's music for the first time, tim and Pete are your avatars this week because they got to experience the record Phantom Power, which again is the sixth record produced by Steve Berlin, first record on Universal. But I guess I should tell you guys both. I guess I should say this to you both as honorary Canadians. Now, happy Canada Day. It's almost the 4th of July. It's July 3rd today, but it's July 4th tomorrow for you, but July 1st for us is Canada Day. So happy Canada Day, folks. 0:03:20 - Speaker 4 Wow, Yeah, Very close to the other 4th of July, which is America's Independence Day. In the UK they call that Thanksgiving. No, No, I had a. I took a flight one time on some shitty airline and the pilot was British and it was on the 4th of July and he was like so I just want to say you know, that's my shitty British accent Happy 4th of July was we call it. We're on from Thanksgiving. Enjoy Whatever. 0:03:57 - Speaker 1 That's great. Oh, anytime you can burn an American a little bit, it's. you know there's some fun. There's some fun there because you guys are so goddamn good at this shit, you know Anyway let's get into the record as a whole. Before we go into the song by song segment, let's just talk about this record, produced, like I said, by Steve Berlin. Five singles come from this record. All music rates at a three out of five Three. So there's that. What did you guys think? I want to know where you listen to it, how you listen to it and what your initial thoughts were, and you know, maybe, what they percolated up to. What do you say there, tim? 0:04:45 - Speaker 3 Well, there's a pause. I thought it was a three star album, kind of like all music I felt wasn't really sure. it felt a little bit deluded in a way. to me It felt a little bit, a little bit more generic from what I've heard in the past. But it also felt kind of expected for the whole catalog of albums this band has produced and the timeline going into the late 90s. You know this album felt like full of radio hits but at the same time I was missing a little bit of that raw kind of hip feeling. You know, i was wondering like, should I be okay with this album just being kind of fine? This was the turning point for me. I was really not sure. When I read kind of some reviews about it, i think there was some sentiment, some shared sentiment, and also some people were like it's my favorite album and some hip fans said it's their least favorite album. So this one's kind of a gray area for me. 0:06:00 - Speaker 1 It's funny. Well, I'll get into my, you know, sort of backgrounder on this for you guys after we hear from Pete. Pete, what did you think? 0:06:09 - Speaker 4 I hear you on the gray area, because I could totally see that. I could totally see how some hip fans are like this is the best album they did. Or this is not my favorite album. For me I listen to it everywhere. I listen to it in my office, so for my computer, with some some decent cans, i took it out running a lot. Probably. I think maybe the first time I listened to it was that took it in the car. It sounded great. The thing I found like I would say 3.5 for me, tim, instead of a 3. But you know I feel you on that My initial thoughts were that a lot of rawness of the hip was gone from this. In the first couple of listens it sounded very watered down. It was like somebody pulled Gord Downey aside and said Hey man, can we just like, kind of like the dude, can you, can, you fucking can you take it easy, man, you know, just like. Told him to just like chill out a little bit, and I don't know. The more I listen to it though, the more I dug into it and see how much work maybe not production, but just from the band themselves went into this record maybe changed my tune a lot Like I dig it. And Phantom Power, that was the coolest thing in the 90s, man Like because sometimes you didn't know what it was. If you never heard of Phantom Power before, it has a fucking cool name. If you had a guy that had like a condenser mic or something with Phantom Power, you're like dude, yeah, he's got a mic, that's got a Phantom Power. It was just like fucking. You were 17 and you heard that it was fucking cool. 0:08:00 - Speaker 3 Yeah, you know, i went and looked at a number of albums sold by a bunch of different bands, including the hip, and I was trying to kind of have this try to find this correlation of how many albums sold from the band start to like 10 years later, or 10 albums later, something like that. And I compared the hip with a bunch of bands And it's, it's. It's really all apples, oranges, of course, but when you look at how many albums they've sold and how they, you know, started off selling a ton and then just kind of went down to this million album mark. And then when I heard this album and I like UP, i listened to it all over the place. I listened to it on the plane I traveled, listened to it in the car, listened to it at home with the cans on. I mean I listened to it in more places than past listens because I was really trying to give it a go. I mean, it was the first time, upon first listened, that there were a couple songs where I was like okay, get it, i'm going to go to the next one, like I had not fast forwarded songs, you had her skipped ahead. So this, yeah, but but one of those songs that I skipped ahead on, sorry hip fans. You know I came back to and it's might be one of my most favorite on the album, so this this one like yeah, this one, this one to me like didn't grab me right away. Maybe it will more over time, maybe it's one of those types of albums, but well, i'll tell you what this record has. 0:09:36 - Speaker 1 An interesting, an interesting story, i think, and it it's my own headcanon This is. This is not like actual fact by any stretch, but in my opinion, trouble at the Henhouse, which is one of my absolute favorite records by the Tragically Hip or or or any other band, is, was maligned Like it, it, it, it, it both it and day for night didn't perform as well as fully, completely, and fully completely was very, if you recall, it was very polished, it was very produced. You know they went to London to record it. It was like a big deal. And then, following that, the next two records, they were sort of self-produced, with Mark Vreakin and Mark Howard on day for night and just Vreakin on fully, on Trouble at the Henhouse, and those records are sparse and they are. The core energy is, is there, it's, it's. It's like boiling hot magma, you know, and they're and they're forming these songs that are just age old now and and just wonderful, and then phantom power comes out and phantom power goes back to the like. To me it's sort of back to the back, to the basics. It's like back to really structured songs, really produced, and, like I always said, that this record was the baby of day for night and fully and completely, fully, completely, rather not fully and completely fully. It's sort of the baby of those two records. It's got the, it's got the production values, but it's still got songs. So I'll challenge you guys on that, because I think this record has songs and I think it has songs for days. You know what? 0:11:40 - Speaker 4 you are JD, let me tell you who you are. So when I was like 19 or 18, working with the movie theater, i dated this girl that that worked at the calendar place across the way And I just kind of went out with her because I was like really stoked. She gave me your number But I really wasn't that into her and all my friends were like, dude, she's really hot man, she's really amazing, and I just didn't see it. And so then like I stopped going out with her. We only went out a couple of times and that was that. And then I saw her again. I was like, damn, i really screwed that one up And that's kind of felt with this record, but I didn't want to like make that same mistake again. So like I, i'm sticking with it. I'm sticking with this being a solid album. Yeah, you know, yeah Masked it for, you know, a third and fourth date. 0:12:26 - Speaker 1 Yeah, i think, and I think three out of five stars is fair Like it's not it's not one of my. it's not my favorite record, but it's a lot of hit pants favorite record It's a lot Yeah, yeah. 0:12:39 - Speaker 3 That's that's what I found in my research. The covers are awesome. The covers are great. 0:12:43 - Speaker 1 They have that They actually have that panel in in their studio and bath, which is really cool. Yeah, so that's, you know this is. I want to say this is the second record they recorded at their studio. So they didn't go anywhere, you know, adventurous or anything like that, but they were at home. And what happened in 1998, i don't know if it made news anywhere else but Quebec and Ontario there was a major ice storm, yeah, major ice storm, and in Ontario it, like it absolutely shut down the city of Toronto. It shut down, you know, major thoroughfares. It was like devastating this ice storm. And we'll get into that a little bit more as we talk about the songs. But you know, they bring Berlin in and they're sort of trapped in the studio. You know like during during this, so really fascinating I think. 0:13:43 - Speaker 3 But yeah, it's a go ahead. Did you see this tour? Did you see them play on this tour? You want to hear a story Now? 0:13:52 - Speaker 1 people who listen to the movie and completely heard this. But the hip announced five secret shows that they were going to do, and all proceeds from these shows were going to go to a charity I forget which charity now at the oh, it was Camp Trillium. Camp Trillium, which is a camp for children with cancer, children that have cancer, and there's a location of that is near where I grew up And I'll show you when we, when you're in town for the finale. My friend's parents were on the committee for the cancer camp in our community, and so my friend Heather had intel and she she knew that they were going to go on sale at this time in this place in Hamilton, which is about an hour outside of Toronto, when traffic's good, and so we ended up getting third row center seats Wow, in this small theater in Hamilton, like 2000 people, and they blew the roof off the place. And a band called oh my goodness. They sang, come for a ride. Open for them, and they were tremendous as well. I forget the bands right now who open for them, but if you know it, send me an email. Jd at getting hip to the hipcom. So we're third row center. We watched the show, But the kicker here is is that Heather has got gifts to give the band And it's been arranged with the stage manager that we're going to go backstage afterwards to give. She's going to go backstage afterwards to give these gifts And she ended up inviting me along And so we got to go backstage and I introduced her to the tragic lab. So this was like this was like full circle for the two of us And it was just a wonderful experience. We went backstage after the show and they were all there and Gord had a. Gord Downey had a soccer ball And he was doing that thing where you flip it out, catch it and roll it back in your arms. Flip it out, catch it, roll it back in your arms And he just kept doing that And I remember at one point I must have looked silly or something, because somebody said and maybe it was Gord Downey said is everything all right? And I said, oh, everything is fucking perfect. I could go outside and get hit by a bus right now And it just wouldn't matter. And Gord Downey looked at me and he goes Oh, don't do that, jane. He called me Jane, only my mom calls me Jane. Like it was so cool It was cool. 0:16:37 - Speaker 4 How did I not know the story? How did I not know that you had interactions with Jesus? 0:16:44 - Speaker 1 Yeah, yeah, how was this? 0:16:45 - Speaker 4 coming up in episode. What fucking episode are we on. 0:16:48 - Speaker 1 Well, it was Tim asked me the question, yeah. 0:16:50 - Speaker 3 I don't know. We're like 15 minutes in. I think we could just call it. That was good enough. 0:16:55 - Speaker 1 Well, here's the kicker. Here's the kicker. I don't think I told this part on fully and completely, but the kicker is I had been dating a girl all through university and I broke up with her the summer of 98 and sewed my wild oats And this was all toward the end of the summer of 98. And she was in Hamilton to meet me after the show. So I'm backstage with the hip and they go Okay, well, we're going to go to the after party now in the next room over, because this was in the green room or whatever And we're going to go in the after party room and drink some beers. Do you guys want to join us? And I had to say no. I had to say no because my girlfriend was waiting outside for me. Now, in hindsight, what a boner move I made, because I wanted to get back together with her. Totally. It only lasted another two years after that, like I then absolutely blew up, but it was those. Those final two years were awful anyway, like they just weren't, you know, like both of us would agree to that now I'm sure the university years were wonderful, they were, they were great, but those those two years after our break up we're not so good And I blew a chance to go party with the hip. 0:18:15 - Speaker 3 You had a Davis Manning moment. 0:18:18 - Speaker 1 Yes, Yeah, yeah, absolutely. 0:18:22 - Speaker 3 He chose the girl over your fandom. 0:18:25 - Speaker 1 The hip lived between us. 0:18:27 - Speaker 3 They totally lived between you. They might still sorry, sorry, jess. 0:18:38 - Speaker 1 Well, folks, should we go song by song? 0:18:41 - Speaker 3 Yeah, let's do it, let's do it. 0:18:44 - Speaker 4 So I really liked this song. I really liked poets. This is probably the song I would say I have the least to say about. I really like the verse phrasing. I think it's probably the best part of this song, the way he phrases the verses. There's a part where the lines of a verse he kind of like carries into the next measure. It's really weird, like, like, like the mind, you think, okay, you sing the verse, then it's the next measure, but like he sings that verse over there Because it's when you look at it it's a complete line. I can't remember the line specifically, but it was. It was cool man. It's a hard thing to pull off man, but like that guy just does. It was so much, so much finesse. I liked the layered guitars in it, yeah. But I think, going back to what we're saying sort of at the beginning of the top of the show, it was, this song didn't punch me in the face Like right when I, right when I started listening, i dug it. I it was a soft open, it was a soft open. 0:19:59 - Speaker 1 All right, how'd you feel, tim? 0:20:01 - Speaker 3 I felt it was a harder open. I thought it was it. You know this. Like we've talked about before the cadence of songs and track orders. You know the first one I expect to really get me, bring me in, and this one did it. I thought it was pretty good. There's a fun kind of change over into the chorus It again I spoke about this a little bit before, but the kind of remind me of REM in REM's, like first half of the 90's albums, like they come on with like a punch of a song and then, like the cadence of the album kind of goes soft and then gets whoa, got a little dirty there, gets a little bit harder as time evolves. But yeah, this I thought this was a good start off. The themes you know I looked into a little bit of the song's meaning regarding lyrics and you know just talk about agriculture and super farms and like I don't know, ultimately fresh vegetables versus buying frozen and what that means. And this, this is the song that references Gwen Jacobs. Right, you know the story about her JD, and she was this woman who walked into town I think in Ontario topless and it created this whole. I don't have to look into this more, but I'm pretty sure this was the song about the Gwen Jacobs case. So Gwen was a woman who walked through town topless and was arrested and started this whole kind of woman's lib. You know movement with. You know making it okay to cut your lawn without a shirt on, just like the men do. That's kind of where the line in here from Gord comes from. It's a let's see. 0:22:02 - Speaker 1 Oh, that's great Lawn caught by breasted women. 0:22:04 - Speaker 3 Yeah, it's kind of this comment on pushing for women's equality and gender rights. So I thought that was fucking cool And that, to me also, is like really appropriate for the 90s or late 90s, you know it was. we were kind of circling back to, of course, some things we've had in North America before and prior decades. So I thought this song was cool. Again, it really reminded me of REM. I kind of went back and started looking at some of REM's albums and I wish, again, i wish I could know what the band listened to when they were traveling Me too. You know what they were sharing, what albums they were digging. you know if any of them were like Oh my God, did you hear REM's new one? We're going to put it in the the the buses stereo or whatever. Like I wish I could know what was influencing them, because I'm hearing, i'm hearing some some themes for sure. 0:22:57 - Speaker 1 Okay, earlier I was telling you about the ice storm. The next track, something on, was recorded and they literally were trapped in the studio. They were, you know, they couldn't leave the bath house, they couldn't leave the studio in bath. So they did what they do best They wrote a song and there's some lyrical content in there about the ice storm even And I think it's really wonderful lyricism. What did you guys think of something on? 0:23:33 - Speaker 3 I felt like, okay, i read about it, i read about this and I read about the ice storm and you know sounded awful. And for I hate to say this, but to go get stuck in a studio, for me that'd be like the time to really fuck things up, like really experiment. You know, you know, just hopefully somebody shows up with a huge bag of weed and somebody shows up with a bunch of acid and somebody shows up with a shit ton of beer and like this is when you like really go to town to experiment and what do we got out of it? We got like kind of a radio hit. So it was a little surprise to kind of hear the whole story and it just made me realize that maybe for this era, the guys were really I mean, they were at a point to where they could bust out a really good album, you know, and what, for me, that really good album is? like you go to a restaurant and it's like yo, that was a good meal. You know, everything was like satisfactory. 0:24:37 - Speaker 1 Well, yeah, it's a blooming onion man. 0:24:38 - Speaker 3 It's a blooming onion, Yeah, but to get stuck in a studio and ice storm, it's like I personally would want to just start going places. I haven't been before with my band, but you know this one's interesting take. Yeah, this one felt. This one felt a little radio felt a little you too, dave Matthews like splash of John Cougar melon camp or something like I don't know. Man, it felt, i know. I know, i know, i know. 0:25:10 - Speaker 1 And I was a big melon camp guy at one point. 0:25:13 - Speaker 4 But Dave, Matthews are regular. 0:25:16 - Speaker 1 Cougar and regular. 0:25:18 - Speaker 3 Yeah, like I couldn't get overly excited about this one. Well, again. 0:25:26 - Speaker 1 I think you were waiting for the follow up from the follow up to trouble at the house, and this isn't the follow up that you're expecting on a trajectory perspective. You know no no, i agree. 0:25:44 - Speaker 4 It's funny. You talk about getting trapped in the studio, like I mean, i don't know if I'd go like full steely Dan when they recorded the Albuquerque show, where, like you know, there maybe was not that much cocaine around, but I still agree with him, i would. I'd get really spacey, and I think they do it on a couple songs that we'll get into, but first time I heard this song got some heavy Jim Blossom's feels. Yeah yeah, Yes that's the first thing that hit me and I couldn't think of any of the band that it was like a buddy of mine used to play the band that they open for them a ton, and I was like the first band that came to mind like this Oh, and it was really poppy. And okay, my notes. Once you get past the repeated cheesiness of the chord progression and the vocal melody, it's not a bad song. 0:26:40 - Speaker 1 Oh dammit, with faint praise here. No, no, no, it's not a bad song. 0:26:44 - Speaker 4 I think it's a good song, but you know it's a good song. If, like you, take this song and go, is this a good song? Anybody will say it's a good song, but like you, said to me compared to the follow up of what you really wanted after trouble. Then else, and this was a song where I feel like Gord sounded a bit like he was put in the cage Like whoever was a universal when this record was getting recorded, put baby in the corner. And this is a song where really I feel like you know he's, he wants to be himself, but somebody's like, hey, man, just could you like you don't have to do it all the songs, but like at least on this one could you just, fucking, you know, tone it down a little bit. And I was just like, ah, where's my fucking, where's my lead singer. 0:27:33 - Speaker 3 Yeah, I totally agree, Because you know it's still a good song, because it's still all the guys and it still has themes, because it's Gord, you know you're still going to get one liners that are amazing. I feel like probably no matter what in any hip song there's going to be some standout lyric to me, some standout part like to the core fan. That's. That's really what I'm imagining. The line that stood out in this one for me was your imaginations having puppies, I mean yeah, yeah. I've had so many letters of puppies, you guys. It's like I'm just, i've got puppies all over the place. It's like. 0:28:11 - Speaker 4 I was a cool. I really like that one. Yeah, like that, like that video for new recruits or something. 0:28:17 - Speaker 3 Yeah, so I like identified in it. You know, at that personal level, which I think they're able to do just about on any song which is fucking amazing for a band to do, because I could probably name 10 bands right now. What that does not happen to me, yeah, so you know. So, in that regard, like hip fans, you know I'm, i'm I'm not really trying not to be the bad guy here, but we this, this, this just made this song, just made me keep going So into save the planet. I mean, i got to this one, arrived at this one, and I was like, is this the band's fucking Earth Day song? or stretch their reach to get on the farm aid bill, like what is going on here? I felt like I don't know, there's a flute in there. Who's playing the flute? 0:29:09 - Speaker 1 Who plays the flute? You know, i don't. I don't have the liner notes handy And on the wiki page it is remarkably barren in terms of additional players. Yeah, it doesn't, it doesn't have them, so I need people to write in. 0:29:25 - Speaker 3 If people know, let us know, because there's some flute in there And it made me wonder like what else? 0:29:31 - Speaker 1 there's keys all over this record. 0:29:33 - Speaker 3 Yeah, what else have I been missing in the background that maybe other people are participating in? But I felt, like you know this song, in the placement we were, we were filling, we were filling in the gaps on the menu And you're like, no, I had a burger yesterday. No, I'm not in the mood for that. Oh, I could really use some lasagna. Here we go. That's that's how Save the Planet felt, felt very time appropriate. This is, like you know, the millennial song. 0:30:02 - Speaker 1 Okay. 0:30:03 - Speaker 4 All right. So if anybody's got a line on the flute player, email Tim getting hip to the hip, talk there you go. Right, i copy Pete at getting hip Yeah. Save the Planet. I thought it was a banger. I really dug it. I at first I saw that too, but then I kind of look past the name of it And just look at the song itself. There's a. There's two references in this album to Crossing the Street, to pedestrian crossings. Yes, i'll point out the other one. This is the first one Fucking solo bangs in this. I thought the flute at the end was cool because it was so random. 0:30:47 - Speaker 3 I was like well, what the fuck is that? Yeah? 0:30:50 - Speaker 4 Same. 0:30:52 - Speaker 1 There's. You just can't imagine listening to road apples and having a flute right Like. It's just not part of this band. You know like and and and it works It works well, no, right? 0:31:05 - Speaker 4 Yeah, you know, if they went into that I'd be like, well, what the fuck's going on? 0:31:10 - Speaker 3 But I'll just quickly, quickly add that I'm okay with the flute. Like sometimes, the flute really is awesome. Oh, i think it's great. So you know, like some people like hear the flute and they're like oh why You know, but it works. 0:31:24 - Speaker 4 No, i dug it And this is again. This is not the first song, or not the only song in this record where I got some heavy Alanis vibes. The phrasing on if the bathwater is clear and my ears underwater, it's a tolerant hum from the core. Carry the water Like that the way he phrases that shit, it's just. I don't know if I see because it's a Canadian band, if I see everything through the lens of like Canadian pop artists. But like it's just the vibe I got from this and it's a great tune to get out and move your feet to get running. It's a fucking cool song to run. 0:32:09 - Speaker 3 All right, i'll put it on my point first I hear your Alanis vibes marry and up with my Michael Stipe vibes. I think those are in sync for sure, for sure. 0:32:20 - Speaker 1 I think there's a nice correlation between the hip and REM, like I think you're right, like they both have that enigmatic front man, you know, who is really literate and really interesting in the way they sort of phrase things and put things together. 0:32:39 - Speaker 4 They both went bold too, halfway through the careers, that's right, that's a fair point. 0:32:45 - Speaker 1 Fair point, fair point, all right, we're getting in the car right now and we are cruising northeast of here and we're going to Bob Cajun. I left your house this morning. 0:33:40 - Speaker 7 It was quarter after nine. I left your house this morning. I left your house this morning. I drove back to town this morning This morning with working on my mind, i thought I'd maybe try to leave an ear behind. I went back to bed this morning and it's time pulling down the blind. Yeah, the sky was dull, it was high but never come. And morning went down at a time that night in Toronto And I was jacking boardboards, riding on horseback and keeping order restored. Tell the men they couldn't hide. Step to the mic and sign and their voices rang with the area of time. To your house this morning. It was quarter after nine. In the middle of that riot I couldn't get you off of my mind. To your house this morning. It was just a little hour tonight Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. To your house this morning It's a little after nine Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. 0:37:32 - Speaker 5 Tell the men they couldn't hide, they didn't choose your bones and bones. They're all south of the wind and down the lawn to the lake For as long as it takes. 0:38:05 - Speaker 7 I don't want to be a hill of the birds last hour. I don't want the last words out of my mouth to be stained Out of my way. 0:38:16 - Speaker 4 Okay, I fucking love this tune. I got some heavy and Tim, yes or yes. If I hear no, I'm just I'm off this podcast Got some really strong G love special sauce vibes from this. Yes, Just the way they owe up. Am I my GD? 0:38:42 - Speaker 1 I don't know, i think I think I'm very familiar. 0:38:46 - Speaker 3 I did not go there, but I will Okay. 0:38:51 - Speaker 4 Right, i mean the. there's a oh dude that it could have been Willie, could have been the wine. I heard that song. The first time I heard that song I was. I took it out for a run and I came home and I like I listened to it again because I just thought it was such a good fucking song, because it's a weed. reference to may not necessarily be about them listening to Willie Nelson. It's like they were smoking weed or they were drinking wine, absolutely Yeah. The opening, like spacey guitar licks The dobro which I think he's playing. there's a dobro in there that he's playing which kind of gets sort of like a banjo slash guitar vibe. Oh God, just. 0:39:40 - Speaker 1 I feel like that lyric that you just quoted, though, could have been the Willie Nelson, could have been the wine. That's like one, like when he wrote that he should have just put the book down, put on a fedora, long overcoat, grabbed his briefcase, just went home for the day, that's. That's the days. That's the day at the office, that's a fucking. Exactly. 0:40:00 - Speaker 4 That's just a great lyric Exactly dude, no, 100%, it's so good. I was like you know. You know, a line is a good line when you hear it and it's so good you think you've heard it before. Meaning like I'm like right, i mean because it just sounds like it belongs on this in the history of life, Like like someone has, like if someone hadn't said it, they sure as shit should have said it. Does that make sense? Yeah, you know, it sounds like it's just. It's a great fucking line. I thought I maybe quit that line. It's just. It's really the part of this song where Gord starts coming out of the cage. On this record, i feel like that was the moment Somebody gave, somebody unlocked the door of the cage and he's starting to come out, and then the song ends on a random minor chord, which is so weird, it's such a happy, spacey song that ends on this minor chord. 0:41:09 - Speaker 3 I loved that. I loved that about it. So for me this one it felt a little Out of the gates. I need to listen to the beginning of it to see your G-Love reference. But out of the gates. It felt to me a little bit country and a little bit like are we reaching again for some crossover fans Along? the southern belt of the US. Like where are we? What's happening here? You know there's some slide guitar, but is it a song about lost love? You know looking up at the stars waiting for a reveal. You know there's synth work in here again, so there's some sort of keyboard happening, which is fucking cool. And to me, the first lesson I had all those kind of questions going through my head And then I thought at one moment like this is actually a fucking beautiful song. Like it's a little bit of an odd man out on the album, but it's actually a beautiful song. There's this long ending with no singing. It's just mysterious. Like you said, pete, the last five seconds or so, or this just bizarre tune out. It's like I found one quote when Gord was asked about this song. He said this was an interview in 2004,. He said this one asks the question evil in the open or evil just below the surface? That was his comment about this song. So it's like this song to me was super mysterious Yeah, super mysterious song which I fucking love, like I don't need literal storytelling every single song you know. Social themes, i don't know all these different things, i don't need that. Every single song I love you know kind of the knuckleball that comes in. You're like whoa okay, this is reeling me back in to the album in a good way, a way that I'm looking for, you know, i'm hoping for, but still, again, this one felt a little bit odd, man, just the way it fits into the album. They've done this before. They've gotten. 0:43:15 - Speaker 4 They lose green man. 0:43:16 - Speaker 3 Yeah, they've gone on this path of like okay, this one, now we're going to turn off the highway and head down this two-lane road and we're going to stop at this farm and we're going to have an afternoon barbecue with this family, and you know, i don't know, like it's just this one's off the highway. 0:43:35 - Speaker 1 Cool. What do you guys think of the bridge? It makes my arm hair stand up That night in Toronto with the checkerboard floors. There's a bar in Toronto that's famous legendary in fact called the Horseshoe and that references the Horseshoe, the checkerboard floors. Oh shit, that's one of the first big gigs they played in Toronto. 0:43:55 - Speaker 4 Can I get taken to that bar when I come visit Toronto? 0:43:57 - Speaker 1 Absolutely. Let's do it. Sure shit hopes so man. 0:44:00 - Speaker 4 That would be cool. This song is actually the most listened to hip song on Spotify. 0:44:07 - Speaker 1 Oh, wow Yeah. 0:44:09 - Speaker 3 Surpasses. I read something about that as well. 0:44:13 - Speaker 4 What was the one that it surpassed? 0:44:16 - Speaker 1 I can't remember Anyway yeah Well, so it's a hit all around Pop Cage. 0:44:21 - Speaker 3 Yeah, it was a fucking interesting song, right? This is. 0:44:25 - Speaker 1 So we shift gears now in a well, not in a huge way, because this is sort of low tempo or slower tempo. We go to Thompson Girl and you're both hesitating to start Thompson Girl. 0:44:41 - Speaker 4 Go ahead Tim. 0:44:42 - Speaker 3 Yeah, well, you know what's the story about here. I don't know. It's the story potentially about where is it here, This town in Manitoba, thompson, yeah, or it's. You know it's potentially about a nickel mining company up there. You know it's got this kind of sweet, forlorn grunt work somewhere between dream and duty, poking through with all them shoots of beauty. I mean, what is that about? You know, this is kind of a cute, in a way stripped down acoustic song. There's some banjo in there. You know, i've kind of been waiting for, I had been waiting for this type of stripped down, simpler song that you know it's kind of this forlorn, sad song to me at the same time. 0:45:42 - Speaker 1 Probably Pete. 0:45:44 - Speaker 4 I loved it. I thought it was cool. I think I don't know if it's consistent with you and I, tim, but like I really try not to look too deep into the lyrics because oftentimes I'm disappointed, that's why I don't do it. I know you do it a lot more than I do I totally do. 0:46:03 - Speaker 3 I mean it's because of Gord, like Gord Gord. for me, gord merits it. 0:46:09 - Speaker 4 I get intrigued though, but like dude so does. I mentioned Celie Daner earlier. Like Donald Fagan's lyrics are notoriously cool as fuck. But have you ever asked that guy like what he you know what's, what's the meaning of? you know Dr Woo or whatever, like he'll be, like I don't know man, we're on so much cocaine. Back in the day I was just getting shipped to prime or whatever you know like, and I know that's not really the case here. But that line, the way he goes up so high with grunt work, i can't. I'm not even gonna fucking try lest I fucking destroy your listener base JD by singing that line. But when he goes grunt work time between dream and duty the melody is so fucking good It's then there's a part. Um, i don't know if it's like, i don't know, i wouldn't call it the bridge, but it is a bit of a some sort of key change to the regular chord progression. When he goes really high and then the mandolin starts to come in fucking dug that. And then the piano kind of comes in at the end as well, it's fucking cool. I really dig it. Yeah, i liked it First. I didn't like it. I didn't like the chord progression. It just seemed to like, like you said, tim, acoustic. It's sending, like it was like this should be an acoustic song. 0:47:30 - Speaker 3 Keep it that way. Yeah, yeah. But then it grew on me real quick, which is maybe something I would potentially envision. From a stuck in the studio couple days, you know, you'd get to a point to where everybody's kind of burned out and you pick up the acoustic and somebody says to the piano and you talk about is it INCO, inco and the fucking nickel mining, and I, you know, i looked at it a little bit into that in Manitoba and was like, oh geez, here's, here's a historical. You know, just rabbit hole that I can't go down right now. But it just this, to me, is just one of those, one of those songs that fits in well with this whole album And it's something we haven't really had in the past. So it's kind of happy to hear it. Next one membership Who's who's singing backups Somebody found, is it Gord Is? 0:48:28 - Speaker 1 it Gord over. Usually it's Paul Angla, usually Well. 0:48:32 - Speaker 3 I don't think it's Paul. It might be doubled. If you, if you go in and listen again, check out membership and listen to the backups, because it sounds like a woman to me and it sounds really familiar, like I've heard this voice before And I've looked and looked and looked but I can't find anything. It might be one of the guys, just you know, editing it in post or something, i don't know. But there's, there's some beautiful backup happening. This one, though you know it's wasn't my favorite on the album, i'm not going to put it on the playlist There's kind of a big change after the three minute mark with, like this new chorus. Of course it has my fade out at the end. You know there's there's kind of this bigger start to the song, but it's kind of slow in a way. I don't know. It's maybe about addiction, it's kind of a ballad. you know this, this one, it just felt like it didn't really fit in, didn't really wasn't really sure how it was working and it it made me consider you know I've done this a few times that it made me consider the band and what they were feeling you know they're coming in on 2000 here What they were feeling after 10 years, which is long for any band to retain some amount of success 10 years of playing and predominantly being popular in their home country and not even gaining a huge you know the level they deserved in the neighboring USA. So this this kind of made me think about all those things. I just didn't know if it was like about power abuse of power addiction or longing loss, i don't know. This song was kind of all over the map for me, but ultimately the chorus bugged me and it stuck in my head for a little while. I was like, oh, i need, i need some other, i need some other hip song stuck in my head and that's kind of where, honestly, that's where, like blow a high dough, just comes and takes over my brain. So that's what happened. 0:50:50 - Speaker 4 on membership, I you know I have a ton to say about this song. It's kind of like I put in the same categories Poets. It wasn't my favorite song in the record. I liked it, felt it like it was a very drone rock with a chord progression. It's the way it sounded. I love the harmonies. Tim mentioned the harmonies being drawn along by it. Like that line with the harmonies come in The middle, guitar solo where they kind of tease you with the guitar solo helps build the song kind of cool. But then, yeah, the fade out at the end is just like to me. It felt like they maybe didn't have, they didn't nail everything down with this one. That's all I'll say, you know, but yeah we can move on if you want, let's slide over to fireworks. 0:51:46 - Speaker 7 You like fireworks? Yeah, me neither. The frustrating part Never back in old 72 Without school, just a gun, without a gun or trigger. I don't remember a reason. Set me sight of you. You said I couldn't get a fuck about the party. Never heard something true back before You held my hand. We were on the long way Loosing in my grip on Bobby Moore. Never heard anything wrong before I blushed. When these ever sensations get in your way, no doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now I'm not together every single moment. That's what we thought. We'd be married. We both do deep with the grip of art, of fish chaos, believing in the country, me and you. Christ has a faith in Christ, the sinner cramming Yeah, we've heard all this before It's winter time. The house is solid to the bones, loosing in our grip on this fake cold war. Is it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now, next to your comrades in the nation of fitness, the program regarding some eternal past time, clopping to the mind in a fit of laughter, showing no patience, no tolerance, no respect By your words, next to the distance, contemplating towering, towering star By your words. And in late, never, till there are no stars anymore By your words. And in, straight in heaven, contemplating towering, towering star, till there are no stars shining up in heaven, till there are no stars anymore. Isn't it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your brand of error, shining up in heaven, contemplating towering, towering star. I think this one thing never goes away And this ones thing's always supposed to stop. Oh, this funny thing doesn't have to go away, and I'm gonna lie. 0:55:41 - Speaker 4 Oh fuck, How much time you got, then Fucking song, this song, i just have the word. It's this fucking rush, rush, rush, rush, rush. Just so much rush in this song. Really, there's a couple of rush references on this record and this is number one. I would say that is it. Gord Sinclair, yeah, so like and I think he would agree with me, because I don't know that I don't know any bass player in Canada, let alone the entire world, would put them up against Geddy Lee. So I can't like, true, Like. I don't think the bass in this song was supremely rushed, but the chord progression, the structure of the song, the lyrics, isn't it amazing? anything's accomplished Is fucking. It's so fucking dude, it's fucking rush, completely Fucking. It's like they should have just made a record with one song on it and sent it to Rush and been like this is for you guys, we love you guys. And dude, i'm not saying anything remotely like they jocked anything. It's an homage in the sweetest sense. It's fucking beautiful. I fucking listened to the song so many times. There's I don't know if he's playing a Les Paul or a Hamer Rob Baker, but it's got some hollow tone electric guitar. There's a line in there Christ in the Kremlin. I'm fucking. The words in this song are fucking spectacular. I bet it just destroyed. Destroyed. The crowd live Like. I mean if they played this fucking live you'd have to close with this or I don't know what you'd play with this. I mean it's just fuck. What's the other line Next year? comrades in the National Fitness Program caught in some external flex arm hang dropping the mat. Dude the lot. This that the way he speeds up that verse and fits all those fucking words into that, and then he goes back to the normal cadence, like when I say cadence I mean like the tempo, not a modal cadence, but like tempo. He goes back to that. I just bet when they, when they all listened to this track after it was mixed, or they all recorded everything, they all just fucking high-fived and hugged each other and had a big old fucking circle 100% Yeah. Dude, it's a fucking. It's one of my favorite fucking hip songs period. 0:58:23 - Speaker 3 Oh, you know what they. You know what they said after they recorded this. They were like this is going to be an every jukebox across Canada. I mean, it's a jukebox song. I mean, really, this is like play something by the tragically hip. Okay, i'm at the jukebox. Stick in a quarter. Oh, here's fireworks. Everybody loves this song. You know, that's that's. I couldn't agree more, pete. I just felt like this could be put on a seven inch only and out in the world. You know it was one of the first songs in a while where, like, i immediately just started snapping my fingers. It was like, okay, this, this song's, this song's moving. I completely agree with the rush references I love. I so identified with this girl. There was actually a girl who said she didn't give a fuck about hockey. I never heard a girl swear and I've never heard someone say that before. It was like there was some whole other world out there which is hard to fathom at times. I don't follow hockey. I totally identify with this. When I go on Facebook and it's like near the weekend it's mostly fucking NFL comments from people I know in Southern California. It's like, god damn, i wish I had a sports filter on my life because I don't really follow any sports. So the hockey the hockey comment, i was like yes, i, i want to hang out with you, let's go drink beers. You know, i probably follow that. It's whatever I just I just identify with that part, it's. You know this, though, you're right, pete, isn't it amazing you could do anything when the notion isn't in your way, believing in the country of me, and you, ah, you know, it's just, it's, it's, this is, it's more. It's more than an anthem. 1:00:17 - Speaker 4 You know, the crazy is so it's so, Getty Lee, though man. 1:00:21 - Speaker 1 Yeah, yeah, for sure, for sure. What's? 1:00:24 - Speaker 4 this, it's, it's spirit of the radio. Okay. That's the song thing you have in so many ways. Yeah, i mean, and I don't think any musician in the band would say like they can you know drum? like Neil Pert? I think the guitar is pretty. It's got some solid Alex life and vibes. like you could fucking compare that guitar wise. but like bass and drums, you can't fucking come close to those, like it's just. but sorry, tim, i didn't mean to interrupt you, but it's just a fucking. 1:00:55 - Speaker 3 That's good. Good, it's such a JD. What JD, what? what were your thoughts on the song? Do you have, do you have memories of hearing the song, or anything, or like? 1:01:03 - Speaker 1 I think it's, I think it's a romantic song, Like. I think it's like the firework of like meeting somebody that is just, you know, absolutely the sparkle of your eye, you know, sort of thing. The context, to give you some context, the goal that he's talking about, the goal that everyone remembers, is when Canada beat the Soviets in 1972. And that was, that was during the Cold War. So it was a big deal, that series, Canada playing hockey against Russia. you know a few games here in Canada and a few games in Moscow. It was a big deal, Like for these Canadian hockey players to go to Russia. Like at that time Russia was so mysterious And there was a very famous goal that won the series by Paul Henderson that everyone remembers. It's one of those moments in Canada, the, if you're of the right age or generation I'm not, I'm born in 74. So it's over my head, But if you were there then it's one of those like you know where you were moments. you know what I mean. 1:02:10 - Speaker 3 It's huge huge moment in sports history. 1:02:13 - Speaker 1 So for him to be just blown away. Like you know, loosening my grip on Bobby Orr, like I just picture, the 16 year old who's in love with Bobby Orr has the hockey cards on the wall, you know, he's just tremendous and all of a sudden he just oh, there's girls out there. Oh, and there's this particular girl who doesn't give a fuck about what, like whoa fireworks, you know. 1:02:40 - Speaker 3 Yeah, great song, Great song. This. yeah, I could have had this song, you know, and had a satisfied meal and went to bed. 1:02:49 - Speaker 1 You and your food All right. Go next to vapor trails. 1:02:58 - Speaker 3 So vapor trails, like I started this one and paused and had to come back to it, i didn't keep going like this, this, this, this was one of the breaks. And now for me, where I was like, okay, i'm not, either not in it enough or not focused enough, let's come back to it and didn't hold your attention. He would not not at the get go, but eventually it did. Oh, eventually it did bring me in. It totally was one of those songs that I wasn't so sure about, but over time was like humming it while walking around the house. You know, there's just to me it has some mysticism to it. There's this mysterious not to say it again but backup singer, whoever is in there. I mean there's some really good backup singing happening, but I just love some of the lyrics. There's nothing uglier than a man hitting a stride. 1:04:00 - Speaker 1 What a great lyric, right Dude And just the way he says it as well. There's nothing uglier than a man hitting a stride, yeah. 1:04:09 - Speaker 3 I can't wait to use that some point in life. You know, watching something happen, yeah, chords, use that line, throw away the rudder, float away, like they portrayals. You know, i get this. It's like, it's this feeling of like giving up. You know, at some point we all, everyone, i think everyone has contemplated, you know, life being different or serious change, or giving up, or you know, we've all had these heavy times in our lives and maybe the song kind of hits on that. There's amazing guitar riffing just towards four minute mark. It felt, you know, just to kind of wrap it up. For me it felt like a produced ending. You know, the fade out was like it wasn't just let's wrap the song up, let's just fade it out, it was like let's produce the fade out. So it was a little, i don't know a little more, a little more orchestrated. But yeah, it's, this song is. This song was a banger. I think it was really good for the spot in the album. I think it was like really fitting. 1:05:27 - Speaker 1 Yeah, because we're well into the second side now. Yeah yeah. Second track, second side, if you're playing by those roles, It has a good place, good place in the album. What do you think of APR Trail's Pete? 1:05:39 - Speaker 4 Well, this is the other thing that I thought was it's not. It's not a Rush reference, but I actually think there's a possibility that Rush's 2001 record Vapor 12, vapor Trails was perhaps, maybe, an homage to Tragically Hip. Wow, i don't know, that's my, that's my in my dream world. I don't know if that's really true, but and I saw them on that tour and they were fucking just amazing. Saw them at the Irvine Meadows man. 1:06:18 - Speaker 1 Such a great show. 1:06:19 - Speaker 4 Never saw. 1:06:20 - Speaker 1 Rush. I was supposed to see Rush on a tour in 93 and guess who was opening for them? Who, tragically Hip Jesus Christ. Wow, on Road Apples. Yeah, dude. 1:06:30 - Speaker 4 I don't know what's a bigger fail That or not partying with them. 1:06:34 - Speaker 1 Oh God, it's the, that's the, that's the fail. 1:06:36 - Speaker 3 They're close. Not partying, I think. 1:06:39 - Speaker 4 Well, we, let's put it this way, we, we, we showed to that concert, i think, and they were they, we were at that time. It's strange, real quick, because I know. but during that time, because 2001 was coming out of the Napster years and years, right And into, like I think it was right where the iPods came out, um, so people started buying music online again, sort of. So bands didn't have money to pay for opening bands during that time, so a lot of bands would tour and be like who's opening? And like there's nobody opening. So we assumed that somebody was opening, for Rush happened to me with pavement one time, but that's another story Um, and we walked, we're, we're racing through the parking lot Because we hear a spirit of the radio, but right into Red Bar Chat after that and just fucking made my, made my life. But to the song. Paper Trails. Um, the fucking vocal melody in the opening verse same. I got the same cadence, Tim. I don't know if you mentioned this as Thompson girl. Um, but the song I loved it. I imagine when they sung this song live, that when Gord sings the line you can throw away the rudder. He probably blows out either part of the low end or part of the mid end frequencies in the fucking speakers at this this, this house, his voice is just at that frequency where, if he really punches it like he could, he could break. He could break some fucking windows, because it's, it's just fucking just the way he delivers that shit. Throw away the rudder, um, uh, what else? Yeah, just that line to me was worth buying the fucking record. Pulled the car over. There's nothing uglier. Yeah. Then a man hitting his stride. Yeah, there's a transition from the bridge back to the chord progression. That's super abrupt And it's so cool because there's no transition. It's just like boom, boom, they go right back into the chord progression and it's fucking cool. I'm not, can't think of any band that I've heard do that. And then the last thing is the line, and it's it's. It's maybe Rob Baker, i don't know who's singing the backup, but Mexicans dressed in beige shirts Crazy line, yeah. 1:09:16 - Speaker 1 Yeah, I've never heard that Mexicans dressed in beige shirts. 1:09:19 - Speaker 4 It's. It's like almost whispered. 1:09:25 - Speaker 3 Wow references you know references, folks who spend their life picking the strawberries and raspberries. 1:09:31 - Speaker 1 We, i believe, Yeah, I would guess so. 1:09:37 - Speaker 3 I believe it does So yeah. 1:09:39 - Speaker 4 Are we going to? 1:09:40 - Speaker 1 rules. You got it, dude. 1:09:48 - Speaker 4 I love the song. It was so fucking cool and so chill. This starts out with those huge cymbal crashes in the beginning. This is the second song in the record that references a pedestrian crossing, talks about a crossing guard not doing their job. 1:10:04 - Speaker 1 So yeah, it's really reference of and the second reference of super farmer. Uh-huh Right. 1:10:11 - Speaker 3 In that same in that same Stan's line. Got some agricultural themes happening. Probably the third agricultural theme. 1:10:21 - Speaker 4 Yeah, I don't know I just the phrasing was beautiful. I'm wondering what a bard is. B-a-r-d. 1:10:28 - Speaker 3 There's a couple of references with that. One is it has to do with a Shakespeare reference. 1:10:35 - Speaker 1 That's what I thought, yeah. 1:10:36 - Speaker 3 Yeah, and then the other one is I'm not going to butcher it, the other one has to do with fighting. I have to look it up. 1:10:46 - Speaker 1 Let's just go with Shakespeare. 1:10:48 - Speaker 3 Yeah, it's some Shakespeare reference. 1:10:52 - Speaker 4 And then to the line about the vacuum's got a guarantee. I just that line hooked me in so much because it was so random that I was like really in just pay super close attention to what he said. And the next line that he delivers, which is it could suck a virus, an ancient virus from the sea, is like what the like again put on the hat, put on your jacket, close the briefcase. Fucking. Done your job today. 1:11:23 - Speaker 1 Leave the office, gordon, that's right Punch out or whatever. 1:11:27 - Speaker 4 The whole, that whole stand is fucking amazing. There's a table slide And then oh, by the way, this song, and fuck, there was one other song. God damn this song. and one other song at the record. on the record It's earlier. I want to say it may be something on or say the planet. at the very end of it You hear the word somebody in the studio is cool. Yeah, so it doesn't feel so and there was one other two, one other song on the record that they did, so I was like they did that twice. 1:12:05 - Speaker 1 That's cool. I'm going to need access to your premium sound system. 1:12:10 - Speaker 4 Well, I mean GD, that's. We know this is not stuff we just hand on. It's kind of like you know top secret Clarence, There's a lot involved, A lot of screaming All right, all right, all right. 1:12:22 - Speaker 3 He passed. He's done it. Yes, true, yes, we're adjourning my current, for he's had it. Yeah, i heard the song and I thought Pete loves this song so much And when we come talk about it on the pod it's going to be all Pete. 1:12:43 - Speaker 1 You know how much to say. 1:12:44 - Speaker 3 I thought it was kind of a yonder. I got you know some, some from it, But you know I was like this. The song isn't for me. I thought it was kind of a yonder. I was going to leave it to Pete. 1:12:58 - Speaker 1 We're going to come back in a year because it's going to be a grower for you. I guarantee this song will be a grower for you. 1:13:04 - Speaker 3 If it's not, you guys both have to buy me beers. I can live with that, Yeah, yeah. 1:13:11 - Speaker 1 Okay. Well then let's slide into Sugar and Falls Ohio. 1:13:15 - Speaker 4 Take it Timbo. 1:13:17 - Speaker 3 Yeah, so Sugar and Falls. So this song I thought was basically a huge fuck off to corporate man, to the man. I thought this is like. This song is driving some culture into the fan base. It's probably, you know, was played a lot on the radio. I thought this one you know I could be wrong, but this song to me felt like on the verge of angry a little bit more than usual. I'd maybe really wonder about it live, if this got more raucous, if it got a little bit more I don't know violent feeling. And I think it's because it thematically, which is where I'm going to go, not so much with music on this one, but thematically it Sugar and Falls, in my research. That's the headquarters of Clear Channel, which at the time Clear Channel Corporation was slowly taking over media, especially North America. Yeah, so that's a lot of the references to Grand Falls. You know where the unknown won't even go. Because at this point I mean that line to me says if you're an artist and you're trying to make it like, avoid your Grand Falls, avoid Clear Channel, you know, be careful with what radio you're sending your tapes to your CDs to like this. This is that song that is kind of the band's shout to the world of, you know, corporate media is taking over the airwaves, you know, be aware So that that to me the song has like a mission. It felt like the first time I listened to it. When I got to you know, three quarters, two thirds of the way through, i thought is this song like over five minutes? you know it felt long, but it didn't feel long in a bad way, like it felt like a good, just a really well written song. Like I was kind of digging through Grand Falls, it felt like a five minute song, but it's not a five minute song. I didn't look up live versions of it but I definitely want to find something. 1:15:47 - Speaker 1 Yeah, get the answers to your questions. I can't, unfortunately, answer because I saw them on that tour and I don't remember if they played it, but I can't. 1:15:57 - Speaker 3 It was somewhat rare. I feel like it was probably going to be a rare rarely. 1:16:01 - Speaker 1 Yeah, it would be one that would be, you know, gosh. Well, let me just quickly look up how many times they played it. 1:16:09 - Speaker 3 I mean for people that don't know, Clear Channel took over corporate. I mean took over FM radio. Over time, like so many stations became Clear Channel stations and became programmed. And I remember hearing the transition because, as a big radio listener, being bored in 71, you know, i listened to radio for like 20 years, 15 at least, 20 years and they just completely took over And I remember hearing DJs demeanor changing from independent radio station to now being put into this box And I feel like that's what the band is trying to talk about in this song And I think it's their fuck you to this corporate system of being in a band and trying to make it and just to inspire people to be independently minded. 1:17:08 - Speaker 4 Yeah, it's funny you mentioned Clear Channel only because I want to talk about the song, because I feel a little bit different about the song in some ways than you do, tim, and it's funny, like Tim, i didn't do fucking a pubic here. The research you did for this fucking song. I had to look up where Chagrin Falls was but, and I dug it. But yeah, that's when there used to be a great station in classic rock station in LA called Arrow 93. And they went over to that Jack. You know that Jack format Jack FM, which is just, it's just a guy who like record something and it's like a cheesy line and he comes in every every three or four songs and says something There's no DJ, it's just, it's just music, that's, you know, topping the charts that day and it fucking sucks. It's why radio is dead. But the song itself Huge, huge again. Alanis, beginning that fucking downbeat, the way the song starts, i thought it's crazy. you said it's not, it wasn't something. they went to live a lot because I thought this song would have fucking killed life. Maybe because the because of the subject matter they thought, oh remember, being too political, people aren't going to be into it. But the fucking song is the internal Mel. There's this weird thing going on with these. There's these internal melodies in the song where there's like it's not like harmonies, it's like two different melodies going on like DNA, and it wraps up to make this fucking beautiful code. that is the song. And there's a record. I don't know if it's a record scratch or he's scratching like the low E string of the guitar. Did you hear that? I mean, could have been the premium sound system in the car, which I'm willing to bet that it is in the line. Could have been the Willie, but no, there's definitely some record scratching or some sort of scratching that goes on in the song. 1:19:16 - Speaker 3 I'll try to catch that. 1:19:19 - Speaker 4 The no profound sound that build and then his voice gets all fucking echoey And then really got some Jerry Cantrell vibes from the fucking the harmonies in there from Allison Chains, like just I don't know if that was who was doing the harmonies on that one. 1:19:37 - Speaker 1 But super high, super cool, fucking again. Typically it's Paul, typically like early on it's Gord Sinclair, but then later on it becomes Paul. I looked up the show that I saw it was the one that I saw in Hamilton. It was Saturday, July 4th 1998. They played the entirety of Phantom Power. They played 21 songs on the show, The entirety of Phantom Power. They did play Sugar and Falls. It was the third time they'd ever played it and they played it a total of 127 times. To put that in perspective for you New Orleans is sinking. They played 831 times. 100th Meridian they played 756 times. 1:20:20 - Speaker 3 Head by essentially 693. 1:20:22 - Speaker 1 So, yeah, definitely a rarer song. 1:20:25 - Speaker 3 Okay, that's crazy, cool, cool, All right. Do you remember hearing Sugar and Falls on the radio? Was it a radio? 1:20:35 - Speaker 1 No, it was not, it wasn't a single. This next track was a single, though, and that's strange to me It's strange, Really Yeah me too. Same here 5 minutes, 5 minutes, 52 seconds, that's a long. That's a long ass single. 1:20:50 - Speaker 3 It is, but I love it. The first time I heard this was another one I got to and I was like, ah, save it for later. I'm getting to this point, pete, you talked about this or drinking a lot of hip kool-aid, you know it's like. Oh my God, i'm starting to burp here a little bit And Escape is at the hand of the Trav for the Travel of Man and I got to it and I thought, okay, 5 minute song, i'm at the end, let's just see what Emperor Penguin's all about. But I, of course, came back to it and I came back to it and I came back to it and I thought Travel of Man song. I thought this song could be like its own book. I was at the hand of the Travel of Man. Oh, you're going to play two more. I'll play two more, nice. Welcome to Escape Center Trav of Man. 1:21:58 - Speaker 6 Someone was written down after meeting a gentleman named Jalison. He brought out a man called Material Issue out of Chicago And we met up with a CMJ conference back in the day in New York. You know like nine vans a night And they were on just before us and he was really sick with the cold and they'd driven all night in the van And he was planning on sleeping in the van that night in the cold And Paul and I invited him up tomorrow to stay and he did And we never saw him again And we already died. A few years ago. We wrote this song, Jalison. 1:23:06 - Speaker 7 It was our third time in New York, your fourth time in New York. We were fifth, sixth on the bill. We talked a little about your band. We talked a little about your future plans. It's not like we were best friends. The number scheme comes back to me. Time to be on, and part B. We hung around till the final band. They're called escape as a hand, the traveling man, the building my air. This music speaks to me. Once they launched into lonely, from rock and roll, from a bad day, checked out an hour ago, closing with all desires turned concrete, those melodies come back to me. Time to be on. And part B Jalison till the slow, jalison till the slow. But you said anytime. All the devil's mind. You said anytime. Jalison till the slow. I walked through your revolving door, got no answer up in 704. The elevator gave a long moon. The pigeons sacked the wire with their weight. Listening to the singing chamber maid, she sang. they checked out an hour ago. The melody may cease to be. Time to be on. and part B. 1:26:20 - Speaker 5 Jalison till the slow, jalison till the slow. But you said anytime. 1:26:40 - Speaker 7 Jalison till the slow, but you said anytime. Jalison till the slow, but you said anytime. Jalison till the slow. 1:27:57 - Speaker 3 Jalison till the slow, but you said anytime Jalison till the slow, but you said anytime. Jalison till the slow, but you said anytime. Jalison till the slow, but you said anytime. Jalison till the slow. What else It's about building that? 1:29:46 - Speaker 1 What do you think of that? Like all these bands and all these songs that this band has created. Like I want a cover band to come out or we should do a pod list for this podcast, but you have to be one of these bands mentioned in this song and the song that you write has to be one of the songs that like somebody needs to write. They checked out an hour ago. Yeah, like what is that song? 1:30:11 - Speaker 3 Yeah. Like that overall it's kind of a heartbreaking song. Yeah. But you know it was one that I for this album. It was one of the few that I kind of went back and dove into and went back and dove into and really dug Like it could have. In a way the album could have ended here for me. 1:30:33 - Speaker 1 Okay. 1:30:34 - Speaker 3 Tell us It's good Yeah. 1:30:38 - Speaker 4 Yeah, i mean I think Tim said most of it. I really like the line. it's not like we were best friends. Yeah, it's just fucking. it's a sad tune. It kind of kills me a little bit. 1:30:53 - Speaker 3 Yeah. 1:30:54 - Speaker 4 You know thinking about what this song, who this song is referring to and like he killed himself, correct, he committed suicide. Right, right, right. I like the tune. I thought it was. The word play was awesome. I love the keyboards in it. I kind of feel the same way as it, like this would have been a good one to end it on, but you know you said most of it, tim. I'll leave it there. I'll leave it there. 1:31:26 - Speaker 3 Yeah, i love that. 1:31:28 - Speaker 1 You guys are killing me here. I want to hear what you love, and then I'll go back to what I was going to say. 1:31:33 - Speaker 3 No, i was just going to kind of wrap on my end with the fact that I love how this song made me think about relationships Maybe think about relationships that I have, that you know I would love to make stronger and add, give more time to, but it kind of fucking doesn't matter. You know, like it reminds me of people I know that I could hang out with tomorrow or I could hang out with them in like 20 years, and it, like I said, it reminds me of meeting, meeting artists who I adore. You know there was a there's this club in Portland. I was at um sing, some bands play and I'm standing there in line in the keyboardist of the band to stand in front of me And I don't know a ton about this person. But you know it just got to the point where it's like what the fuck do you say to somebody who you kind of adore and you know a little bit about? and in essence it kind of doesn't matter if you're not really going to see them again. You know it's just the song left like this feeling of space that would continue on and you could leave it behind and come back to, which I think is pretty fucking cool to do that in a written form of art is fucking cool. 1:32:51 - Speaker 4 You know I gotta give you an answer to that. Like what do you say? cause I've been in that position too, Tim, and honestly I know it sounds stupid and simple, And you know whether it's a specific record or it's the newest record that you came out, that just came out, that you're seeing them on the tour with whoever it is. Just look and dead in the fucking eye and be like I really dug this new record, I really love your music, man, It's just thanks for making it. And you say that shit, Like dude, it's better than any cheeky fucking thing you could think of or like plan or whatever. You'll just make their day Cause like that's, that's why people make music, man, Anybody who says they make music for themselves is full of fucking shit. man, Yeah, I make music myself. I don't care if anybody hears it Fuck you man. Yeah, that's funny. 1:33:45 - Speaker 3 That's why you know what I did in that moment in Portland at that club is I had this stupid numerology app on my phone and I opened it up and I was like Hey, when's your birthday? She turns around and she's like you want to do some numerology thing, don't you? And I said yeah, and so she gave me her birthday and I was like we went into it and we fucking played around with. the queue to get into the bathroom was long and we played around on this app and laughed at each other and, like pointed out personality traits that we love and hate about each other. 1:34:20 - Speaker 1 That is a story that turned out way different than I thought it was going to be. Yeah, Dude, I mean I was like a little bit drunk. 1:34:28 - Speaker 3 Yeah, i was. But I was like you know what do I? I'm not going to stand here for five minutes and tell this woman how much I loved her last album. I was like we got to pass some time while we stand here doing the wee wee dance. 1:34:41 - Speaker 4 What's your favorite? jelly Strawberry More. 1:34:45 - Speaker 1 My daughter was having this discussion this morning because she doesn't like grape jelly. Oh, and I was like oh. I was like, oh, that's terrible, all right, we're, we're, we're searing clear of what is my favorite song on the record. 1:35:00 - Speaker 3 Oh. 1:35:01 - Speaker 1 Emperor. 1:35:02 - Speaker 3 Penguin. 1:35:03 - Speaker 1 So let's hear it, fellas, you know. let's hear everything that you've done wrong here. 1:35:08 - Speaker 3 Well, let's raise a glass of milk to the end of another album review. 1:35:14 - Speaker 4 Yeah. 1:35:15 - Speaker 3 Well done, Tim. He says to the end of the day. You know, it's funny. when I heard that lyric, let's raise a glass of milk to the end of another day. It reminded me of this comedian, this, this bit I heard, and this guy was like ladies, if you are ever out on a first date and you're off to dinner with some guy and he orders a glass of milk with dinner, run, run as fast as you can, And that's, you know, raise a glass of milk. It just reminded me that I started laughing. 1:35:41 - Speaker 4 Right, you need a cluck of orange. 1:35:43 - Speaker 3 Yeah, yeah, sure, sure, sure, sure. You know there there was, I guess, not whole lot to say on the song. I sorry JD, i felt it was maybe out of the whole album kind of the cheesiest one, cheesy. Yeah, even the ending. Even the ending is like really. Like. 1:36:06 - Speaker 4 I just this one, this one, yeah, maybe I could Welcome to getting hip, hip to the hip with my friend Pete, and that's it, yeah. 1:36:18 - Speaker 3 Next next episode JD's like so um Tim died. No he's no longer. 1:36:27 - Speaker 1 Everybody's entitled to an opinion, even if it's Yeah, yeah, yeah. 1:36:30 - Speaker 3 I love the whole Emperor Penguin references, which I kind of knew. Um, you know, this is again where the band hits on like gender equality and all things around. that, if you guys don't know, emperor Penguins, like the female lays the eggs and she dips, she's like she's out, like the male kind of does the work, um, and if she doesn't return and help sustain the nest now and then like everybody dies. you know it's, it's yeah. So this this was a familiar, metaphorically kind of fun, but at the same time I was like all right what's the next album we're going to hear? That's kind of where I went. That's kind of where I went with this whole album, i was like, okay, i really wonder what the next album is going to be like. 1:37:15 - Speaker 1 I'm so curious too Yeah. 1:37:17 - Speaker 3 All right. 1:37:18 - Speaker 4 Pete what'd you think? Well, JD, give me the, give me the skinny man, Lay some pipe for me real quick. Tell me what. Uh, tell me what you think. Why is it? why is it your favorite, Please? 1:37:28 - Speaker 1 I don't know. I love the way it builds. I love the way it builds, um, i love. You know, like, leaving the. You know the, the, the, the, the, the, the, the. You know, like, leading up to the, to the, to the chorus. Sorry to interrupt your color, but that's a physical impossibility. I love his phrasing. His phrasing is just magnificent in this. Don't wipe your asses with your sleeves. Your crust was just incredible. The radio was edible. The lyric and the phrasing and the structure of them, i just think, are like divine, like wonderful. And it's also a song in a key that I can sing. So I love to sing it And I've sung it before. Um, nice, you know it's, it's uh lovely. I love the slide on the way out. 1:38:12 - Speaker 4 Yeah, It's a fucking. I like the song. This song I think his voice sounds the most raw on, like when I have the headphones on. Yeah, it felt like he was sitting right next to me singing this song I was like kind of gave chills. Right, it's very sparse, it's very much so. And then your, your comments and your, you know, love for the phrasing, huge, huge, huge. And if you disagree with me then fuck it. It'll be the JD and fucking Tim show next week. but Joni Mitchell vibes for the phrasing the way he like. listen to some Joni Mitchell dude and how she squeezes so much shit into some, you know, into a single measure. And that's what I got from this song. Yeah, yeah. There's a volume build that's huge in it that I love. The only issue I take with this song is that I really get the vibe that Gord Downey didn't believe in aliens And that fucking blows. That breaks my heart Like it just fucking does, dude. I'm a huge, huge believer and you know I just I was like really man Cause I think like you know what and you know what. 1:39:28 - Speaker 1 Oh, i picture that being like a reference to what's his name. He used to. Then he used to do coast to coast or Bell or. George Ford, I take that. I take that as a reference to like them driving on the bus in the middle of the night and, like you know, hearing that. Sorry to interrupt you, caller, but you know what I mean. Like like a radio talk, a radio call in, show, right. 1:39:49 - Speaker 4 I, you know that makes sense. That makes sense Because, honestly, like I think about it too and, like you know, i'm not to get all existential here, but like I think about, like I'm not this, i'm a recovering Catholic, so I was raised Catholic but I'm not practicing anymore And I think about, like you know, maybe when you die you get to, like you get all the answers, maybe you get, maybe you go to another planet, this and that. And I'm thinking like you know, fucking. You know, i really wish Gord Downey was fucking around today So I can see them fucking live. But since he's not, i sure as shit hope that he's somewhere with aliens and the jokes on him and he fucking realizes that they actually do this because fucking and hopefully you're right, jd, that that's a reference, because otherwise this song just breaks my fucking heart, man Breaks my fucking heart. 1:40:43 - Speaker 1 Oh, i hope. I hope your heart doesn't remain broken. 1:40:45 - Speaker 4 Yeah, no, we'll repair it by next week All right? 1:40:49 - Speaker 1 Well, let's, let's cruise into the last segment of the show here The, the, the, the MVP song, the song that you're sticking on your playlist. What is it going to be there, Tim? 1:41:03 - Speaker 3 I suppose it's fireworks. 1:41:06 - Speaker 1 I was you're so reticent? Oh, is that because of the popcageon? 1:41:12 - Speaker 3 I mean, i was a fan of vapor trails. I suppose it's fireworks, though It's fireworks to me was like you know, perfect single. It's kind of a self self-help song or a caregiving song. Yeah, i can see, you know it's, it's just it. it checked a lot of boxes. I love also, just you know, kid from Southern California. I love the what the fuck hockey reference you know. So yeah, that one, that one was, that was it for me. 1:41:44 - Speaker 1 All right, Pete, I mean no question, no question fireworks. 1:41:48 - Speaker 4 It just gave me everything I wanted, every fucking thing I wanted to do. 1:41:55 - Speaker 1 Wow, that's amazing. 1:41:57 - Speaker 4 Just so good, what a fucking song. 1:41:59 - Speaker 1 I think this is the first time you guys have had the same song, right? 1:42:02 - Speaker 3 Yeah, yeah, we're in sync. 1:42:04 - Speaker 4 Yeah, for sure. 1:42:06 - Speaker 3 I mean, if Emperor Penguin had like real alien area 51 references, I think Pete would have been all over that. 1:42:12 - Speaker 4 Right And it had. He said they actually do exist. I would have been like, sorry, if I worked, take a seat. 1:42:20 - Speaker 3 Hey, i have some other kind of facts to throw in here real quick, so all right. So when these guys started out, they sold a shit ton of albums and I think made some money pretty quickly, right? And then yeah, then each album thereafter was like a million ish record sold, which is pretty fucking cool, like that's a good job, you know, back in the 90s they're selling albums, they're making a buck or sell a piece On top of touring and doing these massive arenas across Canada or whatever. But it made me think, okay, how does the hip measure up? Maybe this is a bit for another pod, I don't know, jd, but it made me wonder how do they kind of measure up? Why did they? Why, or how, why not? Were they not killing it in the US? So I looked up other Canadian bands and one that came up was Men Without Hats. These guys had they were like a one hit wonder, right, yeah, yeah, yeah, we can dance if we want to blah, blah, blah. So they sold almost a million albums globally and 500,000 in the US. So basically, more than half of their albums they sold in the US, which is, i think, really interesting. The hip, for reference, sold around, didn't they sing? Safety Dance too, safety Dance, yes, safety Dance. That's the one. The hip sold like 8 million-ish, 8, 9 million, and about 10% of that was in the US. Not a whole lot. Bare-naked Ladies, conversely, who I've barely touched on in my life. Pardon the pun. Yeah, about almost 10 million albums, but 7.5 to the US. 1:44:21 - Speaker 1 Yeah, that's because of that record with one week. 1:44:23 - Speaker 3 Substantial Yeah Rush 40 million globally, 26 million to the US. Yeah, all these bands. 1:44:35 - Speaker 4 Bare-naked Ladies did a song called Brian Wilson. It's just so fucking good dude. 1:44:42 - Speaker 1 Yeah yeah, oh. 1:44:44 - Speaker 3 Arcade Fire. Okay, here's something a little more current Three million globally, a million to the US. These stats of globally which is how many went to the USA they don't correlate, they're not apples to apples, they don't drive with the hip And I think that is. I don't know. I just think it's something to note here. What the hell was it? Was it Clear Channel? I don't know What was going on. What was going on. So it's making me just still feel for the band and their lineage and their history, and I think I'll stop there because I'm going to save more for our finale. 1:45:27 - Speaker 1 Okay, cool. Well, fellas, it's been tremendous to hang out with you in this record, live in this space for the last hour and a bit Tremendous work, as always. I look forward to listening to the next record with you Music at work and we'll do that next week. You now have a week to listen to that and we'll reconvene next week. 1:45:49 - Speaker 3 Let's do it. 1:45:50 - Speaker 1 Sounds good. See you guys. Thank you. 1:45:52 - Speaker 3 Steve, see you guys. 1:45:54 - Speaker 1 Pick up your shit. 1:45:57 - Speaker 2 Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pod And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns. Email us at JD at GettingHiptotheHipcom. We'd love to hear from you.

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Me and the boys discuss the songs Montreal, Radio Show, and Get Back Again. Enjoy

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

We're taking you on a journey through the Tragically Hip's live album, 'Live Between Us', which was released back in 1997. Our excitement leading up to its release was off the charts, and we're here to share that with you! We'll be dissecting some of the tracks on the album, such as 'Grace, too', 'Ahead By A Century', and 'Nautical Disaster'. Prepare to be immersed in the intimate connection between the band and their fans that this record so beautifully captures.

In this episode, we dive deep into the recording process of 'Live Between Us', exploring the incredible energy of the show, and the role the audience played in the final product. Also, get ready for an insight into the potential impact a sax player could've had on the band's sound, as well as a fascinating anecdote about Dave Matthews' tour bus incident in Chicago. Plus, we'll delve into the tough decision faced by sax player David Manning – stay with the Hip or leave with his girlfriend?

Finally, let's talk about the Tragically Hip's songwriting process and live performance dynamics. We'll discuss how the energy of the show and the crowd's reactions influenced their performances, and examine the live version of 'Fully Completely', which unlocked the song in a completely different way from the original recording. We'll also touch on the band's influences and listening habits, and how they incorporated lyrics from other bands into their set. So, join us as we unearth the magic of 'Springtime in Vienna' and the excitement its introduction caused among the crowd. You don't want to miss this!

Transcrip

0:00:00 - Speaker 1

So, guys, this is Pete here. I'm coming to you with a very important message. Okay, this is serious stuff. I know we joke around a lot on the on the pod, but in all honesty, i'm asking for a favor. I need you to do yourselves a favor. I need you to do your family and friends a favor. I need you to do society as a whole favor. Go to getting hip to the hipcom, click on the bonus feed and join the bonus feed, because there's some pretty next level content or covering everything from geopolitics to UFOs and the tragically hit most importantly, but you're really not gonna want to miss it. So, again, do yourself a favor, do the next generation a favor. Okay, before you, before you focus on recycling and nobody cares about climate change, the more important thing is to join the bonus feed. Getting hip to the hipcom click bonus feed. 

0:01:14 - Speaker 2

You. 

0:01:41 - Speaker 3

A live hip record on May 2 for a weekend. What more could I have asked for? It was 1997 and I was getting ready to do my annual sojourn from Toronto back home to Waterford. The hip was still number one for me and this record was something I had been craving since having first seen them live. For some reason, though, it didn't scratch my itch the way I wanted it to. No matter how many times I spun the CD on my discman, i just couldn't get as excited about it as I did for a studio record. Were the hips so good live that it was impossible to capture the greatness in ones and zeros? I don't know, but what I can tell you is the album has aged extremely well and it's often something I go back to when I need a jolt that, for whatever reason, it didn't offer me back in 97. 

Now, in this episode recorded before his untimely passing, we get into the late Davis Manning. So allow me to acknowledge that now. Rest in peace, davis. If you've been following along, you know how hungry Tim and Pete are for a live performance from the band. Although they'll never get to see them in person, the time is right to unleash live between us onto them? Will they eat it up the way I think they will? We'll find out today. on Getting Hip to the Hip. Long Sliced Brewery presents Getting Hip to the Hip. 

If you've ever wondered what it would be like to hear the tragically hips music for the first time again, here's your chance. Join music fans Pete and Tim from Portland, who have never heard the band before, on a journey through the hips discography, accompanied by me, their guide, jd. Welcome to Getting Hip to the Hip. How's it going, guys? 

0:03:56 - Speaker 5

Going great, it's going good. 

0:03:59 - Speaker 1

Fantastic Couldn't be better. 

0:04:01 - Speaker 5

Glad to be back. 

0:04:03 - Speaker 3

Yeah, it is, it is. It's good to be back at it. Okay, before we get into things here, we are talking about the live record that everybody was really waiting for. You know, around the time it came out It was 1997. Everybody had heard that this was a really great band to see live and to experience live, and so we were all longing for, you know, a live record, and when it was announced we were really quite excited And I'm curious how you guys felt. But before we get into your feelings, let's take a look under the hood of this record. 

This one was recorded live at Kobo Arena in Detroit, michigan, november 23rd 1996. It was released May 24th 1997 for the long weekend. Produced by the tragically hip and Mark Freakin. It clocks in at 70 minutes and 31 seconds and it was released on MCA. All Music gave this a 2.5 out of 5. And here's what they had to say about this. 

The tragically hip, one of Canada's musical merry makers, are also praised for their raw, sweaty live performances. Frontman Gordon Downey is a real dynamo, lyrically and physically, and his bandmates only support the beautiful live chaos. With that aside, the hip treated fans with their first ever live album, live Between Us, recorded well. On tour in support of 1996's Trouble at the Henhouse, live Between Us documents one of the band's more ambitious evenings. Without any technical tweaking, a very loyal Detroit audience is captured at the sold out Kobo Arena and a very tight knit and fiery, tragically hip is in command. 

The unity between the hip and their fans depicts something heavy. Downey's random improvising and loose poetic ramblings spark the intro of Grace 2. It creeps along with Johnny Faye's electric percussion and already Live Between Us is a steady, creatively stripped and vibrant. The emotional rage fully, completely sets up the rest of the record, particularly the relaxed ballad ahead by a century Layered backing vocals and plucking acoustics depict the hip's signature sincerity and the sneaky rock snippets of David Bowie's China Girl And the Beach Boys Don't Worry Baby midway through New Orleans' sink and flow without hesitance. 

Most stunningly is his lyrical rant of Jane Sivarys' The Temple Near the End of the Taunting Nautical Disaster, which also includes a verse from the reaesthetics Bad Time to Be Poor. As a whole, the band is abrasive in a simplistic sense, making Live Between Us an intimate jam between the band members themselves and a shared moment with the fans. The tragically bad men have maintained their beloved status because of such grateful informality. What in the living fuck is a 2.5 out of 5? The only negative word in there is abrasive, and abrasive comes right to the end. It's such a pussy review, wow. 

0:07:15 - Speaker 1

It's a bitch review. It's like going out on the best date of your life or something and then just saying like, yeah, maybe I'll call you next week or whatever, or maybe I won't. I can't even think of something stupid and shitty to compare it to, because it's so fucking bullshit. Sorry, what a shit. the bed review that is Sorry. 

0:07:42 - Speaker 5

Well, i have a maybe, maybe, why So kind of the elephant in the room on this recording is the actual show is longer than what they put out for the album And we're missing all these. We're missing, yeah, we're missing all these songs. So if you, let's say, the writer, went to this show in Detroit and was so psyched about it And then a year or whatever, whatever it was, later bought the album and brought it home and realized it was three quarters of the songs and they don't even get the actual ending of the show on the record, and so you're kind of you're like you're playing if you got this on vinyl or CD, you're playing like the highlights of the show And as a very amateur taper and someone who absolutely loves live shows and kind of you know, on some of the bad weeks lives for them, you know, when I listened through this I was like okay, is this just the hits? Like what is this album Like? 

I really questioned what was going on with it. I absolutely loved it And I loved. You know I have all these comments about everything that I dig from it But at the same time I'm like God damn. So that's when I pursued the search of the whole recording, start to finish, because I mean I have socked away whole recordings of shows And this is not a whole recording. 

0:09:11 - Speaker 3

Yeah, it's interesting. It's interesting, I wonder. I was just going to say it's interesting. I wonder why they did it that way. What do you think, pete? That's what I was going to say. 

0:09:21 - Speaker 1

No, it's totally yeah, because here's a couple things Like I see what you're saying, but I'm also looking at this from 1996, number one, number two it's on MCA, which at the time MCA was a really large record company. Okay, so you know, you've got, you've got the record company's influence of. oh, i don't think this track should be on there, whatever They take it off. 

You know they wanted this to be a sellable record that they were going to put out number one. I'm not defending it, i'm just saying I'm just trying to get in the mind of the methodology of what, why these decisions were made. And on top of it, i think nowadays bands will put out a live record and it'll be like you know, because, for example, new Orleans is sinking. You know, nowadays that would be New Orleans is sinking. Parenthetical China girl slash, don't worry, they met me or something. 

You know they'll throw that shit in, whereas back in the day, when you had a packaged live record, that shit was a no. No, you know, i didn't see it a lot that I remember Either way. Dude, this fuck all music, dude. I think that's the narrative we need to stick with, because they don't know what the fuck is going on. 

0:10:38 - Speaker 5

It. Just this record blew me away. Yeah, I would say. I would just add that my my only thought behind their low review score is because they didn't get all the show, Maybe they went to it and they saw it and they wanted to hear it all again. Yeah, exactly, or maybe they didn't, i don't know, but it's just the review is written It was a bad way. 

0:11:01 - Speaker 3

Kindly like it's. so it's such a nice review, really, until the word abrasive comes out and then which is weird And then it ends with like a nice, like they're redeemed, blah, blah, blah, blah, blah, and then it's like 2.5. It's like this person is a hard grader man. That's all I'm going to say. 

0:11:20 - Speaker 1

But I don't, i don't buy that. Oh, i mean, i see what you're saying, tim, again about the record. You know. But look at, you know, a lot of live records aren't even a whole concert, let alone you're going to put a whole concert. So if a band plays for you know, three hours or plays a three hour set, like the Stones, and they put out a live record, they're not going to do that. Led Zeppelin's How the West is One great live record. It's probably. You know, if you look at the back and the liner notes, it's recorded in Madison Square Garden, it's recorded at the Long Beach Arena. It's recorded different places. It's not one concert. They kind of just took the best takes. 

0:11:57 - Speaker 3

I do like they used just the Kobo Hall performance because a lot of bands do that for live. They do like two or three nights and they record and they pick the best stuff. 

0:12:08 - Speaker 5

The actual album is about 83% of the show, so you you miss the whole. Encore There is some. There is some missing there The entire encore you missed. 

0:12:17 - Speaker 3

So what you do get the end of the record is the Weirothal, which is the last song they played. But whatever we missing, it goes Grace to fully completely springtime in Vienna. Trust my arm gift shop ahead by a century. The luxury 700 foot ceiling is not on there. 

0:12:33 - Speaker 2

Courage. 

0:12:34 - Speaker 3

That sucks, is courage on there. 

0:12:36 - Speaker 5

Daredevil is not. Daredevil is not Daredevil is not. 

0:12:40 - Speaker 3

Flamenco is not Scape is at hand for the traveling man is not, which is crazy because that's on the next record. So they were showcasing Wow, yeah, yeah, if anyone's got this. 

0:12:52 - Speaker 5

No, i'm thinking, don't wake, daddy. 

0:12:55 - Speaker 3

Yeah, please send an email to Tim at getting hip to the hipcom. He's a completist. I need it. Oh little bones man That would have been fucking rad. 

0:13:06 - Speaker 5

Yeah, ender with me locked in the trunk of a car would have been the ominous Ender. But then you got little bones, so new, the very end. I mean we got you another recording. You get 82, like I said, 83% of the whole entire show, which is killer. And you know, honestly, a positive there is it gives people access to the hip live who may own like one album, and then they pick up a CD with a bunch of live shit and they're like, oh man, why haven't we seen this band play yet? You know, so that could be part of it. 

It's a little bit of a teaser without an encore or a second encore. I mean I don't know, though That's all the same time. I've, i've recorded shows and I've sent friends just the encore, just kind of piss them off, but sometimes like from a recording. Sometimes for me, listening to the encore, like the last three, four songs, you're like fuck, yeah, that probably was an amazing show. I get it And you know this recording without hearing the, on course I pretty much get it too, but just specifically, i talk about the show. 

0:14:10 - Speaker 3

Yeah, well, this is what I want to. I want to sort of level off with the audience. You know how we're going to approach this Yeah. 

And you know, you came up with the idea of approaching it like it's a real concert, like let's give, give it a concert review. My curiosity starts to go from there. What do you look for in a live concert without referencing this record? What, what are? or, if you want to reference this record, what do you look for when you go to a show like that makes it a great show. 

0:14:40 - Speaker 5

Yeah, well, oftentimes it's the crowd. Man, if it's a rock and roll band, if it's a band with energy, you know there's. There's a electronic duo that we love, that we've seen play a handful of times. That really gets their crowd going like it. Just, oftentimes it's the crowd. You know, at the beginning of this album, as I listened to it, i thought, okay, probably not, because I didn't research it much. You know, i was excited to hear a live album But I thought, you know, it's probably not. The stadium sounds big, though definitely arena feeling and crowd sounds pretty hyped. They weren't. They weren't screaming like a bunch of fucking going crazy, drunk ass Canadians. They were hyped But it wasn't. To me it didn't feel like a home show. 

Well Tim, the ABV in the back blue is not that high Just well, sure, sure, sure, sure, Sure, sure, but you know, but when I did research it I was like, oh, i was like, oh, detroit, okay, detroit shows must have been really fun Because you know, you're in the US, you're in the USA. Whether or not is highly regarded in Detroit is like there is their home away from home. So the crowd for me was either way like hitting the mark that the crowd was pumped in the just right off the bat I had wondered about you know, because I'm nerdy that way like how it was recorded And I thought about the time and the era and what people were using to record stuff. So I did a little bit of research on that note, just to see, like what the heck or see if there are any notes about how they recorded this thing, because back then it was like dat recorders or radar recorders. 

I mean it was like the kind of the evolution beginning evolution of digital audio recording which people could then just pump out on the scene or mini discs around. 

0:16:28 - Speaker 3

At that point I forget when I had, i had a. 

0:16:30 - Speaker 5

Yeah that was, that was the yeah, those things were cool. Yeah, that was around the same time. You could yeah, you could plug those straight into a sound board and get like CD quality. So I was curious about that as a taper person, you know, just to hear how it went down, because it overall you know whether it was on my home sonosystem or my basement PSS premium sound system or on my my home headphones, my Bose headphones, like it sounds fucking good Like whoever. Whoever posted this did a great job. 

0:17:06 - Speaker 3

What did you think, pete, in terms of your rubric for measuring a live show? 

0:17:13 - Speaker 1

It's a it's a weird question because you know, and Tim comes from a place of recording a million shows in his history On me. I look, i gotta kind of look at it back. We gotta kind of look at this backwards because, number one, we worn out the show. You know, if we judge it by the crowd, i think, but by anybody's standards, you know, the show that Peter Frampton played at the Fillmore West for Frampton Comes Alive was was a banger on the show. But if you know anything about that record they dubbed in the audience of the crowd. Do you know? do you know that, right, tim? 

0:17:47 - Speaker 5

Boo. 

0:17:47 - Speaker 1

I say that Boo, i mean it's, it's, it's. the American Idol effect is of of making things seem like they're popular when they're not. 

0:17:57 - Speaker 5

Now I have a. It's the fucking laugh track, you know it's a laugh track. 

0:18:02 - Speaker 1

So I have a weird take on this. This record made me, gave me a weird take on this band as a whole that I'm really looking forward to show you guys. But just to your question, jd, before I get ahead of myself. I think the the show you can. You can hear how good the show was from the band and what the energy that the bands convey, what Gord Downey's saying and how he's interacting with the crowd, cause you never know with the crowd again. The Frampton record but based on what you're hearing from the band, it was a fucking rager. 

Yeah, whoever was at this show you know, kiss my ass, i wish I, i wish I was there, i mean, you weren't there. 

0:18:49 - Speaker 3

She was an email. JD at getting hip to the hipcom. 

0:18:52 - Speaker 5

Hey, jd, question for you. 

0:18:53 - Speaker 3

Call her Go ahead Yeah. 

0:18:55 - Speaker 5

Yeah, jd, you know. So after I did research this show a bit, i came upon the reason why it's named what it's named. Do you want to share that? And yeah, so it sounded like in the early days the hip had a sax player. 

0:19:15 - Speaker 3

David's. 

0:19:15 - Speaker 5

Manning, that's right, am I right? 

0:19:17 - Speaker 3

Yeah, talked about him in the first episode. 

0:19:20 - Speaker 5

So that that kind of rocks, yeah, yeah, I forgot all about that. I forgot all about that, obviously, and and I thought, oh my God, and I just I just kind of sat there and wondered about everything I've listened to and how there has been no sax player. And there could have been a sax player, you know, and there's, and it recalled to mind some bands that I love that have horn players that you know really feels like part of the soul of that band with this horn player. So can you imagine, like recordings up to this date, having this sax player? that's like you know, i don't know, would he have been the equivalent of I don't know the guy's name, the guy that plays um Phil or violin for Dave Matthews, you know, wouldn't have been this overwhelming presence, so that that first of all. 

0:20:08 - Speaker 3

First of all, dave Matthews, barf Barf. 

0:20:12 - Speaker 5

Oh, i know right, the best, the best story about Dave Matthews Segway is the story about his tour bus in Chicago. Do you guys know this story? 

0:20:22 - Speaker 1

Oh yeah, the the, yeah, the shit. 

0:20:24 - Speaker 5

Yeah, So he's he's. 

0:20:25 - Speaker 1

I thought you were going to say Clarence Clemens of uh, yeah, that's where I thought it was No, Yeah, Dave Matthews tour bus. 

0:20:32 - Speaker 5

You know they're whoever's on the bus, but they're driving in Chicago across an abridge and they're uh, they're black water tank, which is all the poo, poo and wee wee supposedly broke open and burst onto a bunch of tourists on a on a boat platform, boat going down the river on a scene. 

0:20:50 - Speaker 3

Oh my God. 

0:20:51 - Speaker 5

So Dave Matthews has actually shit on fans, so that's, that was pretty fun. Anyway, back to this. 

0:21:00 - Speaker 3

Hey, today's all about live music. 

0:21:02 - Speaker 1

Metaphorically and and sonically. 

0:21:05 - Speaker 5

I I last week I turned down the opportunity to co-host that Dave Matthews podcast. Um, so so this fellow uh, uh, uh, dave, dave is manning It was at a crossroads with staying in the band or not and was given to ultimate him by his girlfriend, who I wonder if he's even still with her doubt it. And, um, she, she noted that that the hip lives between us, to him, to Davis. So she was like you know, the band lives in between us in bed, the band is in between us. You got to pick, you got to pick one of us, pick the band or pick me And he's supposedly chose her, and this was spray painted on the wall of I don't remember some building I don't know in in whatever Queens Yeah, in Kingston, and, uh, you know when, it was lived between us. So I think the actual record is lived between us, but everybody calls it live between us because it's live. 

0:22:06 - Speaker 3

That's why I've all got it live between us. But yeah, i knew that, but I knew that story. But I still call it live between us. I don't yeah What man. if you've got to take on that Pete, do you? 

0:22:15 - Speaker 1

But isn't that a? isn't that a dick move, dude, like I mean? it's a I got to. How do you for the band in their current form to name it? 

0:22:24 - Speaker 5

that is like I think it's awesome. 

0:22:28 - Speaker 1

I think it's awesome too, but God. 

0:22:29 - Speaker 5

Here's the code It says. There, in an alley that now stands beside a tattoo parlor, he painted a huge mural featuring a weeping eye and a shooting star, which is hard to decipher. In the art He painted the hip live between us in large letters across the wall and an apparent reference to he and his lover. In the end, davis chose his girl, left the band and continues to be an active musician to this day. The mural stood until the summer of 2005, when it was painted over by local business owners. His artwork was used as the CD art, which is fucking hilarious and perfect for the hips 97 live release. The disc, in clever turn of phrase, was called live between us. 

0:23:12 - Speaker 3

That's very cool. 

0:23:13 - Speaker 5

Perfect. It's just perfect. I love it. That right there just made me love the whole thing. It was like great story, Great story. 

0:23:21 - Speaker 3

So let's start at the start. With the opener is Grace to a good opener. Hello. 

0:23:55 - Speaker 2

This is for the real statics. We're all richer for having seen them tonight. All right, i got a son, came up shocked with the lines. Today was the day that I was already behind Steal the drink. Our brothers and sisters, our young all-ter체 Note Uhl are here at the site. Come on, blir gladzis. I can hear a singing. I'm turned off from No, they don't know no more. 

That's why I'm here, for I kept them downtown, but I'm ready for you. I went well into Dona Nace and Brace to leave. I'm a little bit alone. I was, so I'm a little bit. I can't hear you. Can't you fucking hear that man? Can't you fucking hear that? Can't you hear what I heard? Look out, jesus Christ, big fuckin' bear. The secret rules of engagement Are hard to endorse When the appearance of comfort Meets the appearance of force, when I can guarantee They've been a knock on the door, i can't hear you. I'm turned off from here. I'm turned off from the door. That's why I'm here, for I kept them downtown, but I'm ready for you. I went to scale and it's my strength. Yes to you. I didn't give a fuck. Where the hell did you get an inch? 

I never fought for a thing. I never fought for anything. I got a palace wage gone to do. I'm like so many of you. I see around me Nothing to live or die for, no limits in tune. Help, help, no, no. I was growing up in town. I was growing up in town And I was gonna pick up my friends And I know you'll come to some kind of dead end. Oh, but I can swear there's a bear. I can swear there's a place where all is A bit to be manned And you can never be a piece of cake. And then there's everyone Around you smiling and everyone Around you styling. You got nothing to worry about. And then you got nothing to worry about. You got nothing to worry about. You got nothing to worry about. 

0:29:31 - Speaker 1

So fucking Lulie, absolutely, i mean. 

0:29:34 - Speaker 5

Perfect. 

0:29:35 - Speaker 1

It's just the way they come into it. I pictured like I don't know if they had played arenas this big before I know they toured. They sounded so tight, they couldn't fuck up if they tried, you know. And this band just sounded so good. Yeah, what was this? How far was this show off of their SNL release? SNL appearance. 

0:30:12 - Speaker 3

Oh well, snl was March of 95 and this was November of 96. 

0:30:22 - Speaker 1

Yeah, i mean, they knew then that this was a banger of a tune. But just What a way to ease in, to get everybody to get the water warm in the bathtub. Man. 

0:30:36 - Speaker 3

Did you dip your toes in the bath there, timmy? 

0:30:40 - Speaker 5

I did, i did, and it's good. The jets came on right away, so in the tub. So, yeah, i loved his phrase. Sun came up and shot through the blinds. Today was a day And I was already behind. You know, like I First of all, great line, great, just random thing. And it was also like I don't know. I love that phrase Cause to me it was like Sun came up and shot through the blinds. Today was a day And I was already behind. 

You know, and this is this to me, is a line that says it's kind of okay, you know, it's okay to be behind. You know, i don't know, i just you could read this line in so many ways. You can read it as like You're fucked, or you can read it as fuck it, and I love that about it. So, you know, there's there's just the grace to as a starter. You know, the first time I heard it as a starter live was that 99, woodstock, woodstock, yeah, yeah, yeah. And the first time I heard that was like okay, this is what gets the crowd going, this is, this is the shot in the arm energizer, and you know this, this is it for for this show as well. And to try, i love he has. 

Gord has one of his now iconic Woo. Yes, this is like, yes, the crowd is psyched, we're psyched. You know, that's to me going back to the crowd, kind of making the show. There you go, he screams. He's got like he does this droll, this guttural scream. You know, come from downtown. You know it's just, i just love it. 

I love it yeah, i love it when singers kind of stray and do something a little bit different Than the recordings and just get fucking into it, and that's that's how this started, for sure. 

0:32:35 - Speaker 3

And it carries on into a song that I don't recall how you felt about it on the fully, completely record, but to me this live version is so like, almost like psychedelic-y and like maybe it's because I've been listening to it high, i don't know but there's something really awesome about the live version It just unlocks live. I'm curious if you agree about certain songs, in this case, fully, completely Getting unlocked in a live version. 

0:33:17 - Speaker 1

The perfect word you use is unlocked. I couldn't think of a better word to use, because I don't know if they make them anymore. They used to be these 12-cylinder Mercedes-Benz two-door coupes. Do you remember those, Timmy run around. 

0:33:35 - Speaker 5

Yeah, yeah, they came with like an extra, extra gas tax on the They're ridiculous. 

0:33:40 - Speaker 1

Who needs this 12-cylinder? 

0:33:46 - Speaker 5

It was like a luxury gas tax in California that was added. 

0:33:49 - Speaker 1

That's how I feel about this song. 

0:33:52 - Speaker 5

And. 

0:33:52 - Speaker 1

I actually remember, because I remember thinking about it too. Jd, this was a song that I didn't say. 

I didn't like it but it wasn't my favorite on the record. I remember specifically because it was the title track And this was like again, a nice Mercedes, i would say a Ferrari, but whatever, whatever, your nice car is that you like sitting in your driveway and being like that's really cool, that's really pretty to look at. Okay, then you get in your fucking Honda, your fucking shitty beater, and you drive to work, but the live record gives you the keys to open it up and to fucking take it for a spin And it was, oh my God, yeah, exactly Like I really enjoyed this tune. It made me like and respect this tune for what it is And yeah, i mean think of all the reasons why. But again, you know I'll say that for a couple of other tunes. But I loved it, kim. What? 

0:34:52 - Speaker 5

do you think, man, i related to it quite a bit. You know I loved his singing, ranting poetry, whatever. At the beginning He's talking about being in love with the old rule being raised by TV. I mean, that's me, you know, that's my childhood. But I will add the end of this, which I couldn't find any reference on. Maybe someone else can find it. But towards the end of this I think is the first time he starts singing lyrics from other bands at the show And I didn't find this noted. So he, towards the end, he starts singing. Please take me there. He sings there's a light that never goes out. 

These are lyrics from the fucking Smiths from the 80s And I have a feeling, you know, i'd really just wish I could know what the band was listening to from early through later, like what they were really jiving with. You know what they listened to on the bus and what their influences were. If they were carrying around CD player, fucking Walkman, whatever. You know what they were jamming to cause. There's more see early, more see lyrics here. I might be wrong, It might just be a coincidence, but when I heard that the first time I was like fuck. 

0:36:12 - Speaker 1

Well, we know what Tim was listening to, please. 

0:36:16 - Speaker 5

One of my first. Honestly, that's one of my. My second tape was the Smiths Queen is Dead. 

0:36:22 - Speaker 1

Same here. 

0:36:24 - Speaker 5

That was it. So, yeah, i felt like this took it bigger. I hear the song in this order at this show. It took it a level bigger and louder and took it a level more aggressive. It was like Pete, you know the V12, you drive your shitty Honda, but you get in a car. it's a V12. It's like a jet boat, you know. and this I felt, i felt fully, completely, really dug in and kept us accelerating. I love your old ways, i love your old world ways is what he sings towards the end And I just that's so romantic to me. 

That's like pulling on my heartstrings because, you know, I'm a Gen Xer. There's so many times in my life where I want to throw my iPhone across a room. Yeah. 

0:37:11 - Speaker 1

Yeah, the torque it gave us, i thought one of the. I thought the crazy part about springtime in Vienna was and if I remember correctly, he introduces it And I don't know if the crowd goes nuts for it. But I'm just thinking to myself like the minute this song starts. I'd fucking lose all my shit if I'm in the car. 

0:37:35 - Speaker 5

Yeah, yeah, losing my shit. 

0:37:37 - Speaker 1

And the fact that he introduces it is almost like, kind of like, is he doing it because it's a light record? And there's maybe people that are gonna buy this record and not be looking at the back of the CD when they when it's on, i mean I don't know because, whatever, but this song, i mean just when it goes on the fucking chorus, it's just it's madness too. 

0:38:02 - Speaker 5

It's Yeah, you love this song. 

0:38:04 - Speaker 1

You hate to be loved, right? Yeah, i love this song and I just feel like if I I can hear the band having so much fun playing this song, you can hear it. 

0:38:17 - Speaker 5

Yeah, you can, you can. You can hear it a lot of times throughout this whole performance. Yeah, you can hear the amount of fun, i think, through the bass that's happening. You know there's some really the bass guitar so many times to me is like fuck, these guys were into it, you know. And springtime in Vienna, just like that. I felt like that was the point in the show, where you're like either chugging down your second beer or you're lighting up another spliff or whatever. Like this is like serious momentum. twist my arm, which was next, you know That to me felt I don't know that's that to me for this position of this show. This is like where you were dancing, Like this is super fun, like it felt danceable. You know, it's like I'm not standing still at this show. That was my comment for that one. 

0:39:14 - Speaker 1

I got some weird takes, i mean and these aren't necessarily related to this particular songs And the first thing I want to say is that I feel like like when I was young, jd, my dad used to tell me when I was playing in a band, you need to play with dynamics, right. And when you're young and you're just fucking want to turn your amp up louder than the guy next to you, you don't know what the fuck dynamics are. And it's ironically. You know, i don't have to give away my age, but I'm up there And I still I'm trying to play with people who don't know what the fuck dynamics are. 

Some people get it, some people never get it. It's just the ability to listen to one another, to play to the band, not to just play your instrument right, and this you can just tell. This band is weathered by the road. They have amazing dynamics to start songs like well, springtime in Vienna gift shop, especially a head by a century which builds. So just do this, do what is. Isn't it the most streamed song of the band period? Yeah, yeah. 

0:40:31 - Speaker 5

Head by a century. 

0:40:32 - Speaker 1

Yeah, head by a century, which is funny because race two on this record has more streams on this live record than head by a century. 

0:40:45 - Speaker 3

Oh really. 

0:40:46 - Speaker 1

Yeah. 

0:40:48 - Speaker 3

Oh wow, well, maybe it's not that, i'm not sure What. We should look that up, you know. 

0:40:55 - Speaker 1

You know me, though, but yeah, I think they know what they're doing on stage clearly. 

0:41:03 - Speaker 5

Yeah, you don't want a drummer or a guitarist or a fucking keyboardist. I'll talk a little, reference the doors there for two seconds. You don't want another musician in your band getting in the way. You know, like I actually, who is it, i'll recall. But anyways, i heard someone once say yeah, i just can't have a drummer who gets in the way. You know, you don't want somebody just cranking themselves too often And I think that's kind of what you're saying. 

Pete, this show, you know it. just it gets this momentum going to where you might all of a sudden realize oh shit, we're already in song five or this is already the sixth song. Like, i feel like their shows have this build up. I would assume now, after hearing this one, that their shows kind of have this build up and then they start carrying people. you know, before you, yeah, before you realize it, you're like, oh, my God, you know, it's probably halfway over or something, i don't know. It's like a century when it, yeah by century, when it started on this recording, that kind of felt like a mile marker with Gordon, his goofy start, when he's doing his one liners and making sense and not making sense at all, like that. that was kind of like the check in to to like yeah, catharsis one Yeah. 

That all about right, right. That to me was like let's see how into it the crowd is. You know, maybe we'll make somebody fall over with these statements, i don't know. But that, but there's a moment in a head by a century on this recording that I've kind of been waiting for to hear these guys live, do And that's like a right around the three minute marker. So they just start riffing a little bit more. They dig, they dig a little bit deeper. They reached that, you know, five fifth speed of the V12 Mercedes and they're finally on the stretch of freeway where they can let it go a little bit. And that's that's what happens with with this song. I've been waiting, waiting to hear that. So that was, that was good, that was good for me. 

0:43:10 - Speaker 3

Gift shop I wanted to ask you guys about, because gift shop to me feels like grace two, in the sense that it's like an opener Like. It feels like an opener to me. So I'm just curious about where it gets put. Like you've you've talked about this car metaphor you know you get grace two to open the show, then fully, completely, which sort of like you know, gets you, gets you sort of high, and then springtime in Vienna to get you jumping up and down And then twist my arm is like an old classic at this point. So you're like wow, like, like Tim said, you're dancing, And then gift shop sort of resets everything. 

0:43:52 - Speaker 2

You know what I mean. The rest of the world becomes a gift shop. So you're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. I don't know what to believe. Sometimes I even forget. And if it's a lie, a terrorist may be saying A beautiful love, a dangerous time, we get to feel a smile. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I don't know what to believe. 

0:47:43 - Speaker 5

I wish I knew what to believe. I knew what to believe. Close the window. You'll hear the sound of death. Run, run, run, run run. 

0:48:38 - Speaker 1

I feel like gift shops an opener too. Absolutely. If you want to use the car analogy, that's cool, but if we're powering a big amplifier with a car battery, it's like it's got some juice, it's got some sound. It's really pushing. You're waking up the neighbors and you hook up a second car battery. Now all the tubes are really lit up. Gift shops. It's just like Grace II and that it's another opener. It's the nitrous oxide on the engine. It just puts the show forward even faster and harder. 

0:49:28 - Speaker 5

I agree with that. I think it's not my favorite song simply because it's. I feel like it's. I don't know we're up to bat against a pitcher. You know you're going to get it on. It's an easy one, the chorus is easy, it's sing-alongable. I think gift shop could be an opener of the show, but I feel like it fits here well, because it's like dude, we've had the basses loaded twice. We're going to have the basses loaded twice. Let's just fucking keep bringing them in. And that's gift shop for me for sure. 

0:50:02 - Speaker 3

A lot of the baseball. 

0:50:04 - Speaker 5

Yeah, that was for you, buddy. 

0:50:06 - Speaker 3

Basses loaded twice. So the basses were loaded with Grace II, fully completed in springtime in Canada, and then gift shop ahead by a century and the luxury which is. This is a cool thing. If you're exploring Hiptim, you to Hiptim and you want to explore, there's a website called HIPBASE H-I-P-B-A-S-Ecom And it's got like every lot. It's like setlistfm, except for it. It's got super detailed statistics Like so, for example, the luxury this was only the 19th time that it played the luxury live. That's interesting. Yeah, it's like it's an older song at this point, but they've only played it 19 times. They only ended up playing it 65 times in total in their career. 

0:51:01 - Speaker 1

I feel like it's a good. It brings it down a little bit. It it, it. It mellows it out. You know, i mean being as that ahead by a century was such a popular song, like the crowd was going I mean they were going to eat shit right. When that song started, as it was This kind of like you know, take some away from the edge for a little bit. It's a really cool song, super cool bass groove. I love that. Yeah, one thing that really showcases Tim Is that on your guys' end, That's on my end. 

0:51:38 - Speaker 3

I think, yeah, that's JD, i come from downtown. 

0:51:42 - Speaker 1

One thing that Tim mentioned about drummer not getting in your way. It's crazy Again because, like my thoughts on this record are more broad and as opposed to individual songs, but I felt like like Gord Downey for the longest time and listening to the records and listening to it at this point has been the draw, and not in a bad way, but I'm saying it in the context of what Tim said the guy who's in everybody's way And I don't mean that in a bad way because he's such a fucking talent, absolutely And this was the first time where I was actually and I feel kind of like a fucking douchebag, because when it comes to the whole entire band I mean the entire band you really hear like whoa, these motherfuckers are good musicians, these guys are Yeah. 

And that's really hard to come through on a record because you don't know when what's recorded, how it's cut together. 

0:52:42 - Speaker 5

Yep. 

0:52:42 - Speaker 1

All that. When you hear it live you're like, okay, this is the way it sounded there And everybody sounds so good. So it's, you don't hear and I don't mean that again at this respect of Gord Downey getting in anybody's way, but like he's so good It's sort of hard to not Have that guy overshadowed. Yeah, yeah, the band, but live you don't get that vibe at all. On the records I sort of do. The records are really smooth, this far sort of, but on the fucking live performance holy shit. 

0:53:16 - Speaker 3

Yeah, and that's. It's funny because that was one of the questions I literally just wrote down. I was going to ask you guys if the band, if you feel differently about the band now that you've heard them play live, and you just answered that exact question, do you get what I'm saying now about being sort of an improv troupe? 

0:53:35 - Speaker 5

Yes. 

0:53:36 - Speaker 3

Because Gord will sort of carry on and do his own thing and they still have to end a song And they don't know if he's like how far he's going. Or sometimes they'll just end a song and go into, go right into something else And he's still sort of like finishing a thought or explaining an idea or whatever. 

0:53:59 - Speaker 1

The musicians clearly all listen to each other enough to know when to where things are going, You know. 

0:54:07 - Speaker 3

Yeah, And they're just as in charge as he is in a sense. 

0:54:12 - Speaker 5

I have to wonder what that would have been like if Davis was playing sax and all this, you know might not have been. It would have been different. Could you imagine just having a horn blowing in here and there? Yeah, like I said, having horns and bands and having a fit. but oh it may have been, I don't know I think like in excess. 

0:54:34 - Speaker 3

You know, they were good with the sax, yeah, but yeah, it would have been different for sure. 

0:54:38 - Speaker 5

Last night we were listening to this band that I loved, loved, from Boston, called Morphine. If anyone hasn't listened to Morphine, you got to check them out. They're no longer, but they were a three piece and saxophone, bass player and drummer, and that was it. It's one of the perfect examples of a unique rock and roll band where saxophone fits in and leads and doesn't take over, because it was such a unique trifecta of you know of a band. But you know, i just I think where was I going to go with this? I think, yeah, i think it would have been so different. 

I just circled back to the luxury. I commented on this before. It's noted on the internet, of course, but I would love, jd, for you to to play the end, maybe, of the luxury of this one and then blend in, come as you are from Nirvana, cause dude, it's the same. I mean they, they, the band was listening to Nirvana. It's just the same guitar, the same bass. It's pretty fucking cool, and I've noticed that the first time I listened to the luxury, and it's completely evident in here as well. 

0:55:57 - Speaker 3

But the luxury came out in 91. How much art came out in 92? 

0:56:03 - Speaker 5

Well, they heard it, i swear. I mean it's timing or not? 

0:56:09 - Speaker 3

Or Nirvana heard it. 

0:56:11 - Speaker 5

Yeah, nirvana heard it, who knows? 

0:56:12 - Speaker 1

Yeah. 

0:56:13 - Speaker 5

But anyways, courage, So courage. I love courage. It couldn't come at a worse time. 

0:56:47 - Speaker 2

Where something more familiar, quickly something familiar. Can't change my words, it doesn't matter. Sleep, watch so fast, asleep in a motel that has a lay of hope And piss on out of your background And piss on three eyes around your face. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't remember, it doesn't matter. Can't change my words. Time. It's pretty snowy in here. Snow is so merciless for old country. There's no sample explanation for anything important Any of us do and yet a human tragedies, obsession or necessity of living with the consequences of depression and depression. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't change my words, it doesn't matter. Can't change my words. Can't change my words. Can't change my words. I'm a child of the church, god. Snow is so merciless for old country. There's a spite of everything that's happening. It's a spite of love. Can't change my words, don't you worry, i'm a child of the church, god. I'm a child of the church, god. Snow is so merciless for old country. 

1:00:57 - Speaker 5

Can't change my words. Can't change my words. I don't know. There's something about this song that it's positive. It's. You know, it's something I can't turn off when I hear it, Like I got to go through the whole song. I got to sing the chorus One of the coolest parts. The bridge, Yeah, yeah, it's good. One of the coolest parts of this live recording for me, of this song, Courage, is you can hear the crowd singing a little bit Like Gord stops. When Gord stops singing, the crowd carries the lyrics for him. There's a brief moment of that, which I just adore when bands do that, when the crowd is so into it that they just stop singing. But I have the question. I don't know, This is a question. Towards the end of this he starts to talk about Montreal and the snow and poor old Montreal, You know, and I guess that's a reveal on a song in the future about Montreal or something. 

1:02:15 - Speaker 3

Is that true? Actually, a song from the past. 

1:02:18 - Speaker 5

Oh, oh, oh oh. 

1:02:20 - Speaker 3

It was a song that was written for Road Apples. Oh, that's right. It never came to light until much later on, but they always played it. They always sort of kept it in the back pocket and would pull it out and play it occasionally, and there's a live recording of it that just came out in a box set. That is a really good live recording. I also have the demo. I have the demo from Road Apples Ooh, okay, cool, cool, cool, cool. So, yeah, it's a great song and it's fucking ooh, it's a tough one. It's about the young man who shot and murdered 14 young women at a school in Montreal, and it happened in late 80s and it's recognized annually as a result. 

1:03:10 - Speaker 5

Oh, yeah, So I just pulled that up. It's the massacre at Montreal's Polytechnic School, which was fueled by misogyny, horrifying memory of a bygone era. Damn Fuck. 

1:03:27 - Speaker 3

Yeah, so the song Montreal is about that. 

1:03:33 - Speaker 5

Got it. There's our heavy sort of segue in there to get us to New Orleans and Sinking. So New Orleans and Sinking for me. I don't know about you, pete, but man, this was fun. On this recording This is like crowd goes berserk. 

The guitar has this big start, the drums are big. It feels like we've reached top speed perhaps of the show. It oddly slows down about. There's a I don't know if you caught this, pete there's this tempo, little chug, slug, like it slowed down for just a little bit there. Like it really caught my attention that the band kind of went a tiny bit out of sync and I think that was with the drums. But man, this one I think the crowd was just, for lack of a better term banging their heads and just going along and, you know, felt so awesome The fucking David Bowie references at the end talking about where's my little China girl, all that you know that was China girl was like forever stethled to my brain because of MTV as a youngster. You know that was just such a memorable video for me Made me an instant David Bowie fan. It's just I just. New Orleans and Sinking. It might have been, might have been one of my. We're gonna get into it one of my top songs here. 

1:05:25 - Speaker 2

Silly way down this sidewalk in jail. My memory is muddy. What's this riff that I'm in? You gonna need to sink it, man. And I don't wanna say that I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. Got no pictures false gods. Got no shivers in these. My fingers she won't open when I'm thinking about those. Yeah, i'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real With my ginocent girl. 

Wake up in the morning. Where's my ginocent girl? She's too tired, she's too small. Baby, just shut your mouth, she says. She says, yeah, don't worry, baby, everything will turn out alright. There's a light bulb hanging on a wire, sucking up the sun doesn't stoop to fire. Taking out the highlights of the scenery, saw some little clouds and looked a little like this In the river, my feet back up on the banks looked up to the Lord above, said hey, hey, hey, banks. Sometimes I feel so good I've got to scream. He says Georgie, baby, i know exactly what's the change He says. He says I swear to God. He says hey, hey, hey, hey, hey, hey. My memory is funny. What's his clever man of man? he won't need to sink in that, i don't want to sell Trout. 

1:10:36 - Speaker 3

Trout, trout, trout. 

1:11:31 - Speaker 1

Trout, trout, trout. 

1:12:21 - Speaker 3

Trout, trout, trout. 

1:12:46 - Speaker 1

Trout Trout. 

1:13:00 - Speaker 5

Trout, trout, trout, trout, trout, trout, trout, trout. 

1:14:13 - Speaker 3

Trout, trout, trout, trout, trout, trout, trout, trout. 

1:15:25 - Speaker 5

Trout Trout, trout Trout. 

1:16:12 - Speaker 3

Trout Trout. 

1:16:21 - Speaker 1

Trout Trout, trout Trout. 

1:16:56 - Speaker 3

Trout Trout. 

1:17:13 - Speaker 4

Trout Trout. Questions or concerns, email us at JD at GettingHipToTheHipcom. We'd love to hear from you. 

1:18:16 - Speaker 3

Hey, it's JD here. 

1:18:18 - Speaker 5

Hey, it's Tim. 

1:18:19 - Speaker 3

And Pete Fellows, i'm really excited that you're flying to Toronto on Friday, september 1st for our big party GettingHipToTheHip an evening for the Downey Wain Jack fund. We just need to sell some tickets. How are we going to do that? 

1:18:33 - Speaker 5

Go to our website GettingHipToTheHipcom and you'll find a link to get tickets to our event at the rec room in Toronto. 

1:18:40 - Speaker 1

Early burn tickets are 35 bucks. If you go to GettingHipToTheHipcom and click on the bonus fee, you get 10% off, which means tickets are 31.50 right now. If you were to join the bonus fee and buy tickets, you'd literally have to be stupid not to do that. Definitely join us on September 1st. I'll be at the bar putting out the vibe JD. where are you going to be at? 

1:19:00 - Speaker 3

I'm going to be watching 50 Mission perform some tragically hip songs and I'm really excited for you guys to see them. 

1:19:06 - Speaker 5

Yeah, and we have a silent auction which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downey Wain Jack fund. 

1:19:18 - Speaker 3

And the Long Slice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that. 

1:19:27 - Speaker 1

I cannot wait to drink some delicious beer and also watch the comedy of Pete and I too, because that guy is a side splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehipcom, Click on the bonus feed at 10% off the tickets and we'll see you there. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

What happens when an iconic band leaves a lasting impression on you? Join us and our special guest, Dan from London, as we reminisce about the Tragically Hip's fifth studio album, Trouble at the Henhouse. We explore the album's lyrical genius and discuss tracks like "Don't Wake Daddy" and "Springtime in Vienna," while also delving into the technicalities behind each track.

From the anticipation leading up to its release for jD to the experience of listening to this album for the first time, we'll analyze dark, politically charged lyrics and the unique phrasing, strange tempo, and guitar work that make certain songs stand out from the rest.

Step back in time with us as we appreciate the album and discuss the raw energy and chaotic elements that make it truly iconic. With Dan's perspective, we'll explore the album's success in different countries and the sense of mystery surrounding it. So tune in and join our captivating conversation about this timeless musical masterpiece.

Transcript

0:00:00 - Speaker 1

Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 

0:00:22 - Speaker 2

Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 

0:00:32 - Speaker 3

Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 

0:00:48 - Speaker 1

This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 

0:01:05 - Speaker 2

All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 

0:01:13 - Speaker 1

Tickets are on sale June 1st and can be picked up by visiting gettinghiptothehipcom and clicking on finale By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. 

0:01:30 - Speaker 2

Join a community of like-minded individuals who believe in the power of music and unity Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 

0:01:45 - Speaker 3

Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 

0:02:02 - Speaker 1

For months leading up to the release of the hip's fifth studio long play, i felt a palpable sense of mystery about what the band was going to do next. One day that feeling became a reality as I logged into my York email from the hip instructing me to visit a URL. At the URL was a long road leading to a horizon and a bolt of lightning flashed through the desert sky. What the hell was this, i wondered out loud to my friends. To them, though, this was just another hip record, but to me this was an album coming from a band that was white-hot at its apex or so it seemed at the time and poised to make something memorable. I was intrigued and delighted when May 14th 1996, rolled around and I opened the beautiful gatefold CD with the mysterious cover I say mysterious because I can't say for sure if the dog on the front is the menace or the hero Thanks yawning or snarling. At any rate, from the opening strains of Gift Shop through the last notes of Put It Off, i was musically stoned. This album was like hash, putting me into a body buzz that I couldn't explain with words if I tried. That was my experience with this record. What was your experience, and do we have any idea at this point what Pete and Tim might think? Now we've also thrown a curveball at you because we've got a special guest on this episode, and that's Dan from London. What will he think? Let's get right to it on this episode of Getting Hip to the Hip. 

Long Slice Brewery Presents Getting Hip to the Hip. 

If you've ever wondered to yourself what it would sound like if two people who had never heard of the Tragically Hip before got taken on a tour through their discography in chronological order. well, it's not going to sound something like this, because today we have three people. We have a special guest, that's right. I am proud to introduce you to Dan from London. Dan, how's it going? 

0:04:55 - Speaker 6

Good, all good down here. Even the sun is out today. 

0:05:00 - Speaker 1

Oh, the sun is sort of out here, but it's cold. It's very cold, and I'm joined by my usual cohorts, pete and Tim from Portland. How you doing fellas? I'm doing good, i'm great, you know Just awesome. 

0:05:19 - Speaker 7

Dan has been sunnier there since the Queen pass. That's what I heard. 

0:05:24 - Speaker 6

No, No, the whole place is in decline at the moment. Put it that way. 

0:05:32 - Speaker 2

If things are not good. I thought you were going to say since Harry and Meghan left. Oh, thank you. 

0:05:42 - Speaker 6

Listen, listen, I am not a royalist, so don't ask me anything about any of that. It's not my concern. 

0:05:49 - Speaker 2

Me too, dude. I do not follow that crap at all. And people are just like did you see the thing with the, with Harry's? And I'm like who the fuck has time to follow that shit? No, really, dude. 

0:06:03 - Speaker 1

A lot of people apparently. Yeah, apparently. My sister, my sister, it's a whole industry for having sex, you know. 

0:06:14 - Speaker 2

It's like, it's like Disney, when they I don't know if you know the pin people. No. I don't know what Disney is personally. 

0:06:24 - Speaker 7

Well, yeah well there, yeah, there's a. 

0:06:27 - Speaker 2

I mean, because I grew up 15 minutes from Disney. My guys, right, but they have these pins. They're like you know those. you know those If he was my babysitter Yeah. It was actually actually, actually Donald was, but that's no. there's. there's pins that people keep like lapel pins And like you know, i don't know, And like there's like this weird subculture of people who collect these pins and trade them and like, like you can go into a store at Disney and ask them to trade one of your pins. It's very, it's like furry level. 

No Punks to anybody listening who's a furry? 

0:07:11 - Speaker 1

Not that that's, yeah, there was hopper audience. Thanks, trying to get furry. We're huge in the furry huge in the furry, in the furry demo. Oh man. 

Well, today we are here to discuss the band's fifth full length LP. It came out May 14th 1996. I remember it well because it was like my third year of university and we had a computer lab and the hip were one of the first bands I remember that had like a website and they had this ominous picture of a road with a lightning bolt at the end of it and trouble at the henhouse coming soon, you know, and it was like wow, i cannot wait for this record. This is going to be so good because it was coming off, you know, such a triumvirate of records road apples, then fully completely, then day for night which I adored as a teenager. So this record was highly anticipated by me. 

But I wasn't sure what to expect, given the sharp turn from fully completely and day for night. What was it going to be? another sharp turn? Was it going to be more of the same? Was it going to be a subtle difference? I didn't have a clue And I'm curious. This one Dan will be for just him and Pete, because they've been doing project from the go. I'm just curious what your initial thoughts were on the record in that regard. 

0:08:53 - Speaker 7

Or no, it was Pete's favorite, So I'm just going to click commute and take a little nap, go ahead. 

0:09:01 - Speaker 2

Pete, Oh, I thought you were asking Dan first. Dan, where do you go? Well, just to start off all music, that website, you pulled those ratings from JD. 

0:09:18 - Speaker 1

Yeah, they butchered it. Fuck those people dude. Two out of five. I didn't look it up, oh yeah, two out of five They can go. 

0:09:28 - Speaker 2

Yeah, i mean disgusting. This is the record that I love so much And, to be honest with you, this last week, listening to it, i even come to love it way more than I loved it before. I don't want to. I don't want to. You know, spoil the spoil the porridge, just chat, because I got a lot when we go song to song. But this fucking album made me not just be thankful that JD has allowed us to be on this journey with him, but made me really like this morning, when I was writing some notes, i was like God damn, i feel so ashamed. I never saw this band live. It's like I remember I had a chance to see David Bowie before he passed away and I blew it. I didn't do it, i just was like, eh, you know, and then he dies. That's painful, it's like this. I feel ashamed. They never saw this band live. So I mean, this record means a lot to me. 

0:10:39 - Speaker 1

It's very loose, fitting right. It is like live sounding And I think they recorded a lot of it. you know, again, this is the first record they recorded while they recorded it at the Kingsway again, which is where they recorded Day for Night. But they also in the interim had built a studio in a town just outside Kingston called Bath And this was the first thing that they released to us, that we got to hear that was done in that Bath studio. So there's that. 

0:11:21 - Speaker 7

Yeah. 

I felt it had, you know, next level all the way around. I think it was just the next level All the way around. Sound production I'm always, like I've said, talking about the drummer in the bass guitarist working together, and this one was next level. I think this album was really good. It was similar sentiments as you, pete, you know, with the live comment. That's happening to me more and more for sure, because there's a couple songs on here where I thought maybe as a recorded track, this one, i'd rather hear life. You know that happens. 

0:11:59 - Speaker 1

That kind of happens. Make sure to point those out when we get there. 

0:12:03 - Speaker 7

Yeah, yeah, yeah, for sure. 

0:12:05 - Speaker 1

Yeah, all right. so, dan, this is your. this is your first taste of the Tragically Hub. Yeah, and I'm wondering how you approached it. 

0:12:17 - Speaker 6

based on that, there's no approach Just listen and listen and listen and just see what forms, see what grows. I mean, i had initial impressions and then a lot of those just completely transformed. Yeah, so the journey isn't it which an album should be, but it is difficult not having a reference point with the band and the previous work And even things like you know where, where would they are in their career at this point. you know how big word A and again is. this, is this? I don't know. is this, is this a sort of offbeat turn for the band or not? I don't know. 

0:12:55 - Speaker 1

Oh, that's interesting Oh you can you, can you can answer a question from a previous podcast, because I was going to say, to quantify you know your your comment the record did six times platinum in Canada, which is 600,000 copies In America. Six times platinum would be 6 million copies. Is the system the same in the UK? Like did they talk about? like platinum gold, yeah, so diamond, all that shit, yeah. 

0:13:27 - Speaker 6

But, but as you say, i think, isn't it sort of like economies of scale? So doesn't it be based on the population, i don't know Or does it base itself on world? why, i don't know you know. 

0:13:40 - Speaker 1

That's why I don't, that's why I don't know, like in the UK, what's platinum? do you know? How many records do you have to sell? 

0:13:47 - Speaker 6

I've never sold that many records, i can tell you. 

0:13:51 - Speaker 1

Oh God, i don't know, we'll have to look at it, okay, yeah, again, if anybody knows info at fully and completely dot ca, that would be cool to put a put a button in this subject. Any other comments? 

0:14:08 - Speaker 7

The picture for us? did Yeah, yeah, it's for Dan, did you? can you paint the picture for us? Did you like listen on headphones at home, or kind of what was your, what was your first listen scenario? 

0:14:18 - Speaker 6

Okay, commutes to work basically here. So a lot of this has been on the road And then when I ran out of time towards the end of the week, a lot of it from home as well. But I much more appreciated listening to this on the road, and for me that is on the brand new section of London underground, the Elizabeth line, and you know that starts off going through a real, you know, urban landscape past the Olympic Park before descending into tunnels. So I get that. You know I get a subterranean vibe going on as well as passing through urban stuff. But a lot of it was great for, yeah, just traveling, especially passing through the rain, you know, yeah sure, sure Cool. 

0:15:04 - Speaker 1

I know that commute, dan, that's so cool You do. Well, shall we crack open this record and put on side one? 

0:15:17 - Speaker 7

Yeah, yeah, let's do it Yeah. 

0:15:19 - Speaker 1

All right, we open with the very spacious and vibey opening track. This is similar to day for night. You know an opening track that is almost built to be played live, like it just sounds like. It sounds like it almost is live. In a sense It's gift shop. Who wants to go first? I'll go. 

0:15:51 - Speaker 7

So I saved this album for a car ride and then it didn't listen to it again. I listened to the whole thing on two car rides and then it listened to it again until I took the Amtrak from train from Portland to Seattle. So, dan, it was, it was fun to listen to, like you did on the train. I thought this one. The first time I heard this one I thought it felt danceable, like I was happy, like it's, it's got this tempo to it, like toad happened, like it was just sounded like a good, positive opener. Yet it's like Blake, it's kind of a Blake song. So that juxtaposition to me was fucking awesome. I was like, damn there, this span reels you in and can pull you apart in a couple of different ways at the same time. The who does the synth work for them, the synthesizer, and this one's really cool. 

0:16:48 - Speaker 1

It's interesting. I don't know the answer to that And if I look on the, if I look on the wiki page, it's got like the band listing and it doesn't have any additional band play. I could get out the liner notes and yeah, but I but I don't know offhand. 

0:17:06 - Speaker 7

Yeah. 

0:17:06 - Speaker 1

I mean, there's great right. 

0:17:08 - Speaker 7

Yeah, but there's and also there's like a minute and a half build up, which I love, you know. so this, this was a banger of a of a start off. I was happy. 

0:17:21 - Speaker 1

Nice Yeah. What did you think? 

0:17:26 - Speaker 6

Yeah. so as an opener I mean it's good, It's a builder. I mean you know good, moody, atmospheric star, and then, yeah, you've got that sort of growth, that little step up into the second verse and then it goes into like the you know, fully fulfilled chorus, basically because you've already heard a downplayed chorus before. And then, yeah, from that point on it it's just going, it's great And it really feels like it's going to lead you into something next. And I like the guitar work at the end as well. He almost slidey, sort of sustained. that tricks you into thinking the guitar's going into reverse on a few occasions. Lovely. 

0:18:07 - Speaker 2

Cool Pete I mean, what a fucking, what an opener Dude. I mean I put myself in the in the camp of like, if I was a, if I was a young hit fan and this was just coming out and, having heard the previous records being excited, this is the record store and then just this, being the first track on the record, will lose my shit. The line. The pendulum swings when that hits. It's just fucking. And I listened to it on because I have this record courtesy of Mr JD, had this record on vinyl And so my wife's got a pretty sweet turntable that we run through. I wouldn't say it's, it's, it's, it's. It sounds really good, but listening to it in the car, listening to it on headphones, there's that oscillating. You, tim, you said it was a, was a synth, but I don't know if there. Maybe it works for that. 

I thought maybe there were other parts of like a guitar effect that was like this A lot of these weird guitar effects that I that. 

0:19:17 - Speaker 7

I yeah, yeah, that's what really layered in on this one. 

0:19:22 - Speaker 2

Yeah, a lot of them. And then there's like a bop that I wrote bop, bop, da bop bop. I can't remember a melody of it, but just a little something towards the end of the song. Some backup, just just yeah it's a great song, yeah, but what is wrong? And it was a single too. 

0:19:43 - Speaker 7

So, but I was a little nervous. I was. I was, you know, hoping Dan wouldn't be like guys. I stopped at this one. I just can't do it anymore because, I have to tell you the first, the first couple albums that you know, there were times where both Pete and I were like fuck, all the fans listening to this are going to think we're fucking assholes, you know. But so so at the start of this one I was like let's keep going. The horse is out the gate. 

0:20:12 - Speaker 6

Yeah, it's just opinions. We're not killing anybody with this, surely? And don't call me surely? 

0:20:26 - Speaker 1

Um we live, to survive our paradoxes. Springtime in Vienna. 

0:20:33 - Speaker 9

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 

0:22:04 - Speaker 4

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 

0:23:00 - Speaker 9

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. The bomb is just inside Territory of his own. The spinning from the new time. 

0:24:19 - Speaker 4

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 

0:24:50 - Speaker 6

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes, we live to survive our paradoxes. 

0:25:50 - Speaker 1

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 

0:26:20 - Speaker 7

We live to survive our paradoxes. We live to survive our paradoxes. 

0:27:01 - Speaker 2

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. It's unlike any other U2 album It's a cool record. It's a cool record. It's a cool record. 

0:28:40 - Speaker 8

It's a cool record It's a cool record. 

0:29:04 - Speaker 2

It's a cool record. 

0:29:11 - Speaker 6

It's a cool record. It's a cool record. 

0:29:31 - Speaker 1

It's a cool record. It's a cool record. 

0:29:51 - Speaker 7

It's a cool record It's a cool record. It's a cool record. It's a cool record. It's a cool record. It's a cool record. 

0:30:50 - Speaker 1

It's a cool record. It was on the. They played New Orleans, the Synchon, and in the middle they started playing this little jam and the lyrics went as follows So like vulgar, vulgar, vulgar, put some, put some coins in the swear jar, gord, and you know, tweak this song into something that became the biggest single in Canadian history. That's got to be why they played it last, that's got to be why. But you are right, it does stump you that. The last lyric is disappointing. You's getting me down. Oh boy, that shivers down my spine. 

0:32:06 - Speaker 2

Pete, what were you thinking of this one? I wrote down that line to the melody line. The guitar I love the half step flat that he does. It's kind of strange on the ear, it just lands right with me. And then the vongos, the percussion. When the drums come in after the rain falls, it just Yeah, i don't know that it's Oh, it just got buzzed, man again. Anyway, i love the song. I thought it was fantastic. The last thing I'll say is that the melody line that's when the horn had stung me. That melody is just fucking so good. God damn, i wish that guy was still alive So they would see him alive. Man, sorry, i'd say. 

0:33:19 - Speaker 1

Mr Dan. 

0:33:20 - Speaker 6

Yeah, i can't really improve on much that Pete said. I mean it's, um, it's lush, you know it's, it's. It's a beautiful little track and it builds up in the right places. And, as you say, rain falls in real time. When that kicks in, i mean that's like, isn't that like kind of almost like halfway through the verse, you know? so it's another time to kick in, But when it does it's, it's emphasizing what it needs to do, and I just love technicalities like that. I think that's why I love most of the first side of this album. It's, it's full of little things like that, you know, little formal technicalities that are in the background that just get in there to build things up. But I say I had such a hard time getting past this track. This is the one that just firmly embedded itself and made me come back to this album for more, you know, but I just it's just hard to get past that track, but eventually I did, which is good news for all of us. 

0:34:16 - Speaker 1

Well say keep, keep. Keep the wagon real rolling then and tell us what you thought. I don't like daddy. 

0:34:23 - Speaker 6

Okay. So following on by yeah from that, which is the best selling single, Yeah, you'd want something that does well. And yeah, don't wait, daddy, doesn't disappoint. Yeah, Space is opening. I love all of the base on this as well. I'm not so keen on the, you know kind of the sort of slower, don't wait, daddy section, But it has its place And I just, I just love yeah, every everything else. I mean the lyrics again are fantastic. Again, the bass at the end is a really nice sort of kind of base bend in there really, with the whole, you can stuff your void of your astronaut Asteroid. Yeah, And the. I think the lyrics to this are great as well. There's some, there's some key lyrics in here as well. I like it, Love the pace. I think it's great. 

0:35:29 - Speaker 1

Wicked Yeah. Any other lyrical faves in this one Pete for you. 

0:35:37 - Speaker 2

I can concur with Dan. I like the, the chorus itself. I didn't see how don't wait, daddy, fit in, but I fucking love the song. You can stuff your void with an asteroid, That part when he goes really high. There's a part when he says you're, you're damned as he whispers it. 

0:36:04 - Speaker 1

Yes, It's just, and then it doesn't he go, doesn't he whisper it and then, and then it's right after that. Yeah, yeah, yeah. 

0:36:15 - Speaker 2

It's a fucking great band. The baseline to your there's. There's a lot of amazing bass work on this record, but this is the first song where I was like whoa. Okay. Everybody, everybody's clearly starting to master their instrument in this band at this point, am I? 

0:36:38 - Speaker 6

they're not just fucking you know a bar band anymore. 

0:36:45 - Speaker 8

Clearly. 

0:36:45 - Speaker 7

Yeah, jd, is this. is this truly the Kurt Cobain, song? Is this the one? In what regards sorry. Is it this song kind of have the heavy reference to Kurt Cobain's passing? 

0:36:58 - Speaker 1

Oh, absolutely, i mean that lyric that lyric off the top, like just imagine, just imagine the, the I don't even know the word the imagination to come up with a concept. You know that, like Kurt Cobain reincarnated is like a sled dog somewhere in the tundra, you know, Sighing and still sighing though, And then licking his face. Just what great imagery. And then I don't know how much the rest of the song is Exactly about, about Kurt Cobain, but it's got another one of my favorite lyrics in it as well, which is you teach your children some fashion sense, And they fashioned some of their own, And I fucking love that. I just love that. 

0:38:05 - Speaker 7

Yeah, i don't have any more to say. I think everybody has said it all It's a good, it's a good heavy one And it's there's a good gore. Fade out of even his singing, you know, like disappearing off into nothing. 

0:38:20 - Speaker 6

Yeah, good, good. The final lyric is sing to end all songs. To end all songs, which is again in itself as a paradoxical bit of madness. Yeah, it's great. 

0:39:16 - Speaker 9

And then I don't know how much the rest of the song is Don't play daddy, don't play daddy, don't play daddy, don't play daddy, don't play daddy. You can scalp your boy in the air, stirrionettes hurtling toward the air. You can drop the bomb at the stores of town when promises reverse. Don't play daddy, don't play daddy. It's the perfect time now for a plentiful joy. They're all asleep by pastels. It's time to hear your voice. I sing to end all songs, to end all songs. I sing to end all songs, to end all songs, which is again in itself as a paradoxical bit of madness. Don't play daddy. Yeah, thanks a lot. 

0:43:34 - Speaker 1

Well, tim, do you want to kick off Flamenco? 

0:43:38 - Speaker 7

Flamenco, slow, quiet, kind of this politically dark, gorgeous song, i like to sweep the air and weave the sky. Stamp for feet for everyone. If I ever have to tell one of my sons that you might need to prostitute to teach how to take a compliment, i mean, there's a hell of a line right there. Oh, my God, this song, for being, you know, a number five, slow one, which I think fits well in the cadence of what's going on so far, yeah, i like it. That has a place for sure. 

0:44:24 - Speaker 2

Pete Hi JD, you know I love this song. I still haven't completed the cover of this song that I was working on, but I just love this song. I think that's probably one of the coolest signs to Tim. you're right, it's so. it's so cool, it's so unique. I would say a million things about this song but just like when you go back to the first record, you can't. it's like having a child that's born on the day it's born and then immediately fast forwarding and not imagining that the child's going to one day grow up and be, you know, this amazing, influential person or cure cancer, or like an amazing whatever the hell. And like that's where we're at right now, because this song is just from what we started out, in my opinion. Damn it, i keep getting buzz man. I'm sorry. 

0:45:32 - Speaker 1

I don't know where I'm coming from. 

0:45:32 - Speaker 2

I think it's this mic. I think I have a problem with this mic, If there's something that's uh. 

0:45:41 - Speaker 1

I'll get it when I edit. I'll get it, though, because I'll be editing your track and I'll get all of what you got. 

0:45:46 - Speaker 2

Yeah, well, it's what I'm hearing, but anyway, good, good point. It's not what I'm saying Yeah. 

0:45:55 - Speaker 1

I love special mics. I record what you're hearing. 

0:45:59 - Speaker 2

Okay, yeah. 

0:46:03 - Speaker 1

Special act. 

0:46:05 - Speaker 2

You're like our government. Um, it's a great song. How do you how? 

0:46:10 - Speaker 7

I have to ask, pete, how does JD know how much you love the song? Do you guys call each other up and do you play it for him, usually late at night? What's going on between you guys? 

0:46:23 - Speaker 1

I'm on the 15th floor and one day I looked down and there was Pete with a ghetto blaster. And I was like and I was like turn it up, stupid. I'm on the 15th floor. 

0:46:41 - Speaker 2

Well, and I mean Flamenco music is the is the dominating genre of music. that in great tone. 

0:46:50 - Speaker 1

It's the dominating genre of music where I met, So that's probably what drew me to the song first was just the name you know Well, every year on the tragically hip fully and completely feed, we do a pod list and all these great tragically hip cover bands submit songs And I release that usually May long weekend. So because we released this new show May long weekend this year, i'll have to push that back and make it a birthday pod list or something like that. We'll see. We'll see how we play it out. 

0:47:32 - Speaker 6

But yeah, Flamenco, fucking dynamite right there, yeah, just you know, with just coming back to this song, It's, i don't know This is, this is one that I need to listen to more. I think it's just one that's kind of got lost on me. I haven't got that many notes on it. You know it's, it's, it's just weird. I don't know what I'm, what I'm, what I'm missing on this song. You know where this song gets lost on me, so can you guys explain what you love about the song? 

0:48:08 - Speaker 2

The, the nature of the song being. Because if you listen like I'm, tim Hads as well, obviously the previous records there's nothing, there's nothing remotely close to this type of song with the keyboards, the melody, the lyrics, the, the phrasing, which he's super unique As far as somebody who phrases their lyrics. But there's nothing like it. It's so not even left field. It's not the same. You know that Jules Winfield line? not the same fucking sport, it's not even the same. It's not even close to anything they've ever done. It's just different. 

So it's for me it makes me want to like listen more intently and be like what the hell are they doing? What are they thinking? This is not like what they do. 

0:49:02 - Speaker 7

You know, i just I just thought of fit as part of their evolution, of all the albums we've heard so far. If I would have heard something like this in an earlier album you know, song post five it might have felt like it was a little bit more, it might have felt a little more unusual, but to me, for the era you know, this was what was it 96? 96. Yeah, for the style of music coming out then and a lot of bands having these slower quiet songs, you know, even even some of the harder grunge bands were still doing slower quiet songs. It wasn't always my favorite thing, but this one just fit in the fit in the peg. well, for the slot. I didn't have a ton of notes either, dan. I just thought, you know, let's keep moving. The songs are working still. Let's keep going. 

0:49:51 - Speaker 1

And to me, like I'll comment, I just think it's one of his greatest lyrical achievements, Like I just that line alone. You know, maybe a prostitute could teach you how to take a compliment, But then the way he phrases it like it's so strange. So if you, you know, if you write it out like, but it just works, And Yeah, I really appreciate that. 

0:50:20 - Speaker 2

You know, you asked Dan another thing, just to give you a little bit more context too, at least for me and JD. You alluded to it right there. As simple as the song sounds, it's not at all simple. It's one of those things like tapping your stomach and rubbing your belly and tapping your head or whatever. That seems easy, but it's not. The tempo of that song and playing it on like a guitar is odd. The phrasing is really odd. To try to sing it you'd have to sing it exactly like he does, otherwise you can't find where the words go. There's no. Do you know what I'm saying, dan? Like it's-. 

0:51:10 - Speaker 6

No, I completely understand that. yeah, Yeah, there you go. I'll go back and listen to that with that in mind. 

0:51:16 - Speaker 1

yeah, Maybe we'll check in with you later on in the season. 

0:51:22 - Speaker 7

Maybe Pete'll show up and serenade him, who knows? 

0:51:29 - Speaker 1

Pete has to feel about Yeah, okay, Yeah how'd you feel about 700 foot ceiling, Pete? This was a single. 

0:51:35 - Speaker 2

I really liked the guitar work, which was just random like no rules. I thought the bridge was a little strange in the song. Wouldn't be my first choice of it. I'm just kind of the way they approached it. The this note is on a lot of songs on this record, but I definitely got some Alanis vibes on this, the Overdub vocals, a lot of what she did on the first track on Jagged Little Pill what I really want, i think Maybe that's not the first track anyway Really cool. Love the ending I would say probably of all the songs, and I love this record. My least favorite song on the record, perhaps one of the- Cause. 

0:52:34 - Speaker 3

The other ones are just like everything else he typed in first. 

0:52:39 - Speaker 1

Well, we were on try to ride, though too right, like almost the full side of the record that is-. Yeah, yeah, that is. You know there's not like. You can definitely put that side on and rest easy. Dan's nodding his head. So what do you have to say about that young man? 

0:52:59 - Speaker 6

Yeah, it's a bit of a banger, isn't it? Straight from the get-go? good, as we were saying, that guitar stuff, great, kind of bendy sort of riff as well. But in my notes I've got nothing. Nothing is overplayed here, everything's just right, you know. But when he's doing the whole seven foot ceiling bit, the guitar really holds back and it's almost like a sort of you know, intentional sort of drop out which you know gives it a completely different vibe. But then you get the whole it's part hard bit with, as you were saying, all of the backing singing, which is just fantastic. Yeah, that really, i don't know, just kicks into another dimension as well. But with this I can't get into the lyrics. The lyrics don't like. They seem quite throwaway for this and I don't really get any kind of visualization of scenes or anything. I mean the references to Flood in. I mean, what is all that about? 

0:53:55 - Speaker 1

Well, yeah, it's definitely like Flood in the Ice is like to build like an ice rink, So like somebody's building an ice rink that you could skate on and play ice hockey likely, you know, out in the middle of the woods somewhere. So it's, the water is sort of got that darkened color from the birch, from the bark that has fallen off the trees and colored the water a little bit. So there's a nice visual there, right Like. but if you, if you're not vibing it, then it flies right over your head, Like you said, and it can sound very throwaway. I don't think this is his strongest lyrical effort on the record by any stretch, but I'm not ready to say it's throwaway either, you know. 

0:54:39 - Speaker 7

Guys, i thought this one it almost had kind of a celebratory start like song one. but I agree, pete, like the guitar seems like maybe it was mixed in too many times after the guys were done recording. It's kind of a winter angry song, so it made it feel kind of like a staple single for the hip. Just, you know, didn't didn't grab me or pull me in any direction, whether good or bad, was just like okay, this song six feels kind of like maybe a little bit of filler song. Let's keep moving and see what's next on the album. That's how it felt for me. 

0:55:18 - Speaker 1

So then you're flipping the record over and you're getting butt-swiggling. To start ["Sweet Sound of Patent Approval"]. 

0:55:39 - Speaker 8

The sweet sound of patent approval coming down in a not quite far Sweet sound of patent approval coming down in powdery sparks. The sweet sound of patent approval coming down with holiday concern. The sweet sound of patent approval coming down in a world of hurt. In my opinion, the drug is ready. In my opinion, the drug is ready. The warm hand of abject approval coming down with throaty veins. The warm hand of abject approval coming down to the fingerboard. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. ["sweet Sound of Patent Approval"]. ["sweet Sound of Patent Approval"]. The cold-eyed constant approval coming down to freeze the blood. The cold-eyed constant approval coming down to look real close. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. 

0:59:02 - Speaker 1

["sweet Sound of Patent Approval"]. And, if I'm not mistaken, butz Wigglin. Yes, butz Wigglin comes from the Kids in the Hall, brain Candy. When the Kids in the Hall released their feature film Brain Candy, this song was the not the theme song, but it was the featured song in the film. I'm guessing it was written after having seen Brain Candy and knowing roughly what it's about. Not able to tell you right now because my memory is so poor, but I can see bits and pieces And I'm guessing they wrote it after having watched you know, watched the movie because of the subject matter. Did you get into the subject matter at all, or did you just get into the song, or did you not get into the song? Where were you, dan? 

1:00:06 - Speaker 6

Yeah, not totally into it. I mean, the contrast between the verses in the chorus is, you know, the verses are all pretty noodly and a bit weird and then it's a very distinctive chorus And it just doesn't kind of work for me. It just doesn't feel cohesive. I mean, i don't mind it, you know, i'm not saying it's bad, but for me, yeah, it doesn't sound fully formed. 

1:00:38 - Speaker 1

You've heard better on the record, right, yeah, at this point. Yeah, yeah, you've got some context. 

1:00:43 - Speaker 6

We've come from a greater place than this on the record so far. 

1:00:46 - Speaker 1

Yeah, yeah. 

1:00:49 - Speaker 7

Tim, for all those reasons, i liked this one. Oh, okay, i like that. Yeah, like I. I heard that too. I heard that too You went out. 

1:01:03 - Speaker 2

Tim, you went out. I didn't hear it, like I could barely hear you, and then I just I got zapped. Sorry guys. 

1:01:15 - Speaker 8

I was in love with it. 

1:01:17 - Speaker 7

I promise I'll continue with this one. Did anyone hear Lou Reed on this song? Come on, no, i can Go back and listen and think about Lou Reed singing this song because it's there. But this song to me has kind of this locomotive just trying to get the engine going and it struggles a little bit. But I like that about it. It's more raw, like there's this intermittent keyboards in there that seem kind of out of pace with it. Honestly, it reminds me of Paintman a little bit, because it's just scrappy. And oh, let's add this in Does this song have enough? I don't know. Like it just felt different than their other songs. There was just more. It was a little more chaotic, whereas the songs on this album so far seemed pretty polished. I like the ending. You know I like this one. This one caught me off guard and it was maybe briefly, with kind of the Lou Reed reference. Oh, you guys got to hear this. 

1:02:30 - Speaker 2

What's that? I can't hear anything. 

1:02:33 - Speaker 7

Can you hear that? Damn it. I have a naval bass, our view is of a naval bass, and the trumpet goes off every morning. 

1:02:43 - Speaker 8

Oh, It's a wake us up, I guess. 

1:02:45 - Speaker 7

It's like a pre-recorded fucking trumpet. Yeah, god. 

1:02:49 - Speaker 2

Cut and call. Can't even afford the trumpet to hear. 

1:02:52 - Speaker 7

Yeah, i dug this one. This one was the fucking dog you see on the street, and you finally get it to come to your house and you can start feeding it. That's what this song was for me. It was good. There's so much Lou Reed there, though Go back, you'll hear it. You hear Lou. 

1:03:10 - Speaker 1

Reed, do you hear Lou Reed? I'll read it. 

1:03:14 - Speaker 2

JD, could you say that again? Do you hear Lou Reed? Yeah, i know I pick up what Tim's put down in that respect. And, dan, i also feel what you're saying about it. I took this record in a lot of different places. Obviously, i have it on vinyl, which, by the way, jd, you've got to make a quick correction. You've been saying this mistake throughout the whole show. We don't flip the record, because this record actually came on two discs. 

1:03:49 - Speaker 1

That's right, it's a three sided record. 

1:03:52 - Speaker 2

So just go back and edit it out. Let's go back and edit it all out. 

I listen to this on the vinyl. I listen to it with my headphones, my computer, with my phone in the car, with what you know, daniel I don't know if you know, but I have a pretty nice, like a premium sound system in my car, so driving and listening is quite enjoyable. No, but I took this album running a lot And this song just burrowed its way in. I loved it, absolutely loved it. Just the line. In my opinion, the drug is ready. It's just so cool. Warm hand of abject approval. And this is, if you again go back to the Europa reference, there's a song on there called Dirty Day. This is that song. It's like, it's almost like they kind of took pieces of that song and made this song, but it's just like that. It's super weird. Lugerty and for sure Tim, for sure, loved it Absolutely fucking love this song. 

1:05:15 - Speaker 1

Yeah, all right. Okay, well, did that love stick around for a parmint song? 

1:05:23 - Speaker 2

Oh, most definitely. The opening is amazing, The vocal melody. She's the horrible estate. Am I pronouncing that correctly? Maybe not the way it Canadian? Yeah, Yeah Again. Super big Alanis vibes on this. I love the shit out of this song. It's the fact that Let's clarify. 

1:05:56 - Speaker 1

Let's clarify In the last episode you mentioned that you heard a lot of production in Alanis, more set first record Jack and Little Pill on Day for Night, and now you're saying it's here on on on the hand house. 

1:06:15 - Speaker 2

Which is after Jack and Little Pill now, because that was in between. Jack and Little Pill was in between. 

Oh, I felt like the hip influenced her, and then now she's kind of in turn, return in favor, right, and this song it's it's Tim, tim and Jade. You know this, dan, but I'm taking this, this songwriting class, right now. Laugh me all you want, it's fine, but it's with Scott McMicken from Dr Dogg, and it's awesome because I love Dr Dogg And he's a great songwriter. But they do prompts And this song sounds like. Gord Downey took songwriting class and they gave him a prompt and they said write a song about your apartment. And he, fucking, he destroyed the entire class with it Because this fucking song like the line about like, um, just what our apartment does when we're not around does not concern us, like talking about the plates in the cupboard or something or whatever It's just fucking so cool, dude. It's so cool. And it's not even about that too, i know, in so many ways. 

1:07:29 - Speaker 7

I can hear the national anthem. Okay, now we're going to try. Yeah, now we're going to try. 

1:07:34 - Speaker 1

I could hear it. 

1:07:37 - Speaker 7

This is what we have every morning at this Airbnb, which has the most light bulbs of any any house I've ever been. 

1:07:43 - Speaker 1

I've heard an Airbnb Yeah that's a lot of light bulbs. You are very well lit. Sorry, sorry, sorry, i was going to say we just take them all, Fucking hell. 

1:07:59 - Speaker 7

God damn, Nothing like ruining a boner, but the US national anthem Fuck, Sorry honey. Oh, I'm sorry honey. God damn it. We have to try it. Do they do it on it's Sunday morning? Oh, that's why I mean church bells. I think maybe I could keep a boner during church bells, but not the goddamn national anthem. 

1:08:25 - Speaker 2

Maybe, not. 

1:08:26 - Speaker 7

That's weird too, maybe not. 

1:08:28 - Speaker 2

And then, okay, anna comes on your legs. I'm back at it, baby. 

1:08:35 - Speaker 7

God damn it. It's noon. There's like three more bells still. 

1:08:44 - Speaker 1

Where did you land on apartment, song Tim. 

1:08:49 - Speaker 7

You know, i thought maybe it was a bit long. I loved it Overall. I thought maybe it was a bit long and I thought what would this song be live Like? I went through kind of all those questions in my head. I agree with you, pete, that it's kind of a given, a prompt to go right about it, and that's maybe that's in part the simplicity of it for that reason made me kind of not super fall in love with it. Perhaps The idea of pursuing excessive beauty is the comment he made, pete, i love that reference. I kind of dove into that one and thought about all the people that kind of fit that goal. They're, like you know, famous famous actors, or my own asshole self every once in a while. So it kind of gave me some things to think about. But yeah, it's fine, it's fine. 

1:09:53 - Speaker 1

Where did you land Dan? 

1:09:56 - Speaker 6

In an apartment, definitely, yeah, i mean, on my notes I've got one of those tracks where you're immediately placed in a scenario. Yeah, this track, when I'm listening to it on the way to work, is always the one that I'm coming up the escalator into the tube station to get out. I've resurfaced And, yeah, it's mellow, i think, like Tarmac. It could be a little bit shorter for me, i think, but it's okay. I mean, i'm not normally used to listening to this kind of track, where it's you know it sort of chugs along a little bit. It's maybe a bit more traditional. Obviously, the structure is traditional as well, but I don't mind it at all. Yeah, yeah, i like it. 

1:10:45 - Speaker 1

All right, yeah, it's definitely one of my favorites, but you're right at 357,. You know, it's just shy of four minutes. You know, maybe, maybe This is the first record that they produced, like their last record was Howard Vreakin and the Tragically Hip. This one is the Tragically Hip and Mark Vreakin, so, like I think this is sort of their baby in a way, and their baby was perhaps formed in a steady 40 foot stream of coconut cream, wouldn't you say, dan? Oh yeah. 

1:11:31 - Speaker 6

Yeah, no one saw that one come in, did they? Yeah, i mean yeah. Well, you know, as the fashion dictates, i'm going to like this one because it's a banger. But it's a big banger And, as all bangers should be, it should have, you know, totally nonsensical lyrics. you know think of song two and things like that as well. So it's good. But again, this, you know this really lifts you up after those last two songs. you know I needed this to be in it, i needed the energy, basically, and again, you know it's on here. you know I've just got like. you know there's a, there's a plane taking off at the end and it kind of personifies the track. It's a sonic lift off that does not lose pace. Yeah, interesting. 

1:12:22 - Speaker 1

All right Tim. 

1:12:27 - Speaker 7

Tim, i heard pretty quickly in this one, the, the guitar tempo, and it was a little bit, you know, more specific to the era, rock and roll wise, for me, had this kind of indie punk feel and it threw me straight in straight to this band that I was listening to at the time in 94, 95, era 96, probably two from North Carolina. They're called Super Chunk And if you, if you go back and listen to their album here's where the strings come in I would be shocked if anyone from the hip didn't listen to that album during this time, because I went back and listen to that album. There's such good similarities, you know, like I don't want to do another food metaphor, but but yeah, this, this song, it had gripped me a little bit more. I loved it. I loved it, i. 

When it got to the ending and it kind of cut, and then the fucking jets. I'm like, ok, this is unusual, but I love shit like that. I love hearing sounds, you know, juxtaposed in layers. But when I read about it it was when they record. When they were recording, the power went out in the studio, in the building. At the end of this song, the power went out. So that's why it cuts out And that's why you have this little added tiny guitar layer in there, i believe. But it's, it's the fucking Blue Angels. Here I am sitting across from a Navy shipyard And it's the Blue Angels. That's who's passing? They're like. They're like the US Navy's show team. They travel around and do all their aerial acrobats and hopefully don't crash into the crowd and cost us cost And they cost us you know like one million dollars per second while flying or some shit. But yeah, it's the Blue Angels at the end of this. 

So you know what the hell is that reference? And they were that recording of the, that recording of the flyover of the Blue Angels was. you know, somebody in the band did it while they were in San Francisco. It's like, oh fuck, here comes the Blue Angels, Start recording and they fucking blended it into the song. So that just made me like an even more I love, I love shit like that. 

1:14:43 - Speaker 1

So that won me over, very cool. 

1:14:46 - Speaker 7

Yeah, very cool, very cool recovery from power outage during recording. 

1:14:54 - Speaker 1

Right, especially if you feel like he just got it. You know like, yeah, what the fuck. 

1:15:00 - Speaker 7

What do we do now? Yeah, here comes the Blue Angels. 

1:15:08 - Speaker 2

Yeah I, that's, crazy I mean, i don't know, it does blow my mind. 

1:15:14 - Speaker 7

That blow your mind. I mean, come on, they're fucking Canadian band. It's not like we're flying the Blue Angels across Canada. They'd hopefully get you know. shot down the bow and arrow, whoa. 

1:15:24 - Speaker 1

Whoa Hey now. We have cross moves, we have cross. 

1:15:29 - Speaker 2

All of Canada, sorry, just hold the breath right there Choked on their teeth. 

1:15:39 - Speaker 7

You can edit that one out. 

1:15:42 - Speaker 8

I'm you know I'm trying to develop. 

1:15:45 - Speaker 1

I'm trying to develop some things Good. I love. 

1:15:51 - Speaker 2

I'm not a big fan of it. I'm not really a fan at all. In the United States military, not those who serve, but the you know. Let's just leave it there. That was that. The apparatus. 

The apparatus if you will. But I love watching airplanes fly and I do love watching the Blue Angels because it's just cool, It's just and yeah, that's part of the stress out to you And it's like you know it's like watching them watching a thriller film. You know why do people do that. But anyway, this song I do. Like the song, The words, the lyrics just go. Can shooting coconut cream? Okay, all right, there's knowledge you can leave into the imagination there. 

But the only thing I will say, because I think everybody summed it up pretty well the airplane thing. the same thing happened to me again. If you remember I don't know what record it was There was another airplane sound on the recording. Do you remember JD? 

1:17:05 - Speaker 1

That's right, you talked about it. You talked about it because you thought you're driving near the airport and you thought it was. 

1:17:12 - Speaker 8

And so. 

1:17:13 - Speaker 2

I don't remember what it was. 

Maybe the first or second record, i forgot, but I took this one out running And I had the record going in the background with a guided run, you know where there's somebody telling you where to how fast to go and slow down and go fast school And I didn't know. I was like is this the fucking recording of the guy to run? And then I take my headphones out and I look up as I'm running. There's no airplane. And then I stopped the guy to run and I was like it's the fucking recording again. And it was the only reason why I said that trick happened to you before when I was driving by the airport And it was because of the fucking hip. How random is that? Like second time lagging strikes twice in the same place. 

1:18:08 - Speaker 1

Fuck, Pretty random man. 

1:18:11 - Speaker 7

Pretty random. 

1:18:14 - Speaker 1

Any other thoughts on coconut cream? 

1:18:17 - Speaker 7

Great, great track. 

1:18:20 - Speaker 1

All right, you guys have. you guys have potentially changed my mind on both, but Swiglin and coconut cream Those are those always rank up in my lower tier, which is tough for me to reconcile, because this is maybe my favorite record, like maybe my favorite record, so it's it's. you know it's. it's tough for me to reconcile that it's got two songs I don't like out of 12. How can that be your favorite record then? But now, now I'm going to go back and listen to the butt Swiglin with Blue Reed on my brain, and coconut cream, like, just the idea of like, like, when you said song two, it's like. yeah, okay, there they're just having. it's just fun. It's just, and maybe I'm a little too into flamenco and not enough into the fun that I need to back it down a little bit. But that takes us to track 10. Let's stay engaged. 

1:19:17 - Speaker 2

Stay on, stay engaged by talking about staying engaged. Let's stay engaged. I love the track. Man, i thought I was banger It's and if you notice that the airplane comes into this track, the airplane from the previous track comes into this one, which I think is really is really cool. The lyrics lies over time. The chords are super simple but really complex. Again, a lot of Alanis vibes, love the solo and a lot of weird guitar effects. The bass is just the bass is really what shines in this song. Just the rolling bass. That's just great. Love the song, really joy. 

1:20:19 - Speaker 1

Cool. How are you Dan? 

1:20:22 - Speaker 6

Yeah, well, you know, from the whole jet thing that goes into it, as Pete was saying, you know the lyrics start off pretty much sort of airport referential, don't they? We've sort of latent departures and things like that as well. I mean I like this track but I just wish it went somewhere. I just wish it built towards the end. That's the only thing it's missing really. You know, i think this deep into the album to have something that sits a little bit level. You know, you really feel it. You really feel like maybe you're chugging towards the end rather than accelerating to the end with a great kind of crescendo. So I just wish it had. I just wish it had some other elements, a few more layers had it in at the end. But I did notice towards the end that there is like a layer of weird fuzz towards the end of it that cuts off before the end And then, if anybody didn't notice that, then there's some. I don't know what that was. 

1:21:16 - Speaker 7

Yeah, i did notice that And I thought that I don't know, this one didn't really have any surprises for me. I agree with both of you guys in general This, it just felt like the placement of it was okay. let me start over. if the ending, dan your comment if the ending had some slight tweaks to it, it could have been drawn out a little bit more, not much. I feel like this song could have been the end of the album, like I was. I was hearing, you know, i knew where it was in the placement of the recording of the album, but hearing like the last one minute of it, i thought if the drums, the drums have kind of this I don't know prehistoric kind of feel and it just feels like if it just fade out and the song could be the end of the end of the whole album for me. but it isn't. 

1:22:07 - Speaker 1

I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. 

1:22:35 - Speaker 9

I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. We were hard, we were Sherpa hard. We conspired against old friends. We said we must live with friends of dark and we died a thousand times since then. We were hard, we were hard, we were hard, we were hard, we were hard. I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. Download wwwcdc bringing more video To Share this parts with other 2 people. We can write it down and obliterate it. And the laughter far. let me hear, the love I hear. We can lay down and obliterate it. 

1:27:30 - Speaker 1

And I fucking love Sherpa. So I have questions. Somebody let me down if you need to, but what do you think, tim? What are you saying? 

1:27:45 - Speaker 7

I thought the line we must be friends or die. I needed to announce that lyric as applicable for our foursome right now. At the end of this. If you guys were like fuck that guy, tim, what the hell was up with him on that recording, i would have to kill you so we have to be friends, or die. But it made me wonder with this album is this when the guys J&A? did you ever read anything about them doing hallucinogenics? 

1:28:14 - Speaker 1

Did they ever? 

1:28:15 - Speaker 7

comment about it. 

1:28:17 - Speaker 1

I'm sure they must have, because this is the track. This is wonderful. It's wonderful to listen to on a marijuana high. It's wonderful to listen to totally straight as well. It's lull, it's spooky. 

1:28:38 - Speaker 7

It had this acid trip feel to me, which was a little bit different. Then previous songs, this quiet guitar and the piano in there. The piano, i thought I'm kind of wanting more key type sounds in general to keep adding in layers. It's this new topping that we haven't had much of. So I thought Sherpa was pretty great, but I wanted to know. I couldn't find much. So is this when one of the guys went on this epic journey of a trip, or like? how was this song written? 

1:29:15 - Speaker 1

Yeah, i've just had it, If anyone out there knows. 

1:29:18 - Speaker 7

Write in to send JD an email at. 

1:29:23 - Speaker 1

JD at gettinghiptothehipcom. Dan, where are you at? 

1:29:30 - Speaker 6

Yeah, it's good, I've got it down as the high point on site too. Again, as you're saying, everything about it spaced out in every way, lyrically, spatially, vibrally, But then it does. I just get the feeling that at the end, after the point where we're, at the point where we love and hate it, It does fly off into sounding like something off the bends by Radiohead. It's just got that vibe to it. The final layer of guitar, the single note, higher guitar stuff, is very much Bend sort of related, which was released a year before, I think 1995. But it's all put together so well and love it all good. 

1:30:19 - Speaker 7

See, yeah, it's just got beeped again. The electricity in Spain is. You might be having some surge happening. 

1:30:34 - Speaker 2

That might be a point I don't know. All jokes aside, but this song I mean. You guys summed up most of it for me. I absolutely fucking dig this song. I don't know what was going on, the imagery in it. I was picturing a Sherpa when I was listening to it. Just by virtue of the name It just stuck in my head. 

And the bendy guitar riff. It's disorienting to the ear. It made me confuse listening to it. It was really cool. I've been thinking of it now because I've heard it so many times the last couple of days. It's that Jeff Bechtoun from The Artbirds. He bends it. You know what I'm talking about. They've been playing a lot of Jeff Bechtoun because he died. Anyway, that guitar riff in the song is very fucking cool. We dug it the line and we spoke languidly. When that hits right after that line, it's so fucking cool. There's piano reverb. That is just. Tim, you mentioned pavement earlier. I can't think of a B-side tune that reminded me of, but I heard it on here too with that piano reverb. We've died a thousand times since then. Super, at the very end of the song the chords go to major. I think it's definitely the best song on side two or side three. I guess we're saying Side four, but it's side four. 

1:32:33 - Speaker 1

No side. Four no side four, it's up there. No, there's no side four. Yeah, that's right, because the fourth side's blank. Yeah totally It's like why was Alley Totally? 

1:32:45 - Speaker 7

There you go. Okay, Great, very strong. 

1:32:51 - Speaker 1

Put it off. This is where we wind the record down and get ready to put it away, regardless of whether you're listening to it on a CD or MP3s or albums. This is it. This is what you get from 1996. We have to wait another two years for the next long play. Does put it off. Do the job of an ending track in your estimation, tim? 

1:33:23 - Speaker 7

Yeah, i think so. This one got me. It kind of had all the fixings for the recipe. There's definitely some storytelling. This album, i think, musically, gripped me more than storytelling compared to past albums, lyrically But this one had it. This one checked the box Talking about how There's a whole reference with how the Nazis stole art across Germany and created this Traveling art show to show all the degenerate artwork and they had museums that they graffitied the walls of And hung these paintings that they stole from all these fucking liberals or whoever they fucking plucked them from. This song is kind of like the dog off the street and you realize how that it's beautiful. Anyways, there's a reference to Eric's trip, which is, i think, the second Sonic Youth reference I've picked up, which is fucking cool that they're referencing Sonic Youth. 

1:34:31 - Speaker 1

Well, it's a reference of a reference, that's right, that's right. Because it's referencing the Canadian band Eric's trip, who's named after the Sonic Youth. Okay, yes, true. 

1:34:42 - Speaker 7

Okay, double, double one there. Anyways, you know that I love to hear there's some fucking sitar going on, totally yeah, right, in the background. 

1:34:51 - Speaker 1

That's what that is, isn't it? 

1:34:52 - Speaker 7

Yeah, yeah. So I'm sure we'll hear that again. Like this album just based on Sherpa, i was like, okay, who's doing a little acid and writing some of the songs? Because that's coming out a bit, i hope, because I just love the experimental part. It's a big closer. It turns down into this beautiful quiet ending. It was the closer I needed. It was a great tune. It was a loaded hip closer of a track for sure. 

1:35:32 - Speaker 1

How about you Dan? 

1:35:36 - Speaker 6

Well, one of the phrases I've used to describe this track is heavy menace. It's foreboding isn't it? 

It's stark. You've got these mystic sitar vibes. You've got this intensity there. It's up and down. It's probably a great live track for everybody to hang on to. That tension and release and then tension back on again. I don't know whether I like it as the end of the album. I don't know, because it's like getting somewhere and then being hit over the head with a mallet. It's like a kind of blunt third, almost. You know You sort of live through part of it and then you kind of get a little bit overwhelmed. But yeah, i don't dislike that, i've just got to get my head around it. Really, i'll say this build up to the end of the albums. If Let's Stay Engaged has that little bit of a rise up there, i think that would do it for me. But no, it's good, it's good. I need to listen to it more definitely. 

1:36:55 - Speaker 1

Yeah, you should always listen to it more, but it still might be where you land, you know, and that's cool. 

1:37:02 - Speaker 6

Yeah, but I'll say this is an album that I will be buying. 

1:37:04 - Speaker 1

Yeah, I will be getting hold of this for repeat listens. 

1:37:09 - Speaker 7

Excellent. It was a good one for Dan to come in on. I think you know Yeah. For sure sounds good. Lucky you Yeah yeah, thank God. 

1:37:22 - Speaker 1

What did you think of putting it off Pete? 

1:37:25 - Speaker 2

I definitely feel Dan's vibes on it. I thought it was very haunting. The song. The sitar was great, the sitar-like effect. The tin snare didn't have the chains tightened up on the snare so it had that really tinny sound hitting it, which is just always a strange choice when you hear it. Like it's got to fit if you're going to do that with the snare. Just the way the band played together, the dynamics of everything, i'm sure it was a great live song, especially when they're all playing it live together. But in fitting with the record as a whole, i'll go back to the reference that I made And I apologize for the meeting, but it's such a random song And, just like U2's Zeropa, i just get so many vibes from that record for this record. The last song on that record is so random. Do you know who sings the last song on Zeropa? Johnny, fucking. 

1:38:39 - Speaker 1

Cash. Oh right, oh shit. Johnny Cash sings a song called The Wanderer. 

1:38:45 - Speaker 2

And it just comes. You listen to this whole weird electronic, strange record from U2, like nothing they ever did, and then there's a fucking Johnny Cash tune at the end, and it's not even a Johnny Cash country tune. And this is like that. It's like you just got taken on this really cool, image-filled journey Which troubled the end house. Where the fuck did that come from? 

And then they ended with this. It's like I think they're just at the point where they're like We're gonna do whatever the fuck we want. If you guys want to come along for the ride, strap in. If not, piss off. I feel like they've given up at this point too. They've let go of wanting to be accepted in the US market. That's what I think was holding them back. To be honest with you, Because, now just fucking. 

1:39:37 - Speaker 1

BAM wants to make cool music. Yeah, interesting. 

1:39:43 - Speaker 7

I might have to revisit the Xeropa a little bit. That's when U2 for me was kind of giving me acid reflux So I didn't pay attention to that album. I loved them their first handful, but after Joshua Tree I kind of moved on. I'm not vibing with the Xeropa reference but I'm trusting you with it. 

1:40:06 - Speaker 2

It's really the only record there that I stand by. 

1:40:11 - Speaker 7

Okay, this uh. 

1:40:15 - Speaker 1

Did you get your album? Did you get your album finally, tim? 

1:40:19 - Speaker 7

My Xeropa album. 

1:40:22 - Speaker 1

No, you've been seeking an album this whole time. 

1:40:25 - Speaker 7

It feels like Yeah, i did get my album. I liked this closer. It was weird and different. Honestly, it made me look forward to what's next, which has happened before, but I was feeling satisfied from this album For sure. I had less issues with it. There were definitely more surprises that I liked Sprinkle throughout. You know, i thought it was good. I thought it was good. If this is their I don't know if this is one of their crescendos of album writing efforts, i'm writing it, i'm feeling it. 

1:41:01 - Speaker 1

Cool, alright. Well, any final thoughts on Trouble at the Henhouse A and B? what is the track that you are putting on your track listing From this record? so, dan, in this case you can just pick your sort of album MVP If you want to. Any final thoughts on the record, and then your album MVP. 

1:41:35 - Speaker 6

I mean for me. You guys have pretty much said, for most of you, this is your favourite album. So, in terms of listening to more of the band, it's like, oh my god, is it like Downhill For me now? so if this is such a high point, then, as I say, i was glad to be part of it And I really enjoyed the record. I mean, i didn't have that much time to listen to it, but it did keep dragging me back, which is what something good should do, and it should implant itself in your mind, which is what it has done. And, as I say, i'll be getting it. Yeah, all good. And if I was going to put a track on there, i mean, most people are going to probably say ahead by a century, which is a given, but for me, close to that. I don't wake, daddy, i'm still digging it at the moment. 

1:42:31 - Speaker 1

Pete, how about you? Any final thoughts on the record Final? 

1:42:36 - Speaker 2

thoughts on the record. Yeah, I loved it, Dan. Loved having you, man. I love your takes too. Really good to meet you too, man. You're a lot of cool people, Great takes, Just so. Again so thankful that you gave me this record, JD, And that I'm on this trip with you guys, And if I had to pick an MVP before, it would have been Flamenco. I think I'm firmly ensconced within springtime in Vienna. It's just a bullet to my head Alright, Yeah. And just a line. 

1:43:24 - Speaker 7

Yeah, I'm a little jealous of Dan coming in at the band for the first time, because Pete and I were there, You know, and at the beginning of it all there were a couple of moments where I was like holy hell, What have I gotten myself into? You know, a couple songs back in some early albums were like, oh, Scratching my head a little too hard, I'm gonna lose some more hair. But yeah, this album to me was really good. I'm anxious to hear more. I'm throwing a curveball in this one. I really like Butts Wigglin. Read the song title first and it was like what the fuck is this song about? You know, I really like cooking at cream. Also, the song had more choices for favorites or what do you really like Totally? And I understand. I understand kind of about Ahead by a Century, More so now that we've discussed it, with it being their top single. But I'm going Butts Wigglin, Alright, cool, There's the knuckleball right there. 

1:44:30 - Speaker 1

Well, that's what we have for you this week. I want to thank our special guest, dan from London, and Pete and Tim. We'll see you next week when we talk about their first live record. Live Between Us Super Yeah. I can't wait. Alright, guys pick up your shit. 

1:44:52 - Speaker 5

Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pied And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns Email us at JD at GettingHiptotheHipcom. We'd love to hear from you. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Hey everyone, it's JD here with Pete and Tim, and we've got an exciting episode for you as we explore the Tragically Hip's 1994 album, Day for Night. This record holds a special place in my heart, and I can't wait to share my memories with Pete and Tim. Listen in as we discuss the album's unique nuances.

As we examine the tracks on Day for Night, we also dive into the powerful lyricism of songs like Greasy Jungle and Nautical Disaster, uncovering the stories behind them. Our discussion also touches on the impact of the album's intro song, Grace, Too, setting the tone for the record and leaving a lasting impression on listeners.

Join us as we reminisce about the days of midnight album releases and the significance of this record in the Tragically Hip's discography. Through our conversation, Pete and Tim share their first experiences with the band's music. So, whether you're a longtime fan or discovering the Tragically Hip for the first time, this episode is sure to be a nostalgic and enlightening journey through the world of Canadian rock history.

0:00:00 - Speaker 1

Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 

0:00:22 - Speaker 2

Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 

0:00:32 - Speaker 3

Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 

0:00:48 - Speaker 1

This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 

0:01:05 - Speaker 2

All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 

0:01:13 - Speaker 3

Tickets are on sale June 1st and can be picked up by visiting gettinghippetothehipcom and clicking on finale. 

0:01:21 - Speaker 1

By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. Join a community of like-minded individuals who believe in the power of music and unity. 

0:01:35 - Speaker 2

Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 

0:01:45 - Speaker 3

Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 

0:02:11 - Speaker 1

It's nearly 10.30 pm on September 23rd 1994. I'm on the 106 bus riding from York University to Wilson Station. during my first year at the institution, i was on a mission to pick up the latest effort by my favourite band, the highly anticipated Day for Night. Since mid-summer of 1993, i'd been going bananas over the song Nautical Disaster, first introduced to me during my 19th birthday. It was at another roadside attraction, and as the band launched into New Orleans as Syncon they jammed through the now classic cut in spectacular fashion. However, it wasn't until the Kumbaya Festival early in September of that same year that I finally heard the track on tape. My friend Heather had come home from university having recorded the festival on DHS. We quickly dubbed the video to cassette and now I was off to the races From there. it took until Canada Day of 1994 before I heard anything else from the record. 

The hip played the gig with a chip on their shoulder, as many of the fans had acted brorish and disrespectful towards many of the opening acts, including Daniel and Locke. The set was heavily peppered with songs from Day for Night and I liked what I heard. As I got off the subway and approached HMV, it was nearing midnight. The new album would be in my hands soon and I could listen without the distraction of frapples throwing bottles towards the stage. From the first notes of Grace II, this one felt different, especially after the slick polish of fully completely or the bar blues of the prior two records. This was a band hitting its stride and understanding exactly where it fit into the fabric of the rock and roll paradigm. But that was then. Today I'm tasked with taking Pete and Tim into my memories and hoping to goodness this one sticks the landing for them. We'll soon find out on this episode of Getting Hip to the Hip. Long Sliced Brewery Presents Getting Hip to the Hip. 

Hey, it's JD here and welcome to Getting Hip to the Hip, a Tragically Hip podcast where we go through the discography of the hip with two folks who have never heard of the band before. So, while they're having their first experience listening to the music, you can revisit yours. Send me an email, jd, at GettingHipToTheHipcom, with your first experience with the Tragically Hip. It would be great to hear those, as we listen to Pete and Tim, describe theirs. Speaking of Pete and Tim, they are most certainly ready to be released from their protective hatches. I will push the button now and they are there. They are on their platforms. they're they're levitating platforms. How are you doing, fellas? 

0:05:22 - Speaker 2

Hey guys, Oh sorry. 

0:05:26 - Speaker 1

He nodded his head. 

0:05:29 - Speaker 2

I nodded my head for all you out there in radio land. 

0:05:32 - Speaker 3

That's my favorite aspect of podcasts. 

0:05:35 - Speaker 1

He loves theater of the mind. Sorry about that. Yeah, that's great. What's new? 

0:05:42 - Speaker 2

Oh man, it's new. Back in the saddle, man, you know. back to work today, like I said, struggling with a little bit of jet lag, but other than that, i mean I, i how much time we got JD. I could. Could tell you a lot of what's going on, but I don't know. Put you guys to sleep, tim. What's going on with you man? 

0:06:08 - Speaker 3

Oh, just cranking on. the week getting started here And last week was, to be honest, kind of rough, so I'm hoping this week's good. That's. that's what I'm counting on. 

0:06:18 - Speaker 1

Fingers across for you, fellas, both of you, to avail yourself from the. Jag, the Jag lat the jet lag and for you to feel better this week. 

0:06:29 - Speaker 2

Did you try to? did you try to call me a jackoff right now? 

0:06:33 - Speaker 1

Is that what you're trying to call me? No, i said jet lag, but I said it wrong. Jag lift, jag off. Yeah, i'm all right, i can't complain. We've got a new puppy dog and she's pretty awesome So far. She's having a nap on the bed right now. She spent the morning in her crate, so you know, we've been letting her run free this afternoon, or I have been letting her run free this afternoon. So, yeah, that's really irrespective of nothing. But Who named her? I did. 

0:07:09 - Speaker 2

Nice. 

0:07:10 - Speaker 1

Yeah, yeah, that's my last naming job that I get to do, though. 

0:07:15 - Speaker 2

I gotta ask you, michael Keaton, george Clooney, val Kilmer, christian Bale, robert Pattinson- I guess I'm a bailperson at this point. I would have. I would have also. The judges would have also accepted Adam West Michael. 

0:07:34 - Speaker 1

Keaton. Oh, adam West, yeah, sure, sure, yeah. 

0:07:39 - Speaker 2

Michael Keaton. Michael Keaton was great, but yeah, christian Bale was. Those movies were so amazing. 

0:07:43 - Speaker 1

Oh, it was Batmania, just Batmania, when Keaton and Tim Burton put that whole thing together. 

0:07:52 - Speaker 2

Oh yeah, Tim, were you a fan. 

0:07:54 - Speaker 3

No opinion. 

0:07:55 - Speaker 2

Okay, you're fleeting the fifth on this one. 

0:07:59 - Speaker 1

Yeah, no opinion, okay. So we're here today to talk about the fourth long play from the Tragically HIP, their fifth output at this point. This came out in 1994, to be exact, it came out the third week of my first year of university and they did a midnight album release. So, like all the record stores were open, they would be open all day and then they would close at nine and then they would reopen at midnight so they could sell the record, because it was the next day, it was Tuesday, so it was like Monday night at midnight you would go and get the record before anybody else. 

0:08:42 - Speaker 2

I remember that Tower used to do that too. 

0:08:44 - Speaker 1

Right, it was a cool fad and it's just. 

0:08:48 - Speaker 2

you know it's got like It was Tuesday you said right, That's right. 

0:08:51 - Speaker 1

Records always came out on Tuesdays. 

0:08:53 - Speaker 2

And there's a reason for that, and somebody told me the reason. I can't remember, but there was a reason. There's a distinct reason why that was the case, right. 

0:09:01 - Speaker 1

Okay. Well, if you out there know what it is, use social and let us know. Or shoot us an email at JD, pete or Tim at getting hip to the hipcom. This record means a lot to me. So you know, i'm not going to. I'm not going to beat around the bush this time. Or I am going to no, i'm not going to beat around the bush this time, i'm going to lay it all out right now and say I fucking love this record. So you know, let that not impact your scores. But there may be some arguments because it's just got the, it's got the crisscross of hitting a sweet spot for me with my favorite band at the time and coming out temporarily at just the right time you know to to build a culture around. you know it was produced by the hip with assistance from Howard and Freakin I believe it's Mark Howard and Mark Freakin. Freakin I want to say sound guy for the hip You can listen to fully and completely to get the all, the, all, the detailed information. We always went through that stuff in a big way on that show And this is not what this one's about. This is an addendum. So the label was MCA. This is again another MCA release for the hip Looks in at a record 59 minutes 26 seconds, you know, just a almost an hour. 

Singles It had six singles. Grace, two was a single, it was the first. One came out right before the record dropped. Greasy jungle was the second one. Nautical disaster was the third one. So hard done by then scared, and then thugs, and I believe that thugs was almost, you know, a full year after the record came out. So this one had legs. All music rated this record a 3.5 or part of me a three out of five, much lower than fully completely, which was the record before this, which got a 4.5 out of five. So a three. Very interesting, very, very interesting, grace. Start off the top with your initial thoughts on this record, mr Leiden. 

0:11:32 - Speaker 3

I felt it was long, you know, and realize pretty quickly that we were getting some extra songs. What else about it? I did notice some recording kind of changes or uplifts as far as production value goes, which is cool. What else about it? There are some certain songs on there which I absolutely dug. I ended up listening to the first half of the album several times I want to say struggled through to get through the whole album in a sitting, but I just kept finding myself starting over at certain points. Yeah, yeah, yeah, yeah. So we can talk about that more. 

0:12:16 - Speaker 1

I mean, it's definitely a long record, And could I edit this record? Sure, i could. I'm not going to ever say which songs I would potentially edit out, because they're all my babies and I just couldn't say it, but I secretly know which ones I'd get rid of. Tim, you have been looking for an album. You've been searching for an album throughout this podcast. You know you've talked about Pizza with the Works, you've talked about Mishmash's and collections of songs produced together to round out an album, but it seems to me as though you are seeking not necessarily a concept, but a conceit, and I would have thought that paid off with fully, completely. It didn't. So how about this record? I? 

0:13:06 - Speaker 3

don't think I'm quite there yet, but I'm close. Okay, i was expecting this album to be maybe more, maybe more concise, since they were driving and had more control, i don't know. I think that just the fact that it was a couple songs longer in the cadence of all the songs and really looking at where their place and all those things that I like to do, you know, it checked a lot of boxes for me, but I didn't. I didn't finish listening to it in a take and go oh yeah, now I'm here. Pretty close though, but I'm pretty close, jd, tell us, tell us, you know, when it came out at 12.01, were you in line buying it, or when did you listen to it? Like, what do you recall from your first listen to this album and how you felt and why it's your fave? 

0:14:00 - Speaker 1

Well, again, it's got that crossroads right of like culture and time and place And they were my favorite band so it was like so exciting to be in Toronto and buying it right away, because before I would have had to buy it the next day, there had been some concerts leading up to the release of this record where they had dribbled some breadcrumbs of what this record was going to entail And it was so cool to hear it And, more importantly for me, after the very slick sounding fully, completely, i love the. Well, you guys both know that I'm into lo-fi music and this isn't necessarily lo-fi, but this sounds much more self-produced, right Like. It sounds like it's recorded by people who are making their first record in a good way, in a really good way, like it's so fresh sounding after what. The last group of records that we heard were more slick and polished and that sort of bar rock thing. I've always said. 

This was the record where the Tragically Hip revealed that it hasn't been beer that's been fueling them all these years. It's weed, like they're a total weed band, and this record was the first one that reminded me of that. The rest of the records are sort of beer Okay okay, you know. 

Yeah, i've had 30 years to gestate on that, though, so bear that in mind. Now Pete has blood pouring out of his mouth right now. He's chewing his tongue off. You know He's dying to jump in here. What does he have to say about all this hullabaloo? 

0:15:43 - Speaker 2

Well, real quick. You mentioned that this was three out of five, and fully and completely was 4.5 out of five. Who's the company? 

0:15:55 - Speaker 1

I always use all music. I always use all music, all music, yeah. 

0:15:59 - Speaker 2

Yeah, they got their heads up their asses, because I don't even remotely see how this is less on the point scale than fully and completely, because I thought this record was fucking awesome. I agree that I felt the same way. That kind of Tim felt that it was a bit lengthy. I felt myself starting at a number of times and struggling a little bit to get through some ladder parts. There's certainly some areas where they could trim the fat, if you will. I'm not going to say which ones they are, but it was like for a band that's producing their first. 

It's their first go at producing a record themselves. It's kind of like it's just a little too much. It's like going out on a great first date, dinner's great, movie's great go back to the house. Sex is great. 

Oh, first date That your date's like hey, do you ever want to have kids? You know, it's like. It's like totally could've just done without saying that and the night would've been perfect. Like they just say that, they just ask that. Like on their way out It's like, oh, okay, doesn't mean you're not going to go out with them again, but it's, you know, i love it. I love it. 

0:17:30 - Speaker 3

I'll leave it there for now to let you say You know, i'll just quickly add on that very you know, very similar token that I had with it. I'm curious to hear the next albums And then to again look back at specific albums to see how I feel about them, because this is probably one. You know you are so excited. You know there's a trilogy of movies coming out on something that you love And you see the first one and you're like God, i hope the next two movies are just as good. Maybe the next one is pretty good or better, and you're like, oh shit, this is going to be great. You know, it's kind of I'm leaning towards that. I'm excited to revisit some of these to see how I feel in a couple of months. Hopefully I won't be like dude, i'm done you guys. No, that's not going to be the case. But yeah, i'm anxious to revisit the future for sure, because this is probably one of those albums. 

0:18:30 - Speaker 1

Yeah, yeah, i'll be interested to see that too. Maybe again we will have like a 10 year reunion. Pete mentioned that in the last episode. You know we should go back 10 years. Oh, we might. So who knows, maybe we will revisit this on whatever platform the kids are listening to in the future. I'm sure they'll be nuclear powered or something OK. So here's something new An intro song that doesn't just like open with a kick to your ass. It opens in a much different way. It still manages to kick your ass, but in a much different way. It doesn't have like a lick off the top like little bones or courage for human clenin, you know. It just doesn't have or blow a high dough. It doesn't have that same sort of whoop in the butt. It's a taste of like this is what you're going to get. I think You know it's a little bit of like setting the table. It's because you're listening to it and you're like whoa, this isn't the hip that I left behind a year and a half ago. 

0:20:08 - Speaker 6

Come on, just let's go. She kind of bit her left Geez, I don't know. But I can guarantee That we're now not gonna do. I'm told no proof That we're not gonna do. That's what I'm here for. I come from downtown. I'm already familiar. I'm with the low and weaks of our nation. That's what I'm here for. 

0:21:46 - Speaker 7

The secret rules of engagement are hard to endure. 

0:21:57 - Speaker 6

When the appearance of conflict again surrender means the appearance of force. Uncle, uncle, i can guarantee, i can guarantee There'll be no knock on the door. I can guarantee. I'm total proud. That's what I'm prepared for. Yeah, i've come from downtown. I'm ready for you. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. No, no, no, no, no, no, no, no, no, no, no, no. 

0:25:07 - Speaker 7

No, no, no, no, no, no. Thank you, music lovers. On behalf of our crew the finest crew in the business, ladies and gentlemen, on behalf of Robbie Gordy, johnny Paul, mr Jim Bryson on Keys, us musicians and the crew and everybody here tonight, we want to thank you. Thank you, music lovers. Thank you and Merci beaucoup. Summer on. Summer on take care of each other, drive the speed limit, wear a life jacket. 

0:26:24 - Speaker 2

Summer on you mentioned setting the table and I agree. And it's saying that it's a different band. That's like the one of the first things that wrote down. I feel like to be honest with you. I like this song so much. I feel like kind of it's just stupid even talking about it like it's such an honestly, it's a fucking banger. And I think I had sent to you guys in the group text like the SNL performance of this song. Yeah, it's just, it's jaw-dropping. Yeah, it's. It's the line about just. 

I looked at the phrasing, i looked at the lyrics and the way he did he wrote the lyrics and it's just so cool. Sorry, i wish I could articulate it better, but the rules of engagement are hard to endorse. Yeah, like is this I read a little bit online that it was you know about like a man propositioning a prostitute or a young girl. But I'm also like, is this a song about war? is this like an anti-war line that he's throwing in there? is it a double and tongue girl? I don't know, but I don't know. I could say a million things about this song, but I'll hand it over to to mr Leiden. 

0:27:54 - Speaker 3

I'm. I'm pretty much in the same boat. I heard this song and I immediately thought this is a stellar hip song. I can't wait to hear the rest of the album. But instead of like really going to the rest of the album, i immediately found the first live version I could find on a Google search, because I thought this song is, is gotta be, you know, quintessential live hip song and that's that's kind of where I went and I ended up finding the, the Woodstock 99. If you guys haven't watched any of the documentary about Woodstock 99, please do. It was a just the demise of Western North America, usa culture right there. But anyways, this recording, this video recording of the band at Woodstock 99, is so good, like chills on my arms, like Goose Pimples, it was just fucking amazing. This, this song. You know, i was basically like okay, that's, that's my single. Should I listen to the rest of the album? I'm pretty happy right now didn't they do. 

0:29:12 - Speaker 2

What did they do? a 94 and a 99, or did they just do 99 just? 

0:29:19 - Speaker 3

I think the documentary it's a 99 one, where they set everything on fire and tore down all the stages and rated the food trucks and 99 all those things. And then, you know, with this song in particular, i was anxious to hear the band doing their own thing without, you know, managers or producers looming over them. And there were a couple different things I heard, which are even more so on certain songs. But the drums sounded a little different, a little bigger. Maybe the bass was a little bit more engaged with drumming. And there's there's been some times when the bass is kind of funky feeling, just like really in it there was some kind of I don't know, pete, you might know, but there was some echo, really echoey guitar effects. 

0:30:12 - Speaker 2

I got, i got that written which were pretty cool. 

0:30:15 - Speaker 3

Yeah, it was kind of the song just hit all the boxes had kind of this transcendental gonna take you on a journey. You know, i liked it so much I was like I don't even care what it's about, this is just a great listen yeah. 

0:30:32 - Speaker 1

Tim you talking about. You know the drums being bigger and you know the production just sounding. You know bigger and you know with with some of the guitar effects a lot of it has to do with. They went back to New Orleans but this time they went to that Daniel Inwas studio and the Kingsway studio, which is just a big old house and you know they would do stuff like bedsheets over the stairwells and you know, just like like home studio tricker, but on a bigger, bolder scale, because this house has so many nooks and crannies that you can get different sounds of the different spaces. And they took advantage of that, which is very different from the, the path they took on the record prior. 

0:31:22 - Speaker 2

Okay, daredevil so daredevil this, the skipping start that they did. Yeah, i feel like that was. So this was. What year was this? again? GD 94, 94. So I feel like I mean that was the height of like CDs like were where literally everybody had a CD player, wasn't like the early days. So I feel like maybe it was a. It was a joke to to make people think their CD was skipped, because if you ever bought a CD and you were unfortunate to buy a scratch CD that was brand new and it skipped, you were fucking pissed. Oh yeah, so that was cool, that was unique. This song certainly does sound way better in the car. I don't know if it's just specifically my car, because I have a pretty good sounds. 

0:32:26 - Speaker 3

It's the premium audio system. Is that what you guys kept saying? 

0:32:30 - Speaker 6

premium audio. 

0:32:31 - Speaker 3

I think we're at a point for an acronym for pass sound system everybody everybody listening. 

0:32:37 - Speaker 1

How about a? 

0:32:38 - Speaker 3

t-shirt yeah, if I get, if I get through this. 

0:32:41 - Speaker 1

Okay, these guys only a ride in Pete's car, the big that dooby or there should be a bingo card where the you know, every time you hear Pete say premium audio sound system, you tick the box, or and then there's of course the free square, and then, if you hear me say so, there's that geez, we're going to Malaga. 

0:33:15 - Speaker 3

There's this guy there with this premium audio system and he gives people rides. 

0:33:22 - Speaker 2

I'm just saying that because I'm due you're doing yeah, for sure $25 a song I'm good I think that'd be cool. I think a job this no, this song. Tim mentioned something about the, this bass. You were JD, you were talking about the, the studio and all the trickery. But yeah, this is the first one where I write down the like the guitar solos, for example. They seem way less defined on this record, and I don't mean it in a bad way, i mean it in a way that and then there was a really cool oscillation effect maybe a little more jam. 

0:34:13 - Speaker 3

I don't know if you know, yeah, yeah, yeah, yeah yeah, i think the flavor is kind of gelled together more the oscillation effect. 

0:34:24 - Speaker 2

If you've ever heard the the song real emotional trash on the album, real emotional trash yeah, that Steve Malkomis song I know this came before that, but whatever he's using on that guitar solo is exactly the same effect they're using on their level because that oscillation of the guitar is just. It's so cool. I wish I was cool enough to know what it was to ever be able to use myself, because it's fucking rad. Anyway, i dug this song a lot. I really liked it. 

0:34:59 - Speaker 1

What do you think? what do you think they're damn? 

0:35:03 - Speaker 3

I did too. I think, yeah, i love the drummer just counting it off at the beginning. That that made it feel like maybe more home recording type scenario. This song, this song, like I was wishing I was in a bar, just like sitting at the bar pull-up and just I felt like I could be watching the band, you know. But it was like the barkeep and the kitchen people and I don't know. 

This, this one, this one kind of took me in a different direction than than many. After the one minute mark maybe this is kind of what you're talking about, pete like with the guitar and drums it gets kind of heavier or more layer layered. It felt like locomotive, like this train's just really going story wise, i mean, that's probably a podcast itself to talk about Annie Edison Taylor and going over the falls aspect of this one I love. The line in the real wonder of the world is that we don't jump to. Yes, you know, that's. That to me is like it delivers something inspiring. The song is like get out and get after it. Step out, you know, jump off that cliff, you have 50% chance of surviving if you survive. 

It's gonna be awesome and if you die, it'll be awesome. You know, this sounds really. It really is really cool. 

0:36:40 - Speaker 1

Where do we go next? we hit track three, and that's greasy jungle. Take it, tim greasy jungle. 

0:36:48 - Speaker 3

This one, the snares really snappy. I felt like this is where you're kind of hearing different recording, maybe aspects. When I say snappy snare, it's like tuned tighter. Maybe you know there's lots of film references here in this song which we've gotten before. There's congas, like. There's some hand drumming at some point in the song, i believe, which is. I was just like kind of tuned into the drums on this one. Obviously that's a background effect, but a new layer. There's a definitely a new crash cymbal, like there was some new drum gear right on this album. There's a new crash cymbal that's really bright. That's always kind of gets my attention. 

I didn't realize first few listens that it was like dirty streets, metropolis, correlation with greasy jungle. I didn't know what the heck it was about. You know I didn't for a song three. I always like hope that this is the one that's gonna get maybe somebody around the bases at bat. You know that they're gonna push, push it through and this one didn't do it as much for me. I was more kind of like okay, what's, what's next with. 

0:38:21 - Speaker 1

This one didn't grab me so much one of the cool little Gord Downey stories is the lyric that you're just talking about metropolis noir. It sounds so elegant and mysterious at the same time. But metropolis noir is a name he saw on a bag of coffee, it's. It's like French roasts, but in French it wasn't French roasts, it was a dark roast or something, or Italian roast. 

0:39:00 - Speaker 3

Dark roasts. Dark roasts, italian roasts. 

0:39:02 - Speaker 1

I forget which one it was, but it translated, because everything in Canada has to have a French label and a Canadian label. It translated to matropolis noir. So that's just one of those little things he stuck in his notebook. and then he's writing this greasy jungle, matropolis noir. And all of a sudden you've got this setting and then it takes you on that little story for funeral home sandwiches and coffee. Oh delicious Yeah. 

0:39:33 - Speaker 3

Yeah, i think that I also read that it maybe referenced a diner that he worked at that had the same name. Oh really, did you guys know that? Yeah, yeah, greasy jungle. Greasy jungle Sounds like a good diner though. 

0:39:48 - Speaker 2

Yeah, jd, you said French roasts, and it's funny because I always think I don't remember the name of the comedian, but in France they just call it roast, just like Tim and I's definition of Canadian bacon is actually just bacon for you right, JD, No I can't remember the comedian who did that bit, but, tim, i couldn't disagree with you more on this one. However, i will tell you. 

0:40:25 - Speaker 1

Tim, you're ignorant slut. 

0:40:30 - Speaker 3

Yes. 

0:40:31 - Speaker 2

I'm done. I sort of felt like that the first time I heard it And the more I. This was one where I kept digging Actually I didn't really have to do much work, but just the more I listened to it the more I was like okay, i get it. I get why this was a single. This is a banger on the phrasing on it. The vocal phrasing absolute A. Plus another great car song on the solos, super experimental, like again. It's cool, because it's not. Most of the guitar on this record is not like this. It's not a producer going. 

0:41:11 - Speaker 1

Okay, boys, let's lay down the solo. This is where we're going to put the solo here. Give me 32 bars, let's go. 

0:41:18 - Speaker 2

32 bars, yeah, like it just it's so cool and it's not like that. And this song is the first although not as much, because there's another one we'll bring up and I'm sure you guys know which one it is But this is the first song where I really hear that the influence this band had on a Linus Morrisette. 

Oh wow, Oh yeah, There's another song on this record that we'll get to. That is clearly. It's clearly. She was sitting in her room listening to this record prior to recording Jagged Little Pill, like which I can't remember what year that came out. 

0:42:04 - Speaker 1

What year did that come out? It came out, i want to say the summer of 95 was when the was when she broke, when she exploded. 

0:42:13 - Speaker 3

Yeah, is she a fan? Is she a fan? 

0:42:16 - Speaker 2

She's a great musician and she's Canadian, so I would be hard pressed to think she's not. At least, i didn't mind. Oh yeah, she's Canadian. Yeah, you fuck her, stick together. So I saw her live in 2018 in LA and she just, i mean, fucking blew the roof off the place. Oh man, it was, it was, it was insane. 

0:42:40 - Speaker 1

Anyway, my wife had tickets to the 25th anniversary tour of Jagged Little Pill and it got canceled due to COVID. So, yeah, total drag. Yeah, yeah, okay, yeah, i'm, i'm on your side there, pete. As far as Greasy Jungle goes, next one is a cool thing that I don't know if this is something that pre-existed. You know, i don't know if somebody had taken a photograph and of a dog, you know, with its teeth bared, and wondered aloud if it had been yawning or snarling. Because, like, since that time, i've seen so many photos that I say that line in my head. You know, there's so many photos that they're captured and we feel something right away, but then you have to sort of open your mind and go well, wait a minute, maybe that feeling that I'm feeling isn't the right feeling. You know, it was just the way the photo was captured. It could have been yawning or snarling, and that sort of kicks us off. 

0:44:08 - Speaker 5

The cops go into the crowd under a glaring platter of light and the music's just so loud and the tourists take their t-shirts off and a bus load of kids and gifts to the finger Afternoon, when the sidewalk's hot and the shadows too chilly to linger. 

0:44:50 - Speaker 6

Both we're in the escuchians and at the bar, and people are helming Downtown. Never, ever been. 

0:45:06 - Speaker 5

Now just wait for me, I'm gonna resurface. 

0:45:17 - Speaker 6

I take a look at this photo girl. I don't know how clearly it's taken away. 

0:45:28 - Speaker 5

I'm gonna get out of here. I never saw it. The picture is never clear. 

0:45:41 - Speaker 6

I'm gonna make a decision. I mean an incarceration, i mean so much. One night in El Paso, the cops fall into the crowd Under a throbbing bladder of light And the music is just so loud And the tourists turn their TVs off. The box is apart with the sound of a linger Night time when the shadows come And you tilt to the tips of your fingers. But that's the way it goes in our region. I'm so strong, i'm making a chance Downtown, never ever been. Now just wait for you to resurface. Take a look at this photograph. How clearly it's taken away. He could have been the artist, not an artist. This picture is never clear. I'm so good at this photo, girl. How clearly it's taken away. I'm gonna get out of here. 

0:47:48 - Speaker 5

I'm in a slumber. The story is never clear. Walks right into a Mardi Gras parade. We're touring the south at the bottom of the beard. 

0:48:28 - Speaker 2

Yonnie and Snarling I first listened to. This record was my favorite song And that was, with my, everything I love about Grace too, it starts out very mad season. I don't know if you know that band. 

0:48:52 - Speaker 1

Yeah, that was the supergroup right. 

0:48:54 - Speaker 2

Yeah, that was the supergroup of Pearl Jam and Alice in Chains And that record. When did that record come out? Did it come out in 1993? Maybe, so they were active in 1994 to 1996, So maybe it's the same time, I don't know. Anyway, it starts out like the first and it builds. I don't know. I just loved it. I could say so much about the instrumentation, But lyrically, I don't know if you've got a line on exactly what it's about JD, But there's some historical references in there And talking about El Paso, he brings up the Mexican US border there. I'm pretty sure that runs through the 100th Meridian, Oh wow now, i know that. 

I could be wrong, but it just kind of feels like it's going, like Cordoni's really going in. He's a big fan of these historical references. I don't know, i dug it. What's saying you, tim? 

0:50:11 - Speaker 3

I dug it. I think when I first heard it started up I was thinking Okay, here's the spooky, sinister Pipps song of the album Which we often get. You know, if any song that I hear I hear a reference about El Paso or the Rio Grande, it's usually something heavy. It's not about going tubing and fishing and having fun. So yeah, there's a line in there about the cops go into the crowd Throbbing bladder of light. You know, i'd love that phrase, throbbing bladder of light. The music is so loud nighttime when the shadows cough Like this. Lyrically, the song's loaded, it's just it's really really big. 

I just, you know, somebody beat up and throw it in the river. 

This is an early song there's a moody guitar ending, i think throughout the song. The bass to me I'm always kind of honing in. It's funny because Pete's on guitar and I'm on bass and drums, which is cool, but the bass is a little punchier, like it's tuned up or I don't know. This one had definitely some home, you know, if they recorded it in the house. I'm just gonna call it home production because it's basically what it was, even if it was like Super Pro Studio, like there's some little things in there that I heard for sure. It's an interesting song. It's pretty cool It was. It's kind of an early song to me. I stuck with it a few times. 

0:51:58 - Speaker 1

Cool. What's next? It's number five. We're at five. Fire in the hole. 

0:52:07 - Speaker 3

Yeah, let's fire. Fire in the hole is fucking cool. And I say that because I heard kind of this 90s grungy punk influence with this one, even though it's not like super fast or anything. But then when I started reading into it, you know, because I figured it had something to do with fascism and Nazis And I don't know. There's something you know angry here. There's some different ties to Sonic Youth's Youth, sonic Youth's Youth Against Fascism song. It's very I don't want to say very similar, but there's definitely some things shared. You know, that was a time for me. It was a time of really getting into, like crunchy guitars, a little bit more experimentation, faster rhythms. You know this song, for a hip song maybe, is like a little bit tougher. It's a little bit tougher. And I also just thought you know by its own name and chorus that this one is probably ruckus live. It's probably just fun and, you know, fist in the air. 

0:53:30 - Speaker 2

Yeah, i agree, i agree, this is a banger for sure. The guitar work on it I definitely. I mean it's weird, i don't know because I'm not the biggest Guns N' Roses fan, but you know, slash's Les Paul guitar tone is pretty distinct, you know, when you hear it, and the guitar tone on this song that he's playing some lines sounds, i mean, identical. It doesn't sound like Guns N' Roses, of course the song doesn't, but that guitar tone just was so reminiscent of that And it kind of made me think, okay, so they're like trying to, they're trying to shed some older skin from the previous records, but you know, it's sort of like you can take the. 

You know, take the what out of the what, but you can't take the what out of the what. They still got it in their roots. You know what I mean. 

0:54:35 - Speaker 1

Yeah. 

0:54:38 - Speaker 2

So that's definitely there. And then, yeah, this is one like the obviously Grace too. I mean that's sort of like the flagship of this record. But this is another song where you're like, okay, gord's found his voice. He's really, you know, If the band is his recliner, like whenever he gets up, you can see his ass imprint. It is always there. He's found his voice. The chair is sunk. It's sunk in. Does that make sense What I'm trying to say? Yeah, he's. Yeah, he's been in that chair so long now for a number of records that it's just comforts Like he's found it. 

0:55:29 - Speaker 1

He knows where he's at. He's in the groove. He's in the groove Like he's absolutely. And to me, guys, isn't this the heaviest that we've ever heard them. Or is there something on Foley that might be? No, i think you're right, i do. 

0:55:46 - Speaker 3

I think it's up there. I think it's up there. 

0:55:48 - Speaker 1

Yeah, because you were saying fast and I was thinking to my head, I was like yeah, it is fast. It's fast and heavy, Like this is a great song alive. 

0:55:54 - Speaker 2

This is like Foo Fighters, Fast Like I was like whoa. 

0:55:59 - Speaker 1

Yeah, because it's still, it's still. 

0:56:05 - Speaker 3

It's interesting. You went to guns and roses. I don't know why I didn't go there Like I. Just I didn't hear that reference, but I want to go back. 

0:56:14 - Speaker 2

Just the guitar, just the guitar time. 

0:56:17 - Speaker 3

Yeah, yeah, yeah. 

0:56:19 - Speaker 2

For me oftentimes that doesn't mean something positive, Just yeah you know, outside of them anybody else I hear sounding like remotely like guns and roses. You just kind of go, eh you know. But I think it was just weird that Tom was there because coming up the hip I feel were such a that was. That was what most bands were sounding like back then. 

0:56:49 - Speaker 3

I don't know. Yeah, maybe 50 mission cap or something. Oh yeah, yeah, this one, you know. 

0:56:56 - Speaker 1

Yeah, you might be right, You might be and you might be so hard done by. 

0:57:00 - Speaker 2

So hard done by. To be honest with you, this is probably my least favorite of the of the record. Hey, we're in the break. Yeah, i just didn't. Yeah, i thought it was, i thought it was a cool chorus, but I just I kept thinking about, like, what would I say about the song? And it's just, you know, maybe in the 10 year reunion by then I'll have something. but this song, sorry, i wish I had I had more for it, but I really just don't. 

0:57:42 - Speaker 3

I'm with you a bit. I heard Allison Chains right away And I don't think it's like it's not like 100% Allison Chains. 

That's who I thought of And I'm starting to hear, you know, and occasional references to bands that we're doing well during this time And I'm not a big Allison Chains fan by any means, but it's. you know, there's still some lyric nuggets in here I love. you'll have to wait a minute. It's an en somatic Like. that to me is kind of a phrase of if you want, you know, beauty in life, it's not going to come to you right away. You got to, you got to deal. The ending is kind of rough. You know the yeah, i'm with you, pete. The ending is kind of rough. The snare is too snappy. The snare is like so snappy that it's like that's how you tune a snare for fucking punk rock songs with a high beat per minute. You know it just didn't. it just didn't. 

0:58:45 - Speaker 1

It's funny that you say that, because the original, like the demo version of this song is totally up tempo. 

Well so it's. It's a completely different song Me I. I think this is, i think it's fine, i think it's harkens back to like, like it could be on up to here, it could be on road apples. To me it's got that sleazy, not quite stone Z vibe. So I was really surprised to hear you say Alison chains, because I'm I'm going more of like the roots. You know, okay, that's, that's my vibe of John, but but that's, you know, this one, that's just how it was for sure. 

0:59:30 - Speaker 3

More filler had a rough ending and I was kind of glad it was like, okay, what's next? You want to? you want to add something, pete. 

0:59:37 - Speaker 2

Oh, all I was going to say was You know, that'd be cool if it was. I mean, maybe it is cool live. And I just just to comment that I always hate when you hear a band play a live version of a song and it's just fucking killer And that's the first way you hear it. And then you hear the studio version and it just absolutely blows. 

0:59:59 - Speaker 3

So yeah, i'm, i'm with you, I'm with you. Maybe this is that? 

1:00:03 - Speaker 2

But to answer your question, JD, what's next is not cool. I've actually heard JD sing this song. 

1:00:12 - Speaker 1

Oh, that's right, I did it. I did it for a, i did it for a hip podcast, like I do a pod list, just like I do for medium alchemists And I sang it. Is that that was right? Yeah, yeah. 

1:00:27 - Speaker 3

I dug it, I thought it. I thought it was what's, what's that pod JD had that he took off. It was like JD sings in the shower, Was it that one? 

1:00:36 - Speaker 2

That's what I wanted. Jd sings in the shower. There was a. There was a. There was a video version of the podcast too, but that was yeah that was that, the lovely fans. 

No, i remember hearing this and the first time you sent it to me I think I was already living in Malaga. But great tune, i, you know this, and JD, you, you, you explained to me what this song was about and I've since forgotten because my brain doesn't work anymore at my age, but I did get. I think the reason why we started talking about it in the first place was because we I mentioned to you the another great Canadian singer, gordon Lightfoot's Right, ricky Deven, if it's Gerald. And so you, you brought this song up and that's kind of how it came into my, my atmosphere, my airspace if you will. 

1:01:44 - Speaker 1

Well, those are forever linked for me, because the first time I saw this song played live Gordon, he introduced it live as a Canadian musician, would be complete without a song about a nautical disaster. 

1:02:04 - Speaker 5

This song is called nautical disaster. These are the Dh과a stations for brokers. 

1:02:36 - Speaker 6

NotOf cybersecurity. This is Darryl, i don't wanna sweat. Ha. What's wrong? What's going on? Can't tell yourself I'm a foreign team. He said hang on, just stop, shut your big mouth and gotta do what you feel is real. He got no peace and false gods Got no Sunni, my baby. She won't know me when I'm thinking about music. I'm a foreign team. Keep it going, man. 

1:04:11 - Speaker 7

Let's keep the wagon wheel going. Alright, i had this dream where I relished the fray And the screaming filled my head all day. I felt as though I'd been spinned here, Settled in into the pocket. 

1:04:44 - Speaker 6

In a lighthouse on some rocky socket Of the coast of France, dear One afternoon. Four thousand men died in the water Here And five hundred more repression, matthew, is parasite's life In your blood. Now I'm in a lifeboat Designed for ten. Ten on me. Anything that's systematic Would get you hated. It's not a deal, nor a test, Nor a love of something stated. The selection was quick, the crew was in order And those left in the water Got kicked off the padlock And we headed home. 

1:06:24 - Speaker 7

And in the dream and when the phone rings, we're doing alright. 

1:06:30 - Speaker 6

I set it out there Those days and nights, but only a fool would complain. Anyway, susan, if you'd like A conversation To say myself, in my memory Is those fingertips Scratching on my heart, and I'm in a lifeboat Designed for ten. Ten on me. 

1:07:41 - Speaker 7

Anything that's systematic Would get you hated. It's not a deal, nor a test, nor a love of something stated, no matter how hard it is. You see how hard it is, it's real hard. 

1:08:27 - Speaker 5

There's a lifeboat Hanging on a wire Sucking up to someone, just a stoke of fire. 

1:08:35 - Speaker 7

Picking up the highlights of the scenery, saw some little clouds. 

1:08:50 - Speaker 5

They looked a little like me. I had my hands in the river, my feet back up from banks, looked up to the Lord above, said he'd call me thanks. Some times I feel so good I've got to scream. Said 40 baby, i know exactly what you mean, he said. He said I swear to God. He said Now, now. 

1:09:27 - Speaker 6

Now, okay, my memory Was my dear watch's river that I nailed. If near or leave a sink in there, then I don't wanna swear Swag, swag, swag, swag. 

1:10:42 - Speaker 1

Swag, swag, and then they launch into New Orleans' sinking. Oh my gosh, and you're sorta like what? What's going on? And then, in the middle of New Orleans' sinking, is this brand new song, fully fleshed out, not a? 

1:11:00 - Speaker 3

good one. You know, i read about this And it's fucking holy crap. 

1:11:07 - Speaker 1

It is a tornado Like it is, so destructive. 

1:11:14 - Speaker 3

And you know, there's not many bands Who perform live that do Extremely intentional things like that For the audience. There's not many bands that do that Doing something like that, mixing in a new song in the middle of a song People know And then did they circle back? 

1:11:31 - Speaker 1

Yeah, They finished, then they finished all of these things. 

1:11:34 - Speaker 3

That's just insane to me. I just love, i just love, love, love that. I just love that. If any, if any songwriters are out there, do that for me. When I come here you live, mix me in a new one. It's a treat, right? Yeah, because it's the opposite of going to a show And hearing a band play Like their album. You know, i've walked out of shows Because it's just boring as fuck. You know, i'll say this about In 18. I believe it was built to spill. Oh my gosh, it was like I could have just put on One of their records and sat at home. So, yeah, to be able to split in another song And keep going and mix it up And do all these things that are so creative And have the confidence to do that, and phew. 

1:12:30 - Speaker 2

The only thing I'll say in defensive built to spill Is there's always. 

1:12:34 - Speaker 3

Oh, everybody defends. Built to spill. 

1:12:36 - Speaker 2

No, no, i'm only saying it live I've never seen them live. Only because they always have a new line up. It's only a singer They do. They do. So if I'm a guy sitting in And part of the band this time around, the only thing I know is the record, because that's probably how they play together, which that's uh. Yeah, my buddy's seen them live And he kind of had the same feeling as you did. 

1:13:01 - Speaker 1

Same feeling as you did, i'm just starting to get into built. 

1:13:04 - Speaker 3

Yeah, sorry, bds fans. There you have it. There's another fan that wants to punch me in the gut. Not a cool disaster, i think it's fucking cool. Like my sentiment right away was like Here's the epic storytelling TH song. Here The drums it was like beating. Like we're charging into war Lifeboat designed for ten and ten. Only You know. There's just all these Great metaphors in there for like I don't know. 

1:13:34 - Speaker 1

Oh, i love the line about getting The remaining people in the water Getting kicked off at Antler. Oh man, i don't know why. Yeah, and this song, there's no structure, there's no verse, there's no chorus, it's just literally Like you said, tim, it's like a story. 

1:13:51 - Speaker 3

Yeah yeah, i don't know who the Susan reference is. I didn't look too much into that part, like, towards the end there's something about Susan Which I don't know why. With this band, whenever they mention a woman I'm always like. 

1:14:03 - Speaker 1

She's Evelyn's sister. 

1:14:04 - Speaker 3

Because it's often something grim. But you know this song there's. There's lots of data in there. This could be a rabbit hole song. It wasn't so much for me, just because I thought it was awesome. 

1:14:19 - Speaker 1

You're right, it is awesome. It's fucking awesome. Maybe I'm out and we're actually more song for the band. Where do we go next? Um Thugs? 

1:14:28 - Speaker 2

This is gonna sound really strange, but first of all, i love the chorus on this song. That's fantastic. I really dug this song a lot. It's ironic that it's called thugs and the baseline is a slowed-down version of Grandmaster flashes a message yes or yes? 

1:14:54 - Speaker 3

Whoa, I didn't go that deep, but I knew it was something like I. I felt there was something go out on in this song And I didn't know what I was you know, i didn't know what it was, but Uh, you keep going it's a deep, deep. 

1:15:09 - Speaker 2

There's clearly a deep admiration for Grandmaster flash Going on here and The. this the we reference to JD. You mentioned that this is the song where, or this is the record where, you realized they're actually a wee band out of your band. 

1:15:30 - Speaker 1

Um, yeah, it sort of. It sort of happened at the same time to me as well, no, but you know, there's the reference about All roll or rolling. I'll do the details, you do the roll and I'll do the details. I'm sorry about that. That's all right. 

1:15:48 - Speaker 2

Yeah, that's, that's kind of where. That's kind of Where I thought on that, the Again the chorus awesome, uh, there's. He keeps doing this high, are you know? it doesn't a couple times and on the record but he does like a high-pitched whoo And this song, that's really cool. And The spacey reverb Guitar is just like. I couldn't think of the song that it reminded me of or the artist, but it's, there's so much reverb on this on that guitar, it's like It's insane. 

1:16:26 - Speaker 1

Love it, love love, love this one. Yes, it's, yeah, you can swim in it Well said. Yeah, yeah. Where are you on thugs? 

1:16:34 - Speaker 3

You know I I Felt it was a little bit filler. You know I I didn't get a whole lot from this one I when I Started looking into kind of the movie references or what they get up trying to figure out When I was trying to figure out. You know any details About this song that could make me get into it more? 

I read and I've read this before, the quote from gourd, that if that's what you think it's about, then that's what it's about Sure, which made me think for this song. Okay, if it's. You know if I think gourd would tell me hey man, if you, if you don't dig this song, then maybe you should try Inevitability of death. You know, if you want to get heavier, then go here. If you don't, you don't get heavy with thugs and let's give you a song about struggling with cancer, which is, i think, inevitability of death. 

You know, there's what I enjoyed about this song is they mix it up a little bit. You know there's a Chorus singing without drums. You know they're starting to do little creative things on this album That I think help make it stand out and keep my interests more. That's kind of what I, yeah, that's kind of what I've noticed. But then you know, i think everybody probably knows anybody, or sorry, anyone knows someone is diet of cancer and maybe that's what this is about about and living life. You know, trying to Do everything to your fullest. I'm not sure about this. The song was, it was a good jam, it was it was. 

1:18:17 - Speaker 1

You know what you're not. You're not Far off the track. I don't think, though, when, when you say that about cancer but that would be just so terribly ironic you know Writing a song about that and then succumbing to that illness. You know all those. 

1:18:38 - Speaker 3

Yeah, exactly. 

1:18:40 - Speaker 1

Because it came on suddenly. It wasn't something he battled with for very long. It came on suddenly and he was gone, wow, other than a other than a cross-canada tour. But well, you just think, puffy lips, glistening skin, yeah, everything comes rushing in. That could be like reference to, like the chemotherapy you know, like rushing into your body. You know We don't go to hell, just yeah. I love the. I also just love the word play. I thought you'd be the death of inevitability to death just a little bit. I thought you'd be the inevitability of death to death just a little bit like. I love how it's inverted Mm-hmm, very cool, very cool. 

1:19:21 - Speaker 2

And he makes it work it's crazy that you say like puffy lips and glistening skin. I'm thinking of a. I'm thinking of like Scarlett Johansson and in a bikini like that's who. I'm like. That's right where I went when I heard that. That's so. I'm not even joking. 

1:19:43 - Speaker 1

That's like what I thought say, could have been yonder somebody somebody just came from LA, i think. 

1:19:51 - Speaker 2

It's been any time with Scarlett, though The I dig this song It's. It's not one of my favorites, but this was the song that Clearly did the one I mentioned earlier that that Alanis drew a lot of The word play and the way he phrases it is It's. It's exactly what she does in the song. You ought to know like it's. It's 100%. You can't Can't deny it. I'm sure if you had a gun to read she'd say yes, of course It's worth it. She's got the inspiration on. I. 

1:20:33 - Speaker 1

Don't think it would go that far, just just for the record. No, yeah, if you were interviewing her you would probably, i probably, i probably just ask her. 

1:20:39 - Speaker 2

Yeah, she seems like a nice person. 

1:20:43 - Speaker 3

Let's, let's, let's have her guest on the next one. 

1:20:45 - Speaker 1

He's gonna you have. You have that up, jady Yeah. 

1:20:47 - Speaker 3

Yeah. 

1:20:48 - Speaker 1

Yeah, I like the bass that. 

1:20:49 - Speaker 2

I think the chords are a little bit more. I think the chords are a little bit monotonous. The line if you go to hell, i'll still remember you, that's just. That's a really fucking cool line. But The bass starts to shine at the end, which is cool because because the chords are so I guess I've been honest the bass really isn't doing much, but then it does something that that only Tim Hates is more than I do. It's just faith. 

1:21:27 - Speaker 3

You know, i will say some of the hip, some of the hips, fadeouts are better than others. Okay, they've had they've had some oh dare I tragic fadeouts oh. I use that because I hate fade out so much. 

1:21:47 - Speaker 2

Jady, can you, can you You edit this in? can you, can you do that? 

1:21:55 - Speaker 3

That's funny. You mentioned that cuz a couple weeks ago, jd. I said to JD you know, sometimes I just want to add in a sound effect, like You know, and he's like you do not do that on my podcast, i hate sound effects, because I'm even thinking. 

1:22:14 - Speaker 1

You know, when you were talking earlier, you were talking about The bass being slowed down from Grandmaster Flash, like, oh, i could intercut. I could intercut like the Grandmaster Flash song so people could hear it. 

1:22:27 - Speaker 2

But then it's like It's so noticeable man, i mean it's it's so noticeable. It's exact same bass line, but anyway. 

1:22:37 - Speaker 1

Next song, though. So then we slow it down with scared. 

1:22:41 - Speaker 3

This that's so scared for me is it's like a. I instantly went to. This song would be an amazing concert concert closer. You know it's. It comes on, you know the night's finishing, it might be the what else? songs. You close your eyes at some point and just listen and get in deep. You know it's, there's, it's layered and story from I don't know Russia and the Germans and Stalin and Trying to make culture and art disappeared and like housekeepers and all these different things. It's like it's. It's. It's a sad kind of beautiful song that It's a little bit of a usual makeup for them with this kind of section of the album, but I thought it was, you know, on that note, kind of dark and lovely overall. 

1:23:37 - Speaker 1

What do you think, sir? 

1:23:39 - Speaker 2

I wasn't. I thought this was kind of like just a token. If you will token slow tune like It didn't do it for me, like When it comes to like softer hip songs, like it didn't give me the same Warm, fuzzy feeling is like fiddler's green did. 

1:24:02 - Speaker 1

Sure, okay, yeah, i mean, fiddler's green is a knockout pie. It is, but my god scared. I love this song really good. 

1:24:10 - Speaker 2

Maybe it's just positioning on the record, i don't know. I've got a Spend some more time with it and in this was actually one song. There's a couple of tunes. I didn't Get to hear the car, yeah, towards the end, because my car rides weren't as long and they started the record. I would put the first song on when I got in the car, so if I wasn't driving for a long time, obviously the song story the other record didn't didn't didn't make it in the in the car, but there was something really weird on this song. There was a Spacey sort of keyboard sound that kept going off. You know I'm talking about. 

1:24:54 - Speaker 3

I know, now I don't really yeah, the only thing that certainly stood out to me was the use of acoustic guitars. There's, you know that's. That was a little unusual. I don't remember keyboards. 

1:25:05 - Speaker 2

There's some sort of keyboard effect going on in there. That is Like the only thing I can equate it to is like you know the. It's like an oscillated version of. You know the sound of the, the metal hitting the, the track on the song. It's a sound of the men working on the chain game. Yeah, it's like it. It's like an echoey, delayed, oscillated, real subtle Vert Sample of that or something, something similar to that, and it's done with the keyboards and said it's on the song 100%. 

1:25:46 - Speaker 1

Huh, i've got to listen with these headphones. 

1:25:49 - Speaker 2

But yeah it's. It was a cool song. I dug it and I kind of wish I had more of a feeling the way you guys do about it. But you know it's okay there just hope for you. 

1:25:59 - Speaker 1

There's hope for you, peter. From there we go to an inch an hour, and this song always impressed me, because the math works out an In an hour today the same way, an inch an hour to feed a day, to moan tonight in this most professional way. 

1:26:57 - Speaker 5

There's this fucking band. You gotta see they used to care about living shit. I see no profit in talk. No food in town, no rock and roll, no bestiality. 

1:27:10 - Speaker 6

Makes me feel the same way. An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. No stuff of town, no feed you through, no salt on the tev. It works through Making lots and moogs. 

1:27:49 - Speaker 5

Tonight I'm gonna win and make this gift heart. I want you to see your breath in the spring side. Heart, coffee colors, ice and feeling. First part Sound. The rushing water in the dark Makes me feel the same way. 

1:28:06 - Speaker 6

An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. I mean our health is best with the people in the space. You see, i don't know me. I don't know me at all, i don't know myself. 

1:28:47 - Speaker 1

I don't know myself. I don't know myself. What did you think of this? 

1:29:06 - Speaker 2

one. I love the. I don't know if I paid attention to it in the other records, or I'm just hearing this now, or this is the first time they're really doing it, but I feel like the guitar is falling the vocal line, or the vocal line is falling the guitar a little bit more, which is cool, like the melody of what Gord's singing. I thought it was a fucking banger. Again, this is another one where he's like yelping. I can only say yelping because he's not screaming but he's saying oh, oh, like really multiple times during the song. Anyway, i love it. I thought this song would probably be a really good opener. I don't know if they ever opened with it, but Definitely thought it would be a good opener. 

1:30:07 - Speaker 3

I think this one I was anticipating, without even knowing it, after listening to Scared. Scared was like this epic kind of novel, three-part novel to get through And when an inch and hour came on in the car, within seconds was turning it way up Like. This is one that I kind of needed. With the placement in the album, it truly so. I read that it's potentially, or possibly, if it's about a fan who wrote a fan letter to the band. Supposedly this guy claims to come home at the end of his night shift every day. He would go buy some beer and sit on the stoop of his apartment And just crank tragically hip and drink beers. And he was thumbing through one of their albums and saw an address to write letters into the band. And supposedly this guy wrote an inch and hour, two feet a day That's all I have to say and then signed his name on the letter And part of the claim was that the band wrote a song about this guy, about this fan about this fan. 

So if that's true and the band wrote a song about a fan Man, what else could these guys do to get people to love them? Holy cow, you know Who does that. Nobody does that. That kind of blew my mind. I dug the song. It was a good placement, Kind of felt like I was craving it within the album and it hit the spot. 

1:32:00 - Speaker 2

That's crazy. I mean because our band's recording later this year. I'm writing this. There's two different songs, one's called Tim, one's called JD. 

1:32:10 - Speaker 3

Yeah, but doesn't. JD start halfway through Tim It does. It does Because you can merge them Yeah. 

1:32:19 - Speaker 2

It does, and then it fades out. 

1:32:21 - Speaker 3

And then I bet the first time you play it like the crowd's just going to, everyone's going to start barfing. It's just going to make them sick. 

1:32:28 - Speaker 2

You think that's seen in the game he's Yes, oh man. 

1:32:32 - Speaker 3

Yeah, so the next one, emergency, i'll be quick. This one didn't do it for me Felt kind of cheesy. I was like, oh man, either Pete's going to agree with me or if it's his favorite one on the album, yeah, i just Gord's vibrato was back in a big way and the whap pedal which I was like, oh, come on, this is definitely making the album long. What's next? So what do you, you guys, you guys tell me about this song? 

1:33:04 - Speaker 2

Well on, oh, jd, if you want to say something. 

1:33:06 - Speaker 1

I, yeah, I like it. I like that the mood changes as the record, you know, goes out Like the third act of this record is very moody And I think it, you know, is foreboding and emergency sort of starts that mood, you know, bringing another low tempo song, But then it sort of picks up and I just love that pickup. At the end, you know, like it's, like your fingers start to wiggle and landscapes emerge. Oh, I fucking that is high art man. 

1:33:41 - Speaker 2

You said it's the third act and I it's funny It does. Tim, i gotta wholeheartedly agree with you on this one And it feels like a play, that like I'm just like they really came out swinging. You know, if it's a musical, i'm just. those first few numbers were awesome, was entertaining, and now this song made me feel like and I had high hopes for it in the beginning too because it had a very mad season again feel to it kind of the way it started out with the guitar effects and everything. But overall not my favorite. It just feel like this, just not even I know they produce it themselves, but just a producer saying trust me on this one, let's trim this one. Maybe we can rework it a little bit and put it on Exactly, exactly Not that it's a bad song, it's just. 

It's just. I feel like it takes away from the body of the other tunes because I'm exhausted at this point Same, Same with me. 

1:34:49 - Speaker 3

It's like okay, we got two left. What's gonna happen? 

1:34:52 - Speaker 1

Right. One of them is Titanic, terrarium Titanic. 

1:34:55 - Speaker 3

Terrarium. I was like what the song's? it's odd, it's kind of an oddball. 

1:35:03 - Speaker 1

I didn't really It's like El Dorado, you know, like in that sense, yeah, it's not. Yeah, sure. 

1:35:09 - Speaker 3

I dug El Dorado. I don't know I was. I've been with El Dorado. This one seems like maybe it's a story about failing, not really knowing until it's like too late in the game. There's some, I guess, banjo in there. This maybe Pete Pete. Did you hear keyboards on this one? Is it kind of the same keyboardy thing? 

1:35:32 - Speaker 2

I maybe I did Yeah, because I did, i did banjo. I wrote that down. I thought that was really cool. 

1:35:39 - Speaker 3

Yeah, yeah, it's, you know it's, it's this one's a little ominous. It has this it has a nice, dare I say, a nice, fade out, but this, you know it's, the song was kind of it's kind of trippy. I wasn't really sure It. The thing that I think was solid about it is it the placement and it feels like the album's wrapping up. That's what this song kind of felt Right, which is fine in the cadence of everything. I guess it just made me curious how it wraps up. And you know, let me, let me, let me start the album over again. 

1:36:19 - Speaker 1

All right, so you go backwards. All right, that's, i get it, i get it. 

1:36:22 - Speaker 2

You guys don't like this or that. No, no, it's, it's. It's like That was kind of cool, it's like a French movie. Do you ever see that French movie called Cache? 

1:36:35 - Speaker 1

I don't think so. It's really, We just call it. we just call it cash. 

1:36:39 - Speaker 2

That's true, he probably just do. 

1:36:41 - Speaker 3

We call it hey, cash. Come on. 

1:36:43 - Speaker 2

It's a really great film, by the way. I just sidenote It's. It's, it's a. It starts off by just a camera filming this house and it the whole beginning of it. It's like 12 minutes straight of just people walking by this house to still camera on a tripod just filming this house. You're like what the fuck is going on. And then you, and then, if this couple starts receiving video tapes in their mail from some anonymous person sending them, sending them videos, of their house. 

Just it's really crazy movie, yeah, and and it drags And then the third act is like something that happens in the third act and you're like what the fuck It's out of the blue. You don't see it coming. This song, definitely. I felt like that. I I thought it was cool. It was definitely a turning point from the previous song. Um, love the banjo. Uh, loved him talking about his grandfather or his friend's grandfather. work for good year. Um. 

1:37:52 - Speaker 1

My great grandfather or his great grandfather. 

1:37:55 - Speaker 2

Um, uh. But his great grandfather was a welder too, and he said something to the tuna, i don't know, like he didn't think that Titanic would sink, or he, he didn't not think that the Titanic would sink. So it's like is he, is he? 

thinking that his grandfather is somewhat responsible for the sinking of the Titanic. But um, i know the hip fans are probably thinking about more on for saying that. But either way, the amazing vocal melody um the fade out, i actually did enjoy um some. I can't remember what I wrote, why I wrote this, but miracles are reversible, like what that line is about. That is, that's a cool line. I dug it. 

1:38:41 - Speaker 3

So I really like this song. It's it's a it's kind of a trippy song. Um, i, i, overall I liked it. I like the pace. It's just, uh, it was kind of a weird one The, the, the reference of the Titanic, and I I took that as people put their heart and soul into this massive steel structure. How could it fail, you know, and it's like it kind of doesn't matter. You can. You can build it in the most awesome, epic way, and mother nature can slap you down, no matter what you know. 

1:39:16 - Speaker 1

And it was which is the glory in miracles is that they're reversible. 

1:39:21 - Speaker 3

So the Titanic area is is Titanic terrarium. It's like it's in it's I guess it sounds very futuristic. Maybe it's like the idea of the Titanic was very much in a bubble, like it was this thing, this thing that people couldn't comprehend outside of being larger than life until the sink. 

1:39:43 - Speaker 1

Hmm, kind of cool. Yeah, i think there's a lot to dig. Dig in on that one. That's a good one, uh, and then we, we wrap it up with track 14. Again It's. It's a marathon, this record, but it's a good marathon, as all marathons are other than needing band-aids on your nipples And possibly never tried that. 

1:40:06 - Speaker 3

you know this. this one to me as a final track didn't feel like a closer, like a for such a long album. I really wanted like you know you read the last chapter of a book, you know it's the last chapter, you kind of have figured out what's going to happen And you just want like it didn't necessarily make me feel like I can't wait to listen to the next one, it just was a little bit of a huh, not really, not really sure That's how I was left hanging. 

1:40:42 - Speaker 1

Hmm. 

1:40:45 - Speaker 2

I, i agree. Um, i don't want to say they shit the bed on the last song, but it just didn't. It's like you say you get through a whole novel. It's like getting through Stephen King's it, which I don't know if you've ever read that. It's a very large book, it's a massive book, only to find out that, just, you know, pennywise was just a clown that you know had a rough upbringing and you know he was instead of all like the psychological implications that that, that movie or that book, in that movie, in the movie and book, it's just like a story about a clown that you know got kicked out of the circus because he was abused as a child. It's like a shitty ending, like, okay, it makes sense with the story, but really it's like God, steve, um, but I liked, i mean, it wasn't a bad song. 

1:41:41 - Speaker 1

Spoiler alert, by the way. 

1:41:42 - Speaker 2

Um, it had a very gin blossoms opening. I did write that down. It sounded like the gin blossoms opening, okay. 

1:41:50 - Speaker 3

Oh, wow, yeah, again the nineties references. you know it's like I, i've heard so many and you have to be. You know I sometimes I'm like where was the hip really? into all these other bands, or vice versa, or both, like all these guys were just feeding off each other, maybe, i'm not sure. What do you think, jd? What do you think of this one? 

1:42:14 - Speaker 1

Well, i think when you're, I think when you're touring as much as they toured, you know you're probably meeting lots of different bands and being uh, if you're not meeting bands, you're probably listening to tunes. you know, while you're going from place to place, whether it's like through a you know a CD Walkman at the time, or you know if you're in, uh, if you're in a bus or whatever, right, like they, they were best friends and they hung out, so they would have been introducing each other to sell all, all, all over the place. Yeah, um, i can see where you guys are coming from in terms of it not having that punch. you know it, it doesn't have the punch, it doesn't. it doesn't feel like the the right handed parentheses is complete Um, but I don't know, i, i, I guess the songs that I don't like as songs, sometimes I like the words. you know like. I'll still appreciate where Gord's coming from with it, because quite often his phrasing is just so off the beaten track. 

1:43:28 - Speaker 3

Sure. 

1:43:29 - Speaker 1

It's just something you wouldn't think about. When you see a stanza You wouldn't think, oh, i'll sing it this way, and he does it, and he makes it work, and I don't know how he does that. That's a good trick. You know a handful of things. It is a good trick. 

1:43:43 - Speaker 2

You're right about that, It's, it's. You know, I think that he's still, though, JD, I mean, you know, for what's been said. I don't know how Tim feels, but for me this is probably their best record that I have heard up until this point. 

1:44:00 - Speaker 1

Yeah. 

1:44:02 - Speaker 2

Um, I'll agree with that. 

1:44:03 - Speaker 3

I'll agree with that. 

1:44:04 - Speaker 2

It's. I don't know if it's because it's self produced, but it's got a flavor. Despite the songs that like weren't my favorites or, like I said, you know, trim the fat or whatever, i still think it's their best work to date If we're listening to this in chronological order, and we are, so there's that. 

1:44:24 - Speaker 3

So give us your, give us your favorite Pete. What was, what was? 

1:44:27 - Speaker 1

your MBP track. What are you? 

1:44:29 - Speaker 3

cranking in the car. 

1:44:30 - Speaker 1

What are you playing on the playlist? 

1:44:31 - Speaker 3

baby Yeah. 

1:44:34 - Speaker 2

Well, i I put grace two on. When I got in the car with with with Issa this morning, i had to drop her somewhere and, um, she asked who it was and she's like what's the name of that bandit? And so I told her and like I think she's starting to pick up some things on it too. Um, so that's cool, Um, but I would say grace to greasy jungle and um, you can only pick one, Okay. 

1:45:09 - Speaker 1

Then God damn, it's going on the playlist. 

1:45:11 - Speaker 4

We're building a playlist You can't not with Grease song for me to just come on. 

1:45:17 - Speaker 3

You go grace, you go grace too. I mean I, I love that. Also, when I again that 99 Woodstock video version just kind of made everything tragically hip gel with me, Yeah, I just from from seeing them perform. 

1:45:33 - Speaker 1

You're such a live guy, yeah. 

1:45:35 - Speaker 3

I am from seeing them perform and seeing Gord on stage and people in the crowd waving the Canadian flag. You know it's just like, oh, that must have been so much fun, but I'll, i'll go with an inch an hour If, if, if, it could be true that this song is about a fan letter. That's so cool. That's so cool. I really dug that song. I haven't found that one live, jd. Maybe you could play it in a live version. That would be. That would be cool. 

1:46:03 - Speaker 1

Okay, i'll do that. I'm trying to mix it up. 

1:46:07 - Speaker 6

Yeah. 

1:46:09 - Speaker 1

All right, fellas, that was a good one. You've given me your summary of the record and you've given me your playlist track, so that means all we have left to do is to bid adieu. Goodbye Tim, goodbye Pete, and thank you very much for coming out this afternoon. It was a great deal of fun. 

1:46:29 - Speaker 3

It was a pleasure. Thanks, jd. Good to see you, pete. 

1:46:33 - Speaker 1

Pick up your shirt. 

1:46:35 - Speaker 4

Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pied And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns Email us at JD at GettingHiptotheHipcom. We'd love to hear from you. 

1:47:26 - Speaker 1

Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped? in Good? Mark your calendars for Friday, september 1st, as long sliced brewery brings to you Getting Hip to the Hip on evening for the Downie. 

1:47:46 - Speaker 2

Wenjack Fund. Join us at the rec room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip. 

1:47:55 - Speaker 3

while supporting the Downie Wenjack Fund, immerse yourself in a powerful tribute performance by 50 mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening. 

1:48:12 - Speaker 1

But it doesn't stop there. This event is all about making a difference. So we've got a silent auction with prizes. you've got to see From Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 

1:48:31 - Speaker 2

All proceeds for the evening will go directly to the Downie Wenjack Fund Supporting healing, reconciliation and positive changes for indigenous communities. 

1:48:39 - Speaker 3

Tickets are on sale June 1st and can be picked up by visiting GettingHipToTheHipcom and clicking on finale. 

1:48:46 - Speaker 1

By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future And a community of like-minded individuals who believe in the power of music and unity Tickets are only $40. 

1:49:03 - Speaker 2

so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 

1:49:11 - Speaker 3

Getting Hip to the Hip. An evening for the Downie Wenjack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Hey, it's JD here. 

Hey, it's Tim. 

And Pete.

Fellows, I'm really excited that you're flying to Toronto on Friday, September 1st for our big party Getting Hip to the Hip - An Evening for the Downie Wenjack Fund. We just need to sell some tickets. How are we going to do that? 

Go to our website GettingHipToTheHip.com and you'll find a link to get tickets to our event at the Rec Room in Toronto. 

Early bird tickets are $35. If you go to GettingHipToTheHip.com and click on the bonus feed, you get 10% off, which means tickets are $31.50 right now. If you were to join the bonus feed and buy tickets. You'd literally have to be stupid not to do that. Definitely join us on September 1st, I'll be at the bar putting out the vibe jD. Where are you going to be? 

I'm going to be watching 50 Mission perform some Tragically Hip songs and I'm really excited for you guys to see them. 

Yeah, and we have a silent auction in which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downie Wenjack fund. 

And the Longslice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that? 

I cannot wait to drink some delicious beer and also watch the comedy of Pete Van Dyke too, because that guy is a side-splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehip.com, Click on the bonus fee, get 10% off the tickets and we'll see you there. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy

Get ready for a deep dive into the Tragically Hip's iconic 1992 album Fully Completely with hosts JD, Pete, and Tim as we explore the evolution of the band's sound, the polished production, and how it aimed for mainstream success. Share in our personal listening experiences and how this album resonated with us in different ways, from car rides to gym sessions.

Join our lively conversation as we analyze standout tracks and Gord Downie's lyrical brilliance, including the catchy chorus of "Courage for Hugh MacLennan" and the various definitions of courage presented throughout the song. Discover the numerous Canadian references sprinkled across the album that give it a distinct cultural flavour, as well as discussing the impact of these songs on a personal level.

Whether you're a longtime fan of the Tragically Hip or just discovering their music, this engaging and insightful episode is a must-listen. Don't miss our in-depth discussion of Fully Completely, as we explore the band's attempt to make their sound more mainstream, the slick production of the album, and the car and computer time that really made this album come alive. Tune in now and become a part of our musical journey!

Transcript

0:00:01 - Speaker 1

When I think back to the fall of 92, everything was coming up JD. I was dating a real-life girl who also liked the hip. I was elected class president with my friend Tim under the efficiently executed two is better than one campaign, and I got a new hip record. While I love student government, the main thing the election provided me was an office in the high school for the student council, which acted as my locker and my rehearsal space for jamming the new hip album with my buddies Kirby and Dean. There was rarely a day that passed that someone wouldn't stop by for a version of pigeon camera locked in the trunk of a car, or courage. It was great fun and an experience I'll definitely never forget. 

Fully completely is what I call the last record of the early era, where the hip sound is more or less matured and they're writing an embarrassing number of stone-cold classics. The idea that the production keeps getting tighter and more precise sounding is worth noting as well. Working with the late Chris Tegeritas, the boys locked in on the task at hand, even if it wasn't their favorite recording experience, and they delivered MCA, an album brimming with singles and sing-along courses. This was a band that knew its groove and walked with a comfortable stride inside of it. Simply put, fully, completely is a rock and roll record at its finest Bar none. 

I'm actually feeling really excited for Pete Tim on this one. Their first experience outside of this project would have likely involved listening to this record as some kind of jumping off point, but that's not how we chose to do this. This is one album and episode, one chance to make an impression. Will this record stand up to the scrutiny that our protagonist will most certainly have for anything this anticipated? Let's find out. On this episode of Getting Hip to the Hip. Long-sliced brewery presents Getting Hip to the Hip. 

Hey, it's Jay Dee here, and welcome to Getting Hip to the Hip, a weekly podcast about the tragically hip and getting to hear their music for the first time through the ears of my friends, pete and Tim, who are here with me as always Pete from Malaga, making his way to us via LA this week, and, of course, Tim from Portland. Being from Portland, as it were, i'm excited, frankly, from a logistics standpoint, that we only had to deal with two time zones this week. That makes my job a lot easier, but I'm curious how are you fuckers doing? 

0:02:51 - Speaker 3

Doing great, doing good. It's well. It's, you know, december in Portland and we have a freeze happening, so we're hunkered down. It's a good day to be podcasting. 

0:03:03 - Speaker 1

Sounds good. 

0:03:05 - Speaker 4

It's snowing there, i take it. 

0:03:06 - Speaker 3

Almost. 

0:03:07 - Speaker 4

Okay. 

0:03:08 - Speaker 3

Almost. 

0:03:09 - Speaker 4

I'm dragging ass, man. I woke up around quarter to four this morning. I've gotten about four hours of sleep in the last. I want to say 36 hours. Yeah, so the jet lags hit me hard. Nine hour time difference sucks, but it is what it is for the hip anything. 

0:03:33 - Speaker 1

Holiday travel, man Everything. 

0:03:36 - Speaker 4

Fully and completely for the hip. 

0:03:38 - Speaker 1

Well, that's what we're talking about today. We're talking about the October 6th 1992 release produced by Chris Sanjiris. It's a 46 minute long CD at this point because that's where still around but it was a CD. It included singles, six singles, and it was rated 4.5 out of 5 by all music. So that's a great score and there's some good background information there. But I'm curious if you want to just get right into it and tell me how you experience the album. 

0:04:14 - Speaker 3

I like the evolution. This really helped me with where the albums have gone thus far, just having fully, completely be be where it's at in our, in our process, definitely. 

0:04:31 - Speaker 4

I mean, i agree with Tim the evolution I love. I clearly see this going somewhere. It's strange. I think I don't want to put the car before the horse but you do it, don't? 

0:04:44 - Speaker 1

you put that car as a horse. 

0:04:45 - Speaker 4

No, but I feel like this record may be the dark horse If we're going to stick with the equestrian analogies in that of the four records was the fourth one. We've fourth one. Yeah, i feel like this is my least favorite, although I do have some great notes on it. But there's so many album songs, artists over the years I've disliked at first and they end up being my favorites Interesting. Oh. Yeah, i've talked with you about a few things like that before, jd, but yeah, i feel like this might be the one. 

This might be the one. So, we'll see. 

0:05:28 - Speaker 3

You know, conversely, for me this one, like right out the gate, was the winner of what we've listened to so far And I went into the mindset of okay 1992, what was happening in my life when I got a new album and it usually was going straight in the car, you know, straight from the record store in the car. So I just had this one mostly in the car all week. I listened to it at the gym a little bit, but it was mostly car time didn't take notes until recently on any of it and just kind of jammed out to it. There's, you know, as expected, there's definitely some I like more than others, but of course I was, i was digging it. 

0:06:11 - Speaker 1

This to me was the band really trying to go over the top in terms of landing mainstream appeal. To me, that's what this record is always This record is. This record is that sound that they've been working on the last two records, that that bar sound. You know that that really tight and nifty blues, bass guitar sound, and this is just a really well produced version of that really slick. It's a slick sounding album and they haven't sounded slick up until this point. So to me, i've always thought of it as a record that was was trying to shoot for them, shoot for the moon. So I'm real surprised to hear you know Pete's analysis off the bat. Did you listen to in your car? because I do know that you have a premium audio sound system. 

0:07:10 - Speaker 4

I mentioned that and you've experienced it. I did listen to in my car and there were, there were tracks that really stood out that I really did like I don't want to say I didn't like this record, but there were tracks that really stood out and, like I said, i'm really glad I didn't listen to it on the plane, because associating this record with you know, a 12-hour flight after you've been at the airport for seven hours because they delayed your flight, would have, just you know, i probably just wouldn't have shown up today. I would have just texted you guys and said you're on your own, you know. So yeah, but it's. I mean computer time and car time was what was, what did it for me, this one. 

0:07:52 - Speaker 1

Alright. Well, do we want to get into the songs? Let's do it Alright. The first song is called Courage for Hugh MacLennan. 

0:07:58 - Speaker 4

I am Okay, bring up notes. So obviously I'm. I'm doing research on Hugh MacLennan and who he was because I want to know what the history of that is. The chorus is just catchy as fuck. It is just it, just it, just I don't know. It feels like there's a change of tempo, but it's not. But the lyrics just make it so sweet. The squeaky backup vocals that you said were going to eventually make their way in there. It would be the staple of, i believe, the bass player. 

0:08:38 - Speaker 1

The rhythm guitarist, rhythm guitar player. Yeah, all along. 

0:08:42 - Speaker 4

Those are all over this record. And then, kind of looking at the lyrics, which I did a lot more lyrical analysis for this record than others His Gord's definition of courage as opposed to MacLennan's definition was something that I really haven't pieced together yet, but I dug it. I yeah, i'll talk about more because I think this record is thematic in that sense because there's just a lot of Canadian references. Obviously There are, oh a ton. What about you, tim? 

0:09:16 - Speaker 3

Yeah, I was excited right out of the gate. Playing this song in the car I thought, okay, song number one for this album. If you know I'm a fan, starting at the beginning of this band or just really even coming into this album. This first song is a great first track of an album. The tempo is good, you know it's, it's singable parts. you know it's just a good, simple rocking tune and just as far as. Yeah, i had no idea who Hugh McLennan is or was. You know that looked him up and definitely feel like I need to read at least one of his books. So probably get a suggestion from you, mr JD. But you know it's this song about consequences and facing the light or the dark. You know it's just, it's a great, a great kickoff for the album. I loved it. 

0:10:13 - Speaker 1

This to me has one of Gord Downey's absolute best turns of turns of phrase or lyrical works of art. You know, it's a feat of strength, almost what he does with the text of McLennan's work. It shouldn't be as effective as it is, but it is. It works so well and all he does is read the lyric into the melody. The lyrics are there's no simple explanation for anything important any of us do. And, yeah, the human tragedy consists in the necessity of living with the consequence under pressure, under pressure. But the way he phrases it and the way he the music in the background is building up, it's so powerful and so such a great bridge. And then, you're right, it goes up up against that banger of a chorus to outro the song. Really fucking strong, strong work. This is a karaoke staple of mine as well, so perfect, yeah you mentioned the phrasing. 

0:11:22 - Speaker 4

It's funny because I thought the same thing and I think I put in. It's ironic. I'm showing this. People can at home can't see it, but this is just sitting on a thing and I'm thinking about it because of amazing it's a copy of Life magazine with Sinatra on the front yeah, sorry, sinatra. 

So I think people like Sinatra, i definitely think other musicians from the 90s, but this puts him, this record put him lyrically in that category for great phrasing. Not many people. People can put lyrics to songs and it sounds cool and they can sing harmonies and melodies. But when you can phrase a song like you just said so well, it just makes the song so fucking cool, brings out the lyrics in the melody so much better yeah, i agree. 

0:12:12 - Speaker 1

so next up we go to a real interesting song. this is something that Gord would carry with him, especially in his later years, and that is like the crisis in Canada's north crisis with our Indigenous people, and this song takes a look at that. It's called Looking for a Place to Happen. 

0:12:38 - Speaker 3

I thought this one started off running, you know, felt really catchy, without knowing what the lyrics were or background or anything. It just starts off really well. But eventually I realized, okay, this is something about taking away or taking what's not yours. You know I hear guilt and sorrow in here. It's just full of emotion. So as I looked into it I realized what it was basically about It. 

Even I don't know it got me when I got to the end of the song I heard Gord kind of singing through the outro Like it doesn't it carries on into me. That resembled like something around the fact that the invasion just is continuing on. You know, the taking away is continuing on, the pain isn't going to end. You know this, this and I think he he harkens that so well in this song for what the content is It? just it kind of it kind of floored me. It felt like a lot. And you know their songs I'm experiencing over the course of this catalog is you know some of them? I feel like, oh, this must be fun in a bar. You know people buy. I love the song and some songs are like fuck me. You know this is heavy stuff that we all still need to deal with and think about and realize, and just such a, such an impactful band. 

0:14:20 - Speaker 1

Yeah, and as they got bigger, they, you know, they, they took that to heart. you know that they had that, they carried some clout and they used that, and you know to, to a really good degree. 

0:14:33 - Speaker 3

Well, even even some of their. You know, some of the lyrics and some of the storytelling is just very North American based. It's, you know, often very much Canada for sure, specifically. But it did, and also, you know, at times made me again think about what the fuck? why didn't they resonate more in the USA? because I identify with a ton of it. There's so much there, i think that crosses over. 

0:14:58 - Speaker 1

Yeah, borders. How did you feel about looking for a place to have a beat? 

0:15:02 - Speaker 4

It's funny because the the what I said before about this record being thematic and and very, very Canada, kind of picking up where Tim left off. In my research of the first song and my research of who Hugh MacLennan was, I remember his wife saying to him, because I think his first couple of books were like flops, like you need to write about what you know, write about Canada. And that book, the third book or whatever book, the his book that he finally wrote about Canada and what he knew, ended up being really, really successful. And I feel like the hip kind of played around with that. This first, their first few times out, their first two or three records, but this one is just all Canada And it's just it's Canada threw up on this record, And in a good way, Jacques Cartier is mentioned. 

Jacques Cartier is mentioned in there. So, yeah, i think it's. It's cool because for and Tim, maybe you can speak to this because as Americans, we get a, we get. We have this polite maple syrup, like I said, but LeBat blue version of who Canadians are and what Canada is free healthcare, marijuana, everything's great north of the border on the roof of the US. But I think only probably in the last six or seven years has it really entered the American consciousness of the plight of indigenous folks. And in Canada, in the north, i don't think it's something that, tim. Maybe I'm wrong, maybe I'm just ignorant, but I feel like it's not something that's been talked about, at least in the mainstream for Americans until recently. 

0:17:00 - Speaker 3

I think you're right. I think you're right. We've we've definitely have talked about it more USA, regionally specific. 

0:17:06 - Speaker 4

But, but to know it was that this was being. 

0:17:09 - Speaker 3

This was in mainstream rock music in 1992 is cool, right, exactly, yeah, yeah, we weren't necessarily singing about that in 1992. 

0:17:20 - Speaker 1

Yeah, No, certainly we weren't here either other than other than through this. Yeah, and a lot of people. you know, for everybody that does like dive deep into the lyrics and and and wants to analyze you know what it all means that there is an equally large or maybe bigger cohort that is just wants to fucking dance to some music. you know, like they just want to rock out And they get to do that with our next song at the hundredth meridian, where the great planes begin. 

0:17:51 - Speaker 3

Ready Mark. 

0:18:08 - Speaker 5

Roll it And take my life with my hands Where the great planes begin, at the hundredth meridian, at the hundredth meridian, where the great planes begin, driving down a part of our road, we stand in a shoulder high. The road is crusted Of wind and dust. At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, let alone the dead chapter, car and train hauntings. A generation's almost done with any of these great planes. King crashes with the wind and The greatest planes along the line of old road, car and train out of Mali outskirts. The world is so very cruel, but I've done the best thing. 

At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, at the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, and remember. I remember above and low, and I remember a thing about, it seems to me I don't ever, ever say no to everything I know. I don't ever, ever say no to everything I know. I don't ever say no to everything I know. If I don't walk on the road, i've seen a promise. Maybe I'll need some place. I don't want to be a dead man. I'm a dead man, i have to transport. I can't say I'm on this sleep. I've borrowed the keys. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. At the hundredth meridian. At the hundredth meridian, where the great planes begin. At the hundredth meridian, at the hundredth meridian. At the hundredth meridian, where the great planes begin. When the planes begin, oh, Love this one. 

0:21:05 - Speaker 3

All things backups. Can we do karaoke with this one? 

0:21:09 - Speaker 1

This became a lot. Yeah, i would do karaoke this. This became a life staple, for sure as well. 

0:21:13 - Speaker 3

I'm sure, yeah, garbage red sheep, garbage red trees, whispers of disease driving down a corduroy road. I had to look up corduroy road. I was like what the hell is that? So that was a really interesting Find right there. What is it? What is it? references. You know Laying down logs along waterways so you can keep on your journey. You're basically walking down logged paths. So, yeah, that's that's what a corduroy road is. 

0:21:44 - Speaker 4

Pretty cool, no idea, no idea, i Dude this, this tune, i would probably say I probably say this tune is my favorite on the record. I think The the like the, the borderline wrap, that um, that that gordon He's doing, and it um just Fucking amazing. 

The the the guitar, wah, um is is nasty, um, i It fits though, right, it's, oh Yeah, totally more than more than past songs I've heard No absolutely the realizing the again Going back every song, i think there's a, there's a reference, a historical reference, that the hundredth murdering was the, the separation of the united states through between spain and france and later between the us and spain, after the louis excuse me, louisiana purchased from um france and then from uh, and then with the united states of mexico, like that historical reference of it. But this song is just, it's a fucking Banger. It is a banger, right, it is a banger, absolutely, absolutely. And there's, there's, by the way, um, um, this song Has that line you mentioned it, tim garbage bag trees. I think that is in the song before looking for a place to happen that same, there's another reference to garbage bag trees, and so jd, or anybody, give me a line on that garbage bag trees. 

0:23:24 - Speaker 1

I wish I had one to me. It just, it just reminds me of one of those old derelict areas where you see, like debris caught in the, the fences, you know that's been blown around, wind strewn. I picture, you know, like a garbage bag tree to be a plastic bag that is fastened itself into the tree And, uh, it just looks, you know, more depressing by seeing it but I don't know that's. That's just my thinking. If you've got an angle on this, send me an email. Jd at getting hip to the hip calm. 

0:23:59 - Speaker 4

Put to be, to put that in two songs in a row on a record got me something. 

0:24:04 - Speaker 1

Yeah, agreed. How about you, tim? What did you think of this one? Oh, i guess you already. You spoke first, didn't you? 

0:24:11 - Speaker 3

Yeah, i mean I dug it. I I thought, uh, overall I I felt the anger in here. There's so much self expression which you know they're definitely feeling. so many songs, um, i, i love the refer, the reference or the declaration of have right cooter, you're seeing it, my funeral, you know that's in just going back and listening to some Rai kooder songs, i mean there's a lot of influence there for the band and it's I dug it. It's a great song, great tune. 

0:24:42 - Speaker 1

Now, did you recognize that lyric from anything? 

No so the live version of highway girl He. He says that at one point He says get mr Rai kooder to sing my eulogy, all right, fun. And then boom, it shows up in this song, like two years later, like it was just a, it was just a throwaway phrase in a, in a story, in the middle of a song, and then it becomes, you know, this end of this epic rant, uh, end of this epic rap, rather, that he sort of does this, this rap piece. Yeah, i think it's fucking cool. They started using this song to jam out songs in the middle of as well, and then it would. It would always lead up to that, that part, that that bridge part. 

Now, all three of these songs that we've talked about so far Are singles. Courage was the third single, at the hundredth meridian was the fourth single, and looking for a place to happen was the fifth single. Well, so they're. The records got legs. I mean, they really tried to leg this one out and and see if anything would stick. The next song is our first album cut of the Of the fully, fully, completely record, and it's an interesting one as well, title wise. What the hell is the pigeon camera, pete? 

0:26:04 - Speaker 4

So it's um, i had to look this one up too. Um, i guess back in the day 1909, there was a scientist or an inventor who Who thought that strapping cameras with time delays on them to pigeons would be a great idea, and so They kind of took off for a little bit. I would love to see actual Photographs. I that's something I I didn't. 

0:26:33 - Speaker 1

Sit. The birds took or of the birds that the birds took. 

0:26:36 - Speaker 4

There's a lot of pictures of the birds with the camera strapped to them but that the birds took, um, they were going to do it for you know, military purposes, for reconnaissance, but then planes Came and they started being able to mount cameras on planes, so it kind of, you know, went by the wayside. But, um, yeah, this song I liked it. Um, it didn't do A ton for me, but the guitar solo was very redeeming. It, it, it, i this is going to sound really strange because it's well, obviously so many years left kind of very sublime feel the band, sublime from that guitar solo, the tone That the guitar that was being played or the notes that were being played. It just sounded like it was uh, it was a. 

It was a Soul taken from the band sublime, but I liked it. It worked. It was really cool. Well, you got Yeah whoo-foo fight. 

0:27:35 - Speaker 3

I did not go to sublime and That band just just makes me. It makes me cringe. I just Hear it and it's changed the station as fast as possible because I only ever hear it. When I'm in southern california driving around listening to the radio, some stations are playing that band, like I swear, every 17 minutes. Oh yeah, oh terrible. 

0:27:57 - Speaker 4

Anyway, it's against the law to play that at a bar in long Beach. Yeah, it's against the law. 

0:28:03 - Speaker 3

It should be. It should be. Yeah, they should sell the. Anyways, uh, pigeon camera, i, you know it's. I think it's a good Slot four slowdown It's. There's this kind of calm, serene guitar riffing in there. Um, it's. I guess there's a lot of references when you look up actual pigeon cameras and kind of dive deeper into that. 

As you touched on Pete, i did find, you know, as you said, pictures of pigeons with the cameras strapped on them and Kind of thought about what, what, what is that? and you know, carry, the carrying of information, the passing of secrets. You know the, the, i don't know. It just seemed like a wartime era thing. I wasn't really sure why This song was in there, conceptually, lyrically, everything you know there was. 

It was a head scratcher. But the coolest thing about it was finding out about fucking pigeon cameras, simply like I'm glad the songs there, because, dude, you got to look up pictures that they took. There's a few online And they're fucking incredible. Like there's portions of wings Surrounding a landscape, you know it's, it kind of worked, but who the hell knows, like when you got, when you develop this film and you're printing these old black and whites and seeing all this abstract shit, like You know it's. It's so bizarre and weird. Let's write a song about this Very fascinating thing, guys, like did you know that these pigeons to carry and take cameras or take pictures? Like what the fuck? why not write a song about it? 

0:29:54 - Speaker 1

So weird, yeah, fun song we go to another album track, and this is one called lion eyes. 

0:30:01 - Speaker 3

So this one in the car was Fun and so sing along. You know, it's like simple, easy to get along with. It's a rock song, it's a good jam, like I imagine people just belting this out at live shows, maybe even almost annoyingly. If you're ever go to shows and you hear people singing like a little too much, yeah, sure, bands love it when it happens and they can, yeah, i just this is just could be one of those songs. The the parts about When he sings From the cleftab low variant. You know these, these film references are really kind of that. That was all this added Kind of mysteriousness to me. the cold wind blowing over your private parts. I'm like, is that you know? I, i was really trying to driving around listen to this over and over Because it's so listenable. I'm trying to decipher, you know, heads or tails of it and couldn't, couldn't get much, but overall It's an easy song to consume. Yeah, storytelling wise, i wasn't so sure, but overall it was like man, this is a jammy, easy one for sure. 

0:31:18 - Speaker 4

It's funny you say that, tim, because it's for me, storytelling wise. I found it way more interesting. I mean, i like the tune, i Like the turnaround after the chorus on the bridges, wildly out of place, like I just It, just it. It shut my brain off for this song. I was like, oh cool, i'm into this bridge comes. I'm like what the fuck is this? Is this like the same band I'm listening to, but the the references to tableau we've on which I had to look up. I was like a nativity scene even. 

More or less, i would assume. And then the other one, romana, clef, oclef, all these French references in there seemed really cool. Like this is again Because I think musically I liked the other ones. They stuck to me much quicker. I did a lot more digging in the lyrics for this one. I really liked. I really liked All the lyrical references Reveal more as the songs go on. 

0:32:27 - Speaker 1

Yeah, it's pretty loaded, it's really loaded Yeah okay, so we go next to a pretty menacing song, and especially menacing when you consider this one was a single and And it's fucking tremendous. 

0:33:15 - Speaker 5

Some. The truck's gone. The wind overlanded a real rainbow, like a new much star, when you could see everything but a logical factor. But ten bucks in just to get the tank chopped Oh, dang it. I found a place to stop and infrared it. It's a truth. We had a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for me, they don't understand. Oh, dang it. I found a place to stop and infrared it. It's a truth. We got a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for us, they don't understand. If they better for me, they don't understand. Let me out. 

0:36:43 - Speaker 4

Let me out, let me out. 

0:37:28 - Speaker 1

Let me out. 

0:37:53 - Speaker 4

I just love it. The second solo is just like towards the end. It's so awesome and I'm gonna pull a tim from Portland right now. The fucking fade kills me. Like it's so fucking cool man. The guitar solo is so awesome. I'm just like just fucking end it, guys. And they fade it and I'm just like you motherfuckers I never noticed it before you said it's him and then I start listening to songs like these. Or I'm just eating up the guitar solo at the end, like it's fucking mac and cheese And they just take the plate away from me. Dude, it's like eating a mac and cheese. There's some on the plate and the waiter just comes by and fucking takes it and says Sorry, here's the check. 

0:38:51 - Speaker 3

I hate to say it, but these fade outs make me pissed on a couple of levels. I mean the song Courage. The very first time I heard it in the car it fades out. It's an okay fade out, though, but as I heard it fading out in the car, i cranked the volume all the way. So now get the last, as I wanted to finish the song, you know, and the other part of it that pisses me off, it makes me frustrated, is never having heard them play live. I mean, they didn't fade out songs live. So it's like I wish I could hear the song live and hear how they ended or see what happens. So that's, you know, that's a don't want to spend so much time on that, but yeah, i feel that this song is. 

It's so heavy, it's pretty gnarly. The lyrics are crazy, you know, the storytelling is very sinister, dark, dumping the body. Be better for us if you don't understand. And then you know, after diving into this one further, i read about the story about Caroline Case, which, judy, i'm sure you know, this Toronto mother of three whose car was found overturned and wrecked and the bodies didn't show up. And there's this whole story that ties in with the song. That's just amazing. It's just such a dark song. It's cool. I mean I appreciate the level of storytelling and kind of malice and all of those things with us. 

0:40:38 - Speaker 1

Yeah, it's really fascinating that they can go to these dark places. You know, the last couple records have been have been chock full. This one so far is a more lively, less dour sort of record, but we get our first taste of it here and, yeah, maybe it is better for us if we don't understand. 

0:41:01 - Speaker 3

Yeah, agreed, it's just dark on many levels, you know. But again, when I read the story about Caroline Case and that whole tragedy and mystery, it's like fuck, what Amazing bits of information to call together to create a song about. Pretty cool. 

0:41:24 - Speaker 1

They've all gone and will go too. 

0:41:27 - Speaker 3

I thought maybe this was about like the difficulties of being on the road and traveling and playing gigs, setting up, tearing down. You got this massive country to drive across zigzag. You know it's kind of a. To me it was kind of a filler song with a long ending. You know it has like a 30 second ending, which is a little unusual, so I didn't listen to this one. A whole lot, a whole lot of extra times. 

0:42:00 - Speaker 1

How about you Pete? 

0:42:01 - Speaker 4

I'm in a second-day emotion Smokey And I say the opening guitar lyric was interesting, although very 80s, 90s. You know they, somebody in that band loves John Cola from Huey Lewis in the news because that guitar tone is just, it keeps showing up, it just keeps showing up. I think I don't know that Alanis ever listened to much Huey Maybe she was a hip fan, but I a lot of her music too, that I listened to that. Those, what are they? it's like a univive or something that he's using on the guitar, just keeps showing up And it just sounds a little dated. Because I feel like back when people were using those effects, they didn't have anything cool to play on the guitar, they just had a cool effect. So like playing anything was like, hey, be impressed because I've got this amazing effect. I'm not playing shit on the guitar, but it's a cool effect, right? Right, guys, you know so. But yeah, the song all in all doesn't do a ton for me. So what about you, jd? I don't know. 

0:43:19 - Speaker 1

Well, i think it's fascinating that this is the first mention of production really that has been brought up. I mean, you've mentioned guitar tone a couple times. but yeah, it's a slick, it's a slickly produced record. This guy who produced it produces a lot of like metal And if you know about the production of metal, oftentimes it's got a real clean well, real clean and focused kind of sound, very precise, and I think we get a bit of that on this. I'd almost love to hear what this record would have sounded like with Don Smith producing it, who produced the last two. But we get a taste of that when we go into the next record and they start to self-produce and they start to. it's almost like this record. they go as far as they've ever went production wise, and then they go completely the opposite direction, you know, for the next swath of records, and go sort of back to basics. 

0:44:30 - Speaker 4

Feels formulae And that, like, like I heard on the first couple couple records, like I felt them like really trying to go into the space of of being obscure and trying their own shit. And then maybe the record label was like All right, guys, enough, your crap, we're going to get a fucking big time producer. And then he's gonna you guys are going to be staws. you know, like I don't know what the fuck they were thinking. I feel like this is kind of that, although it's a good record. But yeah, i hear you JD. 

0:45:02 - Speaker 1

You know, for many fans this is their favorite record, so it's it's. It's tough. It's tough to be objective about it. It's not my favorite record. I've got another one that's my favorite And we'll get into that soon, but I hear that I I could. 

0:45:18 - Speaker 3

You know it resembles a following an athlete who goes amateur to pro. Yeah, this, this felt like this album. You know I don't want to get into it as if we're ending, but I agree with that JD. 

0:45:31 - Speaker 1

Well, the next next track we get is the titular fully, completely. 

0:45:37 - Speaker 3

As a title track, accidentally listened to the song first, instead of the first track, you know, searched the album and this thing came up. And I was getting ready to drive, to sit in way and then realize it was the title track and I was not, i wasn't 100% sold, i wasn't a kind of questioned certain things about it as a title track. 

Or I heard, like Eddie Vedder and Pearl Jam in there, you know there's just it's this kind of never ending guitar riffing. If you listen to it really closely, there's a right channel tambourine happening. There's a total afterthought production thing. It's like, hey, let's just add in some tambourine, like it's there If you really listened closely and it's it's. That made me like the song more because it added this kind of fun element to it. But I I thought it was not the strongest for a title track. I thought it was just okay. 

0:46:38 - Speaker 1

This is our first title track we've ever got as well Right. Yeah, can I? 

0:46:44 - Speaker 4

ask you, JD, was this a single? 

0:46:46 - Speaker 1

This was. This was the last single on the record. 

0:46:49 - Speaker 4

Okay, because I I have the same Tim. You mentioned something about the tambourine. I think that's so funny, because I I felt the same way, of course, about the tambourine, but also the, a lot of the guitar licks. I feel like if the song was just raw, maybe, maybe, maybe Gord Downey stepped on the gas a little bit harder with the, with the vocals, it would have been a totally different sounding song, but I think it was recorded. And then afterward producers like Hey you, you guitar guy, come in here, throw some more licks down here. What do you want me to play? Just do something. 

0:47:26 - Speaker 3

Yeah, and it's like Hey, who's your friend over there in the corner? Can you play tambourine? Come on over here. 

0:47:32 - Speaker 4

You know, but like I, i yeah, i feel the same way. I couldn't like super get into it, but I thought the guitar solo at the end was a huge, was really like the slide all again, all the licks. In the beginning, like I didn't dig that, but the solo at the end was really big payoff And I could see how this song at a show. Jd, maybe I'm wrong, but I could see them taking this at a show and just fucking do a 15 minute version of it. 

0:48:01 - Speaker 1

That's what I was going to say. I was going to say this song was one that wasn't my favorite for a long time And then it grew on me And now I would say it's like a top three on this record for me. Live It just slayed Yeah. 

0:48:15 - Speaker 3

Just slayed Again, where I had the same sentiment, pete, where I just wished I could have heard this type of song live version, because you hear certain things when it's recorded and you wonder, like, why was it produced this way, or why was this thrown in, or why this or why that? And you know that there is a more raw version of this out there And it's like you got to get through the, the, the meal that's prepared for the pictured menu item, when you walk in the restaurant and you think, okay, that's, that's supposedly what I'm going to get, and then the live version is like nah, here's your fucking mess of a meal. It's going to taste the same way, but this is actually what it looks like. That's, that's, that's what I thought about this song. 

0:49:02 - Speaker 4

Tim, i couldn't, i would not to take it a step further, but I'm going to take this stuff further. It's like getting through a shitty Thanksgiving dinner because you want to go out drinking later And then and then, after you've been out drinking to like three or four in the morning, then you hit up Taco Bell or whatever it is, and that's where the that's where the real joy of eating comes in. And that late night meal is the fucking live version. It's 100%. We're at where I die on this one. 

0:49:30 - Speaker 1

All right. Next up, we go to 50 mission cap. 

0:49:59 - Speaker 5

The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. And I worked it in. I worked it in. I worked it in to look like that. The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. It's my fifth mission. It's my fifth mission. 

0:53:45 - Speaker 3

It's my fifth mission. I worked it in. 

0:53:54 - Speaker 5

I worked it in. I worked it in, i worked it in. 

0:54:07 - Speaker 3

I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. 

0:54:42 - Speaker 1

I worked it in. I worked it in, i worked it in. 

0:54:58 - Speaker 3

I worked it in. I worked it in. I worked it in. I worked it in I worked it in. 

0:55:17 - Speaker 1

Basically, just put a melody to this hockey card, sentence or paragraph rather, and boom, there's the verse. You know it's crazy, like I've seen the card before. And then you get this brilliant anthemic chorus 50 mission cap. But even it is a little deeper than just a brainless chorus because it's a 50 mission cap. And then the next lyric is I worked it in, i worked it in to look like that. So is the protagonist here somebody that really truly is wearing their 50 mission cap, like with pride? or are they trying to sneak by, you know, to make somebody think that they've been in their 50 missions? I don't know like, but I fucking love thinking about it. How about you, Pete? 

0:56:08 - Speaker 4

Okay, so the lyrics certainly seemed like he was reading from something Clearly. yeah, that's what it was, and I don't know if that's a if. when he said JD, you mentioned like I made you think that or something. What was that You said a second ago about the lyrics? 

0:56:27 - Speaker 1

like Oh, I worked it in to look like that. 

0:56:30 - Speaker 4

I worked it in to look like that. Like maybe he's referencing people who you know. unfortunately there are those people who, who would wear a 50 mission cap and never, you know, completed a mission in their entire lives. you know those, those fakes. But the song wise is just, it's an amazing song Looking at who Bill Barilko was And ironically, his body wasn't found until the years that Leafs won the cup next. 

0:57:04 - Speaker 1

They found his body, and then the Leafs won it. 

0:57:07 - Speaker 4

It's almost like he was cursing it right. 

Yeah, yeah, yeah, yeah, that's yeah. Sorry, that's what I meant to say, sorry, no, no, no, it's so cool And I took a deep dive into this. You mentioned all the other stuff already about the amazing chorus. I love the squeaky back of vocals made an appearance again. The guitar lyric, or the guitar after the chorus, does this thing where it goes up and down by half steps and it's just so. It doesn't sound like it fits the song, but if it's the song perfectly, and Tim said this is clearly a hip song, because it is And it again might be my favorite on the record, but other stuff, that it's a staple at the home games when the Leafs are warming up, and also, what else did they say about it? 

Oh, that in the like the private lounge. I'm not a big hockey fan because I grew up in Southern California. You are Tim? No, i'm Tim Brown. Yeah, yeah, no, yeah, it just, it's just hard. But even though we had Wayne Gretzky, but that there's a, there's a handwritten lyrics signed by Gord Downey in the players lounge, it where the players hang out, and that Bill Barolko. Anyway, and when the when the hip would play the Canada Airlines Arena or whatever, they would leave up on Bill Barolko's jersey his number. 

0:58:50 - Speaker 1

Yeah, they were tired. 

0:58:53 - Speaker 4

But that was the only one they left up, like kind of when they, you know, change the arena for the hip show. From what I read, i don't know, but it was really cool just for that particular reference. It's what a song, fucking awesome song. 

0:59:09 - Speaker 3

Loved it. Loved it And it made me think about also, you know, kind of tying in with sports and war, like seeing your favorite team do so well and also knowing that they have fallen, or have you seeing them fall? There's just, there's a tone here that's like defeated but also like quit while you're ahead. I don't know. It's kind of a bit of a surrender thing. It's a great tune. I enjoyed it. 

0:59:39 - Speaker 1

Well, it's followed on the record by yet another tragically hip ballad slow song that you probably don't want to slow dance to once you find out what it's about, and that's weakings. 

0:59:53 - Speaker 4

You want to take it to him. 

0:59:55 - Speaker 3

I mean, it's a hell of a mood song, right? I think there's some banjo in there. Is that what I hear? Some? banjo Doe bro. 

Doe bro, some doe bro plucking. I maybe gave it three listens and, as not being a diehard hip fan, it's one of those placements in the album where I get it and get why it's there, but also just I move on. It's. There's a couple. There's some good lines in there. Can't be fond of living in the past, you're not going to last. It's like someone getting caught or being in the middle or guilty or jail time or yeah, it didn't, didn't move me. Oh Tim, oh Tim. It's probably Pete's favorite. 

1:00:52 - Speaker 4

I couldn't disagree with you more. I wouldn't say it's my favorite. I will say this song and this band continues to amaze me with its ability to just be super heavy and then go into these little acoustic tunes that they throw. I call this. You know, this is like when they're in the studio. They're like okay, this is going to be the acoustic song, but it reminded me of how great I felt when I listened to Fiddler's Green on Road Apples. 

1:01:22 - Speaker 3

I thought of the same. I thought of the same. 

1:01:24 - Speaker 4

Yep, had that vibe, yep, the intro with the sound effects and the animals and the birds, the bluegrass vibe. There's a line in there that I love is so good. I can't remember the first part. The second part is hung with pictures of our parents, prime ministers, as just such a fucking cool line, and I did some a little bit of research on what was going on with the reference of. You know they were watching the Held, their Breath or Whispers, and the CBC News, that's right About a guy named David Millard who was served like 21 years for a crime eating committee. You got it. It was like you know. There's a lot of that in the US justice system too. 

1:02:19 - Speaker 1

Oh, right Yeah. 

1:02:20 - Speaker 4

It just was such a cool fuck Like what. I don't know if the guy's still alive. I don't know if you heard the song when it came out, but what a fucking. 

1:02:29 - Speaker 1

Yeah, i mean coincidence, i think, is the word you're looking for. So this record comes out in 92 and in 91, millard and his people are granted the ability for a clearing of his name And it was 20 years that he was in prison for a rape that, a rape and murder that had occurred in 1969. So basically, the guy is born in 51. His almost his entire life is around this, this tragedy. Right And Gord took, you know, a simple acoustic guitar line and turned it into an epic story of the beginning of the exoneration of David Millard. 

1:03:29 - Speaker 3

So I hear the reasons why and I understand, i get it. I guess there's just for me, okay. I guess for me experiencing an album and thinking it as like a book, and you're going through the chapters and you know some, some chapters, you're like, oh man, i love where the character development is going And then all of a sudden you experience this, this downfall, this, this unfortunate event. You know, and it's the wild ride And I'm trying to. I honestly thought, okay, honestly thought Pete probably loves this song, fiddler screen, etc. Everything you said. You know why. 

Why is it that this is triggering for me personally, in the cadence of an album, to hear something like this and be like, come on, you guys, let's just get to more good jam and stuff. I don't know, maybe it's the time of year, maybe it's winter, maybe it's the holidays, which I like have a love hate for. This is just. This is just one of those tracks that I was waiting for in the album. It's like, okay, here we go. Who's this song about? That was fucking kind of real. What did he not do? 

1:04:44 - Speaker 5

What did he not? 

1:04:45 - Speaker 3

do? to go to jail? God damn it. Fucking injustices in the world, All these things. It's like fucking, another fucking ballad about God damn it. You know just, it's just like this emotional roller coaster. It's like, okay, what else we got, What are we moving into next? You know that's in the hip albums. To get to this type of song, I'm always like, okay, there's only a couple left. Where are these guys going to take me? 

1:05:15 - Speaker 1

And where do they take you next? 

1:05:19 - Speaker 3

Where with all? so where with all you know, you jump and straight into some jammy chords. The scene's pretty calm, i thought for kind of the guitar progression. The, the baseline, really hit me as like 80s metal, rat motley crew, maybe G&R. 

1:05:43 - Speaker 4

I. 

1:05:46 - Speaker 3

This song, JD the producer what you said. His name? Christiane Arias. 

1:05:51 - Speaker 1

Yeah, right, it's a Greek last name. 

1:05:53 - Speaker 3

He can ever say eat all over this one, i Guarantee it. You know so it's. I thought you know there's some single, maybe some single potential here, but wasn't really sure. It's fucking short. I Read up on it a little bit with the Richard Dawson controversy and references towards Nixon and Those kinds of things, but this song overall and the band was like fine, you can have it. We're making it less than three minutes long, interesting track. 

1:06:30 - Speaker 4

Yeah, i said the same. I mean I had the same. I'm feeling about it, the private thing that I that stood out most because the guitar was just so prominent. It's easy to say the guitar was awesome and heavy and all that, but I really like the drums, really dug the drums in this one. I thought the drums drove it. 

I was interested in the Nixon reference because I didn't really know what the song was about. I did a little bit of digging and, tim, i don't know your, your thoughts around Nixon. It's crazy because My dad liked Nixon, like he was very sad when Nixon died And I know a lot of people who hated him. And then I, you know, when I grew up and kind of learned about who he was, i was like if not really That great of a guy, especially when all the tapes came out on everything. But Yeah, it's funny too, because if it is about Nixon, i'm like where does where do Canadians? That's like. You know, what do I think about a former Canadian Prime Minister? I don't think I can Name a former Canadian Prime Minister before Trudeau. If you had a gun in my head, jd, i'm sorry. 

1:07:49 - Speaker 1

We're used to it up here on the roof. Yeah, man, it's, but I am getting a little concerned about all the guns to the head references. That's like your fourth in terms of the podcast. Just Just you know. Checking you out, just make it sure everything is all groovy over here. 

1:08:13 - Speaker 4

Yeah, so, so, that's, that's what I got. 

1:08:16 - Speaker 1

Okay, so that brings us to the last song on the record, and that is El Dorado. 

1:08:44 - Speaker 5

El Dorado, when It's a man's size 10 times. Look in here. It's all hard work. What's that smell? Smells like coffee. It smells like coffee. If you regret it, please say something Like I know, jesus, the evil makes me calm and I know it makes me calm and I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size 10 times. It's a man's size, elder of all. I don't know what it is. You can't take it. You can't take it. Where we going. What's that taking? I tell some men shed a hood and makes me sexy. Where we going makes me sexy. I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside. 

1:13:16 - Speaker 4

Wow, you know what? I was always because my buddy had a Ford Ranchero, Which was the Ford version of the Opium, And he had a champagne colored Ford That he sold to some guy in Denmark. It was a 76 or 74 and he sold it And I'll never forgive him for it because it was the coolest fucking car And it just smelled like gasoline and it was loud And it handled like a fucking tank And it was just Oh yeah, mine didn't have power steering. 

1:13:49 - Speaker 1

Oh no, none of that Dude. 

1:13:51 - Speaker 3

My uncle, chris, had a light blue Ranchero I don't know early 70s And it was so large for two doors and seating maybe for two and a half people It was the biggest vehicle. When I was 16, he had me drive it from his house to my folks house And I remember scared to death that I was just going to hit a parked car Because I felt like I was driving a car that was two cars wide. It was so gigantic. But fast forward, i guess maybe My grandparents owned Eldorados. 

They had two specifically. I remember A Block 4 door and a White 2 door. They had like a Coop early 80s Eldorado And those were. I mean they were like Rolls Royce's to us As kids. We thought they were, we were riding around in limos, you know these were like the nicest cars. So I totally get the car reference, 100%. The 2 door one that my grandparents had. I was in the back seat trying to get to the front seat, dropping my grandmother off somewhere, and she closed the door on my leg And I thought I'd never walk again, i mean those cars were just behemoth. 

I was like I was like 7, maybe 7 years old, But the reference is here just to get into the song, and less about cars, you know, But World War I in Canada, basically coming over to serve the motherland And fight Germany, it's just, that's all just so heavy. You know the line Berlin makes me sexy, making me sexy. That one tripped me up a little bit, You know. I was like okay, are they implying This kind of glorification of war? you know, are we now, is Canada now I say we as a full Canadian are we now in this kind of limelight Because we came across the pond to fight, you know, And we're going through Berlin And we're seeing the separation there And we're hanging out at where is it? Where the US had their base in Berlin, Oh gosh. 

1:16:07 - Speaker 5

It's um. 

1:16:09 - Speaker 4

I don't know, were you born in Canada too? No, oh. 

1:16:15 - Speaker 3

What was it called? 

1:16:18 - Speaker 1

His pick Canadian accent, doesn't it? Come on, tell me voted guys. I'd have to edit that out. 

1:16:25 - Speaker 4

Hey now, hey now. 

1:16:27 - Speaker 3

But anyways, like the Berlin making me sexy part Just makes me think like maybe Berlin was the shiny object Kind of around that time. And it's this beautiful song. There's this amazing bass, there's these big fat toms going on with the drums. You know, i imagine that was just at their recording room to kind of reel those in. I thought it was a good closer for the album. 

1:16:59 - Speaker 1

Yeah, I do too. Pete, where are you with this one? 

1:17:02 - Speaker 4

I well, definitely we need to continue our conversation in a later date About Alderados and Rancheros, but I dug it. I really liked it. Probably my favorite part about it was the second verse. There's some really cool like sharp guitar licks in there And the lyrics are really syncopated. The where, when he, when he's I can't remember the, i can't quote the lyrics specifically, but the syncopated lyrics are really cool. Again goes back to him being I'm sure it'll just get better like a fine wine Out. What a great phrasing lyricist. He is a singer, but I didn't. 

I was a little confused about the Berlin makes me sexy to Tim And I dug in some like forums and I just thought the funniest thing was And, by the way, i know we apologize to the listeners and I won't do that anymore But I really want to apologize to the band because I love this band, like I love this band, and I hope that if anybody ever hears even a fucking sentence of this podcast from that band, that I have the utmost fucking respect and admiration for them because they're fucking cool. But that being said, somebody said this song was written under the influence of little bat blue and Jack Daniels And I just was fucking rolling in my chair. Hilarious but cool. Good tune to end the record, yeah for sure. 

1:18:41 - Speaker 3

I got the Berlin reference around Berlin making me sexy. Maybe that had to do with, like checkpoint Charlie, right That's. I don't know. I was not really. 

1:18:53 - Speaker 4

Wasn't Charlie Vietnam. 

1:18:55 - Speaker 1

No, no. Charlie in Vietnam referred to what the Americans called their enemy on the Vietnamese side. They called them Charlie. No, it's the crossing point between East and West. 

1:19:11 - Speaker 3

Yeah, it's the crossing point between East and West Berlin Shows my World War II. It still exists. 

1:19:16 - Speaker 1

It still exists my Hey, pete, your World War II knowledge isn't that bad. You just don't pay attention to sequels. I don't watch that. You read about World War I and you were like, yeah, man, i don't need to read the sequel. 

1:19:29 - Speaker 4

Seriously and everybody's paying attention to the possibility of World War III right now, and I was just like guys, i don't care, this is stupid, it's all about WWI. Anything they make after that sucks. 

1:19:46 - Speaker 1

It's all computers now. You haven't seen a war until you've seen a horse full of wagon in beautiful black and white Double speed. 

1:19:58 - Speaker 4

This podcast took a really dark turn. I love it. 

1:20:01 - Speaker 1

So I have a question for you. This is their third full length record, But this one came out like less than a year after Road Apples. Road Apples was 91 and this is 92. 

1:20:21 - Speaker 3

Which was unusual for them, right. 

1:20:23 - Speaker 1

It's unusual for any band like at this point, but like, certainly, if you were going to do that, you think you'd do it in your first and second record, not your second and third. You know that's. It's just interesting to me that they were able to come up with 12, like, like, pretty great fucking songs and put them to wax, you know, so short of time after Road Apples. I just wonder if. 

1:20:48 - Speaker 3

Why the hustle I? 

1:20:49 - Speaker 1

don't know, i don't know, was it? 

1:20:52 - Speaker 3

a. Was it a kind of a I hate to say it, but like a cash grab to get them to next size venues on tour, because man traveling across that country to only hit like 200 to 1,000 or 1,200 fans and then to go to like 3,000 to up to 5,000 fans per show. That's that's a hurry go. What were they doing back then? 

1:21:18 - Speaker 1

They played Maple Leaf Gardens on this tour and then they opened their Canada Center on this tour, which is the where the Leafs play and the Raptors play, and then they started a summer festival. They did a summer festival across Canada and maybe a couple cities in the States called another roadside attraction And that's where I first got to see them on my 19th birthday, july 24th 1993, in Markham Fairgrounds. I I got to see them live for the first time And it was almost like out of a storybook, because I got so incredibly drunk and high and I passed out during the band that went on before them and slept, slept basically the whole time on the ground, and then woke up magically when the, when the hip went on and I was fine. 

1:22:15 - Speaker 3

Oh, i would love to go back to that moment, the three of us with JD right now, that would be so fun man. JD come on, bro, it's time, wake up, yeah. 

1:22:26 - Speaker 4

I don't know if you, i don't know if you asked your question, jd, but I was going to comment on what you said Because I feel kind of the same thing. I don't know if it was a cash cash grab either, tim, but I feel like this was the push where the record label finally said look you, fuckers, we've, we've put a lot of money into you. You're going to make a hit, and they brought in this big swing and dick of a producer And we're going to fall through the roof, so to speak, and being as. That never really happened. Maybe that's where, you know, we lead into their fifth record, which will be next week, to to kind of start exploring their own, you know, being more themselves instead of living for you know what they, what they think they should be commercially. 

1:23:21 - Speaker 3

Yeah, i think so, maybe, maybe. I mean, this was an era where bands were not getting paid enough but making a living off of selling albums, selling CDs. Yeah, you know, i mean we're. We're years away from MP3.com kicking off. Yeah, that's right. And so anyone anyone in the biz back then who saw this band doing well and saw fans at shows across Canada going bunkers and knowing that people were doing the tour or doing all the West Coast shows or doing all the East Coast shows, you know, like any, any band manager would have been like let's knock out another album I know this one's going to kick ass. Let's get this metal producer in to you know, organize everything and let's keep keep it all going. And I guess this is the album that made them realize they could do it on their own, which is fucking amazing, because a lot of bands in the 90s would not even step out, no way. 

1:24:31 - Speaker 1

Yeah, we're going to find a market shift in the sound and tonality of of this band starting with the next record, day for Night. If you've got anything you want to say to wrap up this record. 

1:24:46 - Speaker 3

I just wish I had my grandparents El Dorado, out front with some hip on the eight track. Did they ever make eight track tapes? Oh man, wouldn't that be cool? I'll just, i'll just fantasize about that with what JD passed out in the back and P all hyper in the front seat. That's, that's. That's, that's my, that's where I'm going to leave it. 

1:25:09 - Speaker 4

Same here, man, same here. I wish we wish we had a wish we were driving around in the champagne colored Ford Ranchero with a, with a 24 pack of the bat blue on the on the floorboard. 

1:25:24 - Speaker 3

Love and the smell of fuel. 

1:25:26 - Speaker 1

Yeah, All right, as we do every episode of the show, we are asking each of you, fellas, to choose your MVP track for the record. Fully, completely, tim, let's start with you. You, son of a gun. 

1:25:46 - Speaker 3

Yes, So my favorite song off this album was definitely El Dorado. You know, went back and listen to it a little bit more And there's even some. there's some Michael Steip feels in there, just literally. 

1:25:57 - Speaker 4

I can't wait, man. 

1:25:58 - Speaker 3

Just with with the way Gord sings, you know they're so. They're so much from the nineties going on on these albums. It actually makes me miss the nineties. I often think of the eighties as being just so spectacular, but the nineties were for music. It was so good to, and this, this is just one of those songs that maybe you also want to listen to. Just a bunch of other stuff. So I'm going with El Dorado. 

1:26:23 - Speaker 1

Cool. What do you? what's going to be your playlist song there, pete? 

1:26:33 - Speaker 4

The hundred meridian hands down, the phrasing in it, the historical content of it, how I'm aware that that line physical line, not lyrical line, the importance of that and how it will eventually play into other hip references in the future too. It's just, it's fucking cool man, It's going on those for sure. 

1:27:03 - Speaker 1

Awesome. I can't wait to hear these lists as they as they grow in stature. All right, that's what I have for you this week. So there's that. Hope you enjoyed yourself as much as I did. See you next week, fellas, pick up your shit. 

1:27:24 - Speaker 2

Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pod And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns. Email us at JD at GettingHiptotheHipcom. We'd love to hear from you. 

Support this podcast at — https://redcircle.com/gettinghiptothehip/donations

Advertising Inquiries: https://redcircle.com/brands

Privacy & Opt-Out: https://redcircle.com/privacy