Getting Hip to The Hip

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. 

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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. 

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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. 

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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. 

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The boys are back and this time their discussing the 1991 LP Road Apples.

https://ratethispodcast.com/ghtth

LIve music from the episode:

Cordelia - Roxy 1991

Born in the Water - Outtake

Three Pistols - Misty Moon 1990

Fidder’s Green - Calgary 2006

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In this special episode of the podcast jD, Pete, and Tim sit down with Gord Sinclair for a broad conversation about touring with the Hip, the future of Rock music, and his new record In Continental Divide.

Stay tuned for the big announcement following this episode. If you know you know.

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Transcript

0:00:00 - Speaker 1

Well, we're really, really thrilled that you could take some time with us today. This is a pretty exciting And this is my pleasure. 

0:00:07 - Speaker 2

I appreciate it I. 

0:00:09 - Speaker 1

Don't know if you know what the premise of our podcast is, but I want to give you a. Snip it so you get a. You get an understanding of who these two gentlemen that you're, that you're with, are sure. 

0:00:21 - Speaker 3

Maybe you should tell them at the end JD, let's get the Way. 

0:00:28 - Speaker 1

No way, no way, i'm sorry out. So I did a podcast called meeting Malcolm s and it was about pavement and I met these two guys in Europe last year Going to see pavement a bunch of times and we got talking about music And I really love the way they talk about music, the thoughtfulness and the way they understand it and so, naturally me being a very big, tragically hip fan your, your name came up and Them being from Southern California, one by way of Malaga, spain, and one by way of Portland, portland, oregon. Now They hadn't, they hadn't had much experience with you. So I thought, dreamt up this idea of the podcast taking them through your discography, one record at a time, so that The listeners can experience, can experience what it's like to hear your music for the first time. Again, cool. 

0:01:27 - Speaker 3

It's been. It's been a journey man, it's been really. 

0:01:31 - Speaker 2

What do you guys up to now like record-wise? is it still work in progress or we have just released up to here. 

0:01:39 - Speaker 1

So Okay. Here's a fun fact for you. Did you know that if you take your entire catalog and Release them, starting on May 2 4 weekend, and release one a week for the summer, it ends on Labor Day? 

0:01:58 - Speaker 2

Oh, no, I didn't know that you're your catalog. 

0:02:01 - Speaker 1

Your catalog is perfect for the summer man. 

0:02:03 - Speaker 2

Okay, great, well, that's, that is kind of appropriate. For sure We're, you know, sir It. We're unlike Southern California. We kind of lived for the for the three or four months where You can actually sit outside and play guitar with it, your fingers falling off, you know. 

0:02:21 - Speaker 4

That's, that's definitely me. in Portland, oregon, we had the the soggy a spring I could remember in my 22 years here. 

0:02:28 - Speaker 2

Yeah, yeah, that's a great town. We we played Portland a bunch, the Aladdin theater, remember that place. 

0:02:36 - Speaker 4

Yeah, it's an awesome theater. 

0:02:37 - Speaker 2

Yeah, it's great Yeah. 

0:02:39 - Speaker 4

Yeah, it was. It was a cool room. It was fun to play that. We'd love to have you back there with your your current gig. So it would be yeah well, it would be great. 

0:02:48 - Speaker 2

It would be great. Things have changed for the live music business. Unfortunately, Do it for the most true. 

0:02:56 - Speaker 1

Yeah, so for now, the tour, the tour that you're doing In Toronto and like Southern Ontario, yeah, is that? is that what we're expecting to see for now, or will there be more dates in the future? 

0:03:10 - Speaker 2

I mean it's still. It's still up in the air. I I'm certainly not averse to doing more dates, but we, you know, yeah, but, but we'll, but we'll wait and see. You know it's it's it's not an easy proposition. Taking the show on the road, i mean the expenses are kind of through the roof from, just in terms of putting the boys up. That's why we're staying pretty close to home. To start, not only on my band leader now, but I'm also a father. My, my youngest son, is Playing bass in the group and he's got a day job, so I got to get him back. It would be irresponsible for for me to have him run away to the circus like I did, you know. But what it needs to be seen, you know it remains to be seen. 

0:04:03 - Speaker 1

So how is that turn? turning around to your left or right and seeing your son, you know, in your familiar spot? 

0:04:08 - Speaker 2

It's, it's, it's, it's pretty great, i gotta say it's pretty great. He's a On his own. He is an amazing musician. All my, all my kids can play, but but he, this one's got a particular Ear and talent Guitar and piano or his principal instruments. He's not really a bass player But he can play just about anything. He's just one of these kids that can hear a melody on the radio or on record and sit down the piano and play it back to you. So, on that regard, it's really, really great to see him actually playing the. The flip side of it is as a He's a singer, songwriter in his own right and it's in the process of finishing a record that he did while he was at university, mcgill. 

And it's tough, you know, it's tough for young kids starting out today to get that, to get that leg up. 

You know that opportunity to that a group like ours had, you know where we, you know We were able to start playing gigs while we were in school, you know, and and kind of built it up from there very, very, very organically. 

We got better as we played more and and and as we played more, more people came and Then we got more gigs and it sort of snowballed from there and, like we like most, we started as a cover band And, crazily enough, like back in the 80s when we were playing, they didn't really want original artists in the clubs in Canada. So we would, you know, we would we were playing mostly kind of B sides of old stone songs and pre things and Kinks and stuff like that and then thrown in on, and so when we played at our song we said, oh that's, you know, that's from an old Damn record from from 1967, just absolutely bullshitting our way because there's some clubs that you had to write down your set list, make sure you weren't playing original material, bizarre. So. So now it's yeah, it's just a different scene. I'd love to see him working and playing, making it, taking a go at it. 

0:06:18 - Speaker 4

Yeah, i kind of feel like this day and age to Make it in a band and get on an actual tour That's further away than your closest region, it's like, it's almost like becoming a professional athlete. Yeah, you know, it's just like your chance. Yeah, getting that notoriety and getting embraced and carried through it, it's, it's just tougher. I have a close, close cousin of mine is in a band here in Portland and They're going at it so hard and you know they're lucky to get, i don't know, the six, six or eight West Coast swing. Yeah, and happy about it, but I tell you the cost for them and all that. Just like you said, it's, it's, it's, it's a tough, that's a tough go. 

0:06:58 - Speaker 2

Yeah, it's, it's. It's very much the same here. It's like anything, you know it, that You put a group together, you just, you get that, jones, you know, you do it for the love of it, and if you see a little glimpse of light at the end of the tunnel, it's enough to keep you going. Right, the one gig leads to the next, the next, but, but, boy, if you get continued roadblocks thrown up against you, it's a little demoralizing. 

And certainly up in Canada the live music scene Was in a tough spot even before COVID, and COVID really, just, you know, cut the head off the vampire It was. It was just made it so, so difficult, particularly at the at the early stage gigs, like in most downtown cores They've been. You know, the small rooms where it would be your first gig when you came to Winnipeg, or your first gig when you came to London, ontario, those rooms don't exist anymore. Yeah, you know, in fact I was talking to my agent a little while ago and Again, it's been a while since I've been out to Western Canada But he was saying that there's not really a gig in Vancouver and Calgary, you know, you know, in a 500 seat capacity and that's, and that's tough when you're just coming through town for the first time. I mean it's tough is on a regional level. If you're a young band story or a colonial, let alone From Kingston, ontario, you know, which is a real shame. I mean, the great thing about being from Canada, you know I The biggest obstacle to touring in this country Is actually our greatest assets, the sheer size of the country. 

You know, once you, once you kind of break out of your region and play in the crap little clubs around your hometown, then you've got eight, ten, twelve hours in some cases driving in between The, the gigs and you learn really early and really really quickly How to play. You know an empty room on a Tuesday night and a shithole on a Wednesday night With the object of getting to a win, a peg, you know, for Friday and Saturday night and maybe selling some tickets. You either You either fall in love with the lifestyle and the guys in your group or the gals in your group is the case. Maybe you're you bust up before you get you out of our problem, yeah, ontario. And so you get a lot of hearty souls that are doing it and then in the meantime, during all the traveling, you just develop this rapport with your bandmates and if you're a composer at all, it's great. 

You have so much time sitting in the band or sitting hotel room. You, just you're right, shoot the shit and Become what you become. It's true for musicians, it's true for crew people in this country as well. You know, you look at any international group and their crews are populated by Canadians. Because they have that experience, you learn how to travel. You know, get along with people in a confined space of a Band or tour bus, and it's a real asset that we have. The, fortunately, is getting more and more difficult. 

0:10:17 - Speaker 3

It's a bummer, because I love you guys you guys own your, i mean, and I we know this. I know this because We've pretty much gone through the, the majority of the discography, at least for the hip, and You guys really honed your skills of those Tuesday, wednesday night shittles, yeah, that you're playing To get you know, you can either take those is like Oh man, there's, there's five people here. What do we do? Like let's, let's, let's, let's treat it like a really tight rehearsal. Yeah, you know, whatever, and it it shows, at least from my perspective, on those records, those early records, and like to you guys just peak and just, you know, coast at 35,000 feet, so to speak. 

But it's funny you mentioned about the touring scene because I live in Malaga, i grew up in Southern California but I live in Malaga, spain and I We had a record come out last year and we're getting ready to do a second record And it's in the city center. They don't want anything original, they want stones, beatles, you know, maybe a couple Zeppelin tunes thrown in. They don't, they don't want they, they want cover bands, that's all they want. 

0:11:39 - Speaker 2

Yeah yeah, it's, it's tough, it's, it's a funny time And in a lot of ways I think it's a kind of a dangerous time from a cultural perspective. I mean, i, i'm a Stones fan and I'm a Beatles fan and I'm Zeppelin fan, you know, got it second hand from older brothers and sisters, you know. But but I, honestly, you know, i honestly believe that every generation needs their own stones. They need their. They need, like I grew up on the clash, right, you know, and the jam and and that was I was able to define Myself away from older brothers and sisters because of the tunes that I was like. And then, you know, and I've been Quite honestly, i've been waiting around for the next Nirvana and honest believing in my heart that's somewhere in the world, in some mom and dad's basement, there is the next Nirvana, working it and learning how to do it. I just, i really honestly believe it. I mean, again, i we're very fortunate Over the course of our career, touring, you know, we have Mums and dads that are bringing their kids to the, to our shows, and now those kids are, you know, so great, right, stealing to the hip and stuff, which is awesome. 

But but I worry, we're For Canada anyway, where that next hip is actually gonna come from. You know, and it's again, i think it's a cultural thing and, and you know, into your point about the Learning how to play the empty rooms, i mean That's what allowed us to. We were back and forth across Canada a number of times before we got the opportunity to Make that left turn and British Columbia and start playing in the United States, and it was literally like starting over. So by that point we were playing like larger clubs and doing really, really well. And then You know, you go down to Seattle and you're back to, you know, 20 to 50 people and and It's actually it's really informed our career. You know, we learned really early on to play to each other, it totally, and and how to play on stage and we always had this mantra we learned to play The hockey rinks like they were clubs and we learned to play the clubs like they were hockey rinks. You know, and Cool, cool. 

0:14:08 - Speaker 4

I love it. 

0:14:08 - Speaker 2

And we were really. We were also really really fortunate that we would go to a region like the Pacific Northwest In the States and, you know, at the club live and you could look out and you could see familiar faces, the folks that were really into it, like maybe it actually bought the records and you can see them in the first couple rows and and It was the same when we started in Canada. So we would change up the set every night. You know, try to throw in as many different tunes and we wouldn't open with the same tune, we wouldn't close with the same tune and to make it look like we were Not even look like we were trying, we were really trying to entertain these folks. You know, and you guys are all music fans and there's nothing worse than you know, you catch an act and you catch the, the acclater and the tour and it's like Hello Cleveland on the teleprompter. 

You know yes, agreed, agreed 100% and it's kind of like If you avoid phoning it in, consciously avoid phoning it in, then you're not phoning it in and You're not thinking about your laundry or the fight you just had with your partner. While you're out on the road You're actually engaged with your fellow musicians and particularly with the crowd. And, yeah, it's important to me as a music fan, you know, i just think it's really when there's still groups out there, you know, at the rink level, that do that, you know. 

0:15:29 - Speaker 4

Yeah, yeah, to comment quickly about your, your wish for the new Nirvana, like I think it's happening in in these sub capsules, like these regional areas. You know, i, i, i hear about bands doing a West Coast tour and doing in small clubs, smallish clubs, but also doing house parties along the way. And When I first heard this one band, i followed when I first heard they were doing, you know, in between, let's say, san Francisco and Eugene, they're doing house parties in Arcada, california, or Eugene, you know, south of Eugene or in Ashland is like. So they're doing house parties, like people are showing up and getting shit-faced and rocking out and in. To me It was kind of brilliant. 

It was very old-school feeling like you know, i remember stuff like this happening in the 80s, but at the same time I'm like, Well, if that's a way to hustle and get more fans to support you know, your, your venue climb, then that's that's just amazing. So I think it's happening with, you know, some of these kind of post-punk, kind of yeah, yeah, art rock bands. You know it's, it's happening, but it's it's so, it's so capsule-based, yeah. 

0:16:45 - Speaker 2

Yeah. 

0:16:46 - Speaker 4

So to break out of that, it's pretty tough. 

0:16:48 - Speaker 2

Yeah, i mean that that's my understanding of it as well that the first show I've got is part of a festival in our hometown called Spring Reverb and we again, it's a very, very local promoter who who's, you know? God bless them there. They're all in on live performance and they're they're they're like the Don Quixote's of music in this particular region And they'll do whatever it takes and there's tons of groups on the bill That I haven't heard before. It's and it's an exciting, you know, and it's a. It's a really, really good thing. But I think for your average music consumer, my age, it's like No one's trying to Pitch new music to me in any way. You know which is a real kind of drag. I, i have the dough to buy the records, but I don't know which ones to buy. You know, and it's I Still it's a. It's a bit of a problem. 

0:17:47 - Speaker 4

I'd love to send you a list. I'm bugging these two guys all the time. Hey, you gotta. You know. I told these guys all the time Hey, please, listen to this. There's one band in particular. I told them three times listen to it. Just make me a playlist. Maybe I'll listen to it later. 

0:18:02 - Speaker 2

And it's cool. It's never been easier to produce a record, like again when I started. Recording was expensive and you had to have a deal to do it and Someone had to invest the money in it, which, again, was maybe part of the advantage that we had that we did have some resources behind us with our first, even with our first DP, private resources and but you know that that patronage system is, i mean, kind of goes back to the Mozart days where you know folks that had the resources were able to Have house concerts, just happened to be in Palaces, right, right, but right, it's a good thing. I mean. I think you know the kids will find a way. It's just, it's just how, how to take it to the next level. I mean we, when we first started touring the States You know it was still regional radio was a real big deal. 

It was just before Ronald Reagan and the clear channel days kind of ruined it so many ways where you And it's a real shame as a music fan and as an artist you know you could be stiffen in one market, but then you go to like Austin, texas, for us it's like holy crap, where did all these people come from? And then you find out that a local DJ's got an affection for the band and they're kind of, they're kind of paving the road for you in advance And it was such a great. It was a great time. It was a great time for music. 

0:19:48 - Speaker 3

It's about what's played to you, gord, because I mean I just want to you talk. You mentioned the Clear Channel thing, but it's about what you're exposed to. Like you said, the DJ, that it's got a, that's got a. You know, it's got an affinity for your band. I know, joke. I'm in California right now because I'm visiting family out here And I saw two of my best friends. One flew out from Texas, the other one lives out and he's got to play some Mexico but he works the train. And so we all met up and on separate occasions I told him about this podcast and we listened to, to some hip tunes and they're like who the fuck are these guys? And and like immediate fans. Strangely enough, and because we have the same like taste in music, the three of us we grew up we played in bands the others were five, but never, never were exposed to it. Yeah, Yeah. 

Never had it. 

0:20:44 - Speaker 2

Yeah, we would get that a lot over the course of our career. You know, we've always benefited from really passionate fans that that they would, they would get it, and just the old fashioned word of mouth thing, you know, we would come back through town like 18 months later and they, they would have brought all their friends and maybe got turned into some more corded music, but then they would see the band play live and it would all make sense Like live music is supposed to. It's just like, oh, i didn't even think of that song on the record, but when they play it it's like, ah, you know, that's my new favorite song. And then it grew just really, really organically. You know, we, we never really had the benefit in the United States of a single that was big enough to open up like a national type of market, but we, we, we maintained this ability to tour around this, the circumference of the country, you know, and, um, yeah, and you know, wherever they had a professional hockey team, we would do pretty good, you know, right? 

0:21:56 - Speaker 4

So And I will say, though, i read, i read, i read you know something about you guys playing the, the Fillmore in the nineties in San Francisco, and there was some comment. It was like, yeah, they always do, they always have a big crowd here because every Canadian in California comes to the show, you know. so it's, it's hard to, it was hard to get tickets because all the Canadians would show up. So, you know, i love, i love the story of how everything happened organically and you guys kind of started from playing small clubs and what have you, and cover songs and how it. that rise is just totally remarkable And it's, you know, it's obviously worthy of of sharing, which we're we're doing now. I I gotta fast forward and ask about this. this uh, air stream, though, and you guys recording and you tell us about that. 

So cool. We have our own fantasy in our minds right now. Well, it was really it was a. 

0:22:54 - Speaker 2

Again, it's a kind of a a, a, a, a, a, a, a, a, a, a, a. It's a COVID based reality that that I faced, sure, the group myself, we, we own a recording studio in in Bath, ontario. It's a residential studio. So, um, COVID, it was really super busy because you know, artists, musicians, could, you could test up and and you'd live there. You didn't have to go anywhere and and as long as our, our engineer, um, you know, was safe. 

It was, so I I couldn't get into it, you know, like I just couldn't. It was booked out and and, um, i had, uh, you know, i'd I'd put out a record called taxi dancers previously And it's one of those things like I had tunes left over from writing with the hip and stuff. She got years and years to do that and then. But COVID was great for me as a, as a songwriter. I was locked down in my home with my family and um, and I was writing and using the guitar and and and writing lyrics as my means of journalism journaling really And I wrote this record fairly quickly. 

My buddy James, who played with me a bunch, i produced a bunch of records for his band, uh, peterborough, called the Spades, and so we've just always had a really close relationship, And he is an engineer and producer in Peterborough, um, and had this great idea this summer, before COVID, and he bought up an Airstream trailer And he rigged it up so that he was able to strip down his gear from his studio space and transplant everything into the airstream and go completely mobile So he could record live shows and, you know, any sort of situational stuff which I thought was a genius idea. And then COVID hit and it kind of you know, it kind of went on the back burner and then we got talking and said, you know I got enough tunes for a record And you know he played with me on the first one and engineered, so we want to try to do it again. And so he literally recorded it in my house. We parked the airstream in the driveway and ran a snake underneath my garage door and plugged in And it was kind of great. I hoofed my family out and it was just. It was just James and Jeff Housechuck and I are a drummer And we kind of stripped things down. 

We learned all the songs as a three piece, you know, with me playing the bass and then and then tracked kind of pretty much live And Jeff and I would play together and put the bed tracks down to like a scratch guitar, scratch, vocal and kind of did it like that. It was really kind of wicked and and not only in office is recording is, you know. We learned the songs and we kind of had all the beds done in like three, four days. It was just bang bang bang, kind of like that It was. It was a lot of fun, like kind of old school recording. You know We trying to almost emulate it doing its 16 track. You know, really minimal overdubs and just to get that sound. You know we spent the majority of our time miking up the drum kit, you know, so that we could. You know the Jeff Housechuck the drummer is just a fantastic player, jazz guy, and he decided to slum it with us rock and rollers And he brought that, that complexity and the touch where you could actually hear the notes on the drums. 

0:26:48 - Speaker 4

Yeah, yeah. 

0:26:49 - Speaker 2

I could hear it. That's great. We actually ran into him. Ironically, james and I were supporting the group classic Canadian story. but our very first show of the tour that we were doing supporting the troops got snowed out. We got to the bottom of George and Bay and the road was closed. It was drifted in. and so we drove back down to Toronto and went to this great club called the Rex Jazz Club And and Jeff was playing with this organ trio you know like real kind of like just fantastic player and had a couple beers with him after and said, hey, do you want to want to do this If I ever make another record? he said yeah, tommy, and the rest is kind of his. Yeah, it's wicked, yeah actually the phone. 

0:27:34 - Speaker 3

Yeah, Yeah, No, like, for example, the song over and over. I think it is Yeah. 

Yeah you can tell. I mean you can tell throughout the record, but like that one in particular. Like, however, because once you lay down your initial, you know your drums and bass, your guitar, your bones you start playing with arrangements. And that I was wondering, like thinking about your process, you know how you go about recording and once you get stuff down, but the way you explain the Airstream that had to have promoted like some level of like creativity, like where you see something you're like let's do this, let's try this, because you're not sitting in a traditional studio, yeah, you know, with four walls, yeah, and a window and like do you know what I'm saying? Does that? Yeah? 

0:28:29 - Speaker 2

no, 100% That's. That's exactly what we were able to do, you know, within the confines of the house, like I have a small home studio, i have an open house, so I got curtains everywhere to kind of allow, you know, for not only privacy but to kind of the dead and the sound and stuff. We had to be creative with what we were doing and trying to figure out where we're going to put drums and what we're going to do with bass. And it was literally because of the way Jeff played And my natural affinity for records that were done in the 70s that we wanted to, instead of getting the big, boomy Bob Rock kind of like we're going to play in the cabin, smash, smash, smash drum kit, we wanted to, like Jeff plays with jazz sticks, that's, you know it's with. 

Well, let's put them in this curtained off room where everything's totally dead and and do the do the Jeff Emmerich, you know and kind of play and play and play and move the mic and move the stand until we got the kit sounding perfectly. And then in the meantime, you know, we're rehearsing And James is playing with us, and then we, you know, we get tempos down and stuff and, and you know, do a scratch acoustic guitar and vocal. So we know the arrangement And then Jeff or James would go out into the air stream and we counted off and Jeff and I would play together, you know. And the bass amp is elsewhere in the house So there's no chance of it bleeding in, but we didn't have walls or rooms or anything like that. And again, it was the same process. Most of the bass is not DI, it's, it's. 

I've got an old, you know, portaflex B15 from 1965, the James Jamerson right And it was kind of like you stick the right mic in front of it And it sounds like, it sounds like Motown, you know, and and that's that's kind of the way we get it And obviously I knew the tunes real well And Jeff is just such a good enough player. That was like, oh, you know, you kind of get it in one or two takes and go out and listen to it. And then again is a cool thing that we go to the driveway, to the air stream, which was really our control room, and you listen to it all stripped away or it's just bass and drums And it's kind of like, oh, it's got even without a lyric and without a guitar or even a music Or even a melody. It's like, oh, this sounds pretty wicked. 

It's kind of the inverse of being a songwriter where I've always believed if you can sing a song around a campfire, and it can, and it can exist on that level and subsist on that level. And it's like, oh, okay, this is a decent song. And we kind of combined those two ethos and to make this record And it was again, it was just because of the circumstances of making it that you know, we all had to be tested up And we, you know, it was just the three of us and we were also living together and eating together and drinking beer together and playing pool pool table in one part of my house And it was great. It's like it's the band camp, you know it's the hardest way to kill time 

0:31:49 - Speaker 1

you know, sure, gord, i have a question from somebody on Twitter. We let them know that we were meeting with you And he said it's Craig Rogers from Twitter. And he said, curious if he curious of Gord finds himself writing on guitar or bass more often, or a mixture both with this album and when he wrote for the hip. His bass playing is very melodic, so does he have a chord progression in mind first and then works out a baseline, or does the bass melody come first? 

0:32:17 - Speaker 2

I primarily write on on guitar, for sure, you know, certainly with the hit, even the songs I would bring to the hip, i would have written riffs and started out on acoustic guitar, not all the time Like they were. on occasion I would try to do something on bass. Bass is kind of tough to sit around on your own. Keep yourself entertained. You know you can play along and stuff. But certainly like my main contributions writing with the hip because we had developed that cooperative songwriting style where you know no one in the group would bring a finished idea to the band. You know we would basically throw out a riff, be it a guitar riff, in some cases a bass riff, and we would start playing together And Gord would start putting a melody on top and a lyric on top And it was great that way. As the bass player you'd like oh here are all these holes all like add melody in here. Or in a lot of cases it was from the middle of songs while you were jamming or sound checks. You know we were always playing And but yeah, it was great fun. 

I miss making music with those guys big time because it was as a songwriter. It's different now, like you, never when you're, when I was in the hip, you never had to finish an idea And even if you had writers, if you were stuck with something, we would get together frequently And someone always had something new and fresh And that would, you know, cause a light bulb to come on And it would suggest a change that maybe the guy that brought the briefing hadn't thought of it Meanwhile, gord just being Gord, he would be riffing on top and his melody would suggest a change that he would make. And it was great. 

I loved being in that band And I miss it because it's like you know, like, yeah, you start, i still start the same way, i start with the riff, but man, it takes a lot longer, you know, to come up with complimentary parts and the lyrics and stuff. And again, i credit Gord. I really, you know, i tried to bring some heft to the lyrics that I was writing for this project and my previous one as well, cause he's, you know, he set a pretty high bar as a songwriter you know and can't really you can't really put out a solo record I've said this a few times, but it's absolutely true Like you can't write. 

Yummy, yummy, yummy. I've got love in my tummy, you know, and feel good about yourself with some of the lyrics that Gord has, Yeah. So yeah, the writing's a, it's a. It's a, it's a fun, it's a fun process. I'm not a sit down and write every day kind of guy. I don't do the Stephen King and lock myself in my studio for 2,500 words a day. You know, I kind of sit around and watch hockey playoffs or baseball playoffs and with the guitar in my lap and noodling all the while, and then you're like, oh, and The cascade begins from there. You know, kind of not really paying attention to either, and It's amazing if you're receptive to the idea, It'll come from somewhere. It's, it's great fun, It's great fun. 

0:35:47 - Speaker 1

Gordon, i'm so thrilled that you laid down in 2020, you laid down get back again. Yeah, so it was. So we have a like a proper studio version of that song, because I gotta tell you, that was one of the hip songs that I came to early on and in my young hip career, and I was like whoa, this is something that's not on the record. It's like this is like a bootleg, or this is so cool And I gotta I gotta wonder, though, how did it never end up on a record like that? It's such a phenomenal song. 

0:36:17 - Speaker 2

It's, it's a funny one. I mean that it was That's. It's an old song. I mean that was back from the day when we were we were kind of clubbing it, he just kind of in southeastern Ontario and and we were all learning how to write and we were Writing a little bit together. You know Gord Downey and I would and Paul were living together at a student house But yeah, and it it was kind of a mainstay when we would play live and it was in the running, you know for for up to here for sure as a song. 

But interestingly enough we We recorded a demo version of it. That was just dynamite. Like You know, the performance across the board is great, particularly by Gord, like he just sang the song beautifully. And it was one of those circumstances where the The, the guy that was helping us the demo, said, oh, that was really really great, one more time just like that and we'll run tape. And we're like, oh, what do you mean? you weren't running tape? and oh, tried it again and collectively we were so disappointed. You know that I don't know we never, we never seemed to Capture that vibe that we had on this unrecorded Demo. 

You know this is again, we were really young, we were still learning how to play in the studio where it sounded like us and Again it sounds old-fashioned and everything, but it was back in the day We recorded live like we would, you know, put the bass somewhere and you know, drums are in a booth and gorge in a booth And we were learning how to do it, but still get that feeling like with headphones on that, we know, you know It sounds like awesome. We're listening to each other Again and then, yeah, it just never. It just never made the cut. After that, i guess I mean there is a version of it somewhere, at least I thought we had reported it for up to here There is some kind of version of it somewhere. 

We're finding it Odd with. We've always been signed to Universal in various shapes or forms. We were signed to MCA back in the day. But the tracking down on old tapes, a little demo stuff And studio stuff, is proving very, very challenging from an archival point of view. Like stuff is You'd think it'd be, you know, t, hip or Or it would be alphabetized or the Dewey decimal system or something, but it seems pretty random and stuff is in different storage area Areas and our drummer John has just been. He's just been like a dog on a bone tracking down Material and just relentless trying to find stuff. 

We kind of process kind of started for us with Road apples and but we were still. We were only able to manage to find Two-thirds of the tapes. You'd think they'd all be somewhere together. You know, when we heard about that fire on the universal lot we hit the panic button like right. You know, wow is our? do you think some our stuff is in there? and then read the list in the paper and there was our name. You know, in between Mel Torme and the down Trop family singers, you know it's like oh crap, i hope we do, because that, that, because, to your point, that's exactly the kind of stuff that we were looking for. Turns out there were dupes and some of its backup in Canada. Definitely Yeah, it's a. 

0:40:11 - Speaker 3

I just I'd be remiss if I didn't ask a gear question What, what, what, what, what? what type of guitar do you do you like to sit in? Because when you're sitting watching a ball game and you're just noodling or you're just whatever like what's your go-to? 

0:40:26 - Speaker 2

I, honestly, i've got a. I've got a few favorites, in fact, like there's a song on this, this latest record called change your mind, i I bought a. I bought an old Martin D18, saw it. I bought it sight unseen because it's just always wandered one and down. I Picked it up and Literally pulled it out of the case and it became my main guitar for about a week and that was that that. I Written that song on it within Got probably a day or two, you know it. Just it felt right, sounded right. 

0:41:08 - Speaker 1

What's that? there's sort of like a dreamy stony sound on that song. 

0:41:11 - Speaker 2

Yeah, and I would credit the guitar. You know, i guess I I Have a lot of, i've got a lot of instruments laying around the house and I will, you know, i will, i'll trick myself and I'll keep one guitar With a capo on the second fret, you know, and thereby changing the key of the song. But you just, in certain cases, different chord shapes and different you know, composite chords, like you know, a D over G or whatever to sound different in a different key or it'll trigger something melodically and then that will Send it in a different direction. So I I kind of rotate them in and out. You know I I Got an old the first kind of cool guitar about was an old J 160, you know mid 50s old beaver of a guitar, and it's always out on a stand somewhere and I'll Pick it up and I'm playing. 

Right now I'm going out and playing this old, the ES 125, like a, like a hollow-bodied arched top, electric and And it's been laying around and it's just, you know It sounds kind of got a little more sound to it. 

Yeah, i just kind of believe in the magic of it. You know that it's just like oh, this, you know it's rules right and sounds right in the. The tones of these older instruments, to my ear anyway, are so nuanced that that each one has a different character and Suggests different things, you know, and some chords sound better on them than others. And yeah, it's so, so it's cool. I like I say, i trick myself and I mix it up. 

0:42:50 - Speaker 3

That's the per. That's the perfect answer. Had you said this is the guitar, that's trick Bs and me bulls it me right on that school Yeah my question was more what kind of beer we were you drinking where you were recording and the Not as young as I used to be, so I. 

0:43:13 - Speaker 2

There's always a case of the in this kicking around here, for sure, but I'm more of a light beer guy now. Unfortunately, i just I can't afford to Drink the loaf of bread like I used to when I was a young man. Live to tell it. 

0:43:29 - Speaker 4

I'm right there with you. Yeah, i'm right there with you, gord. 

0:43:33 - Speaker 2

Yeah, I'm pretty much a logger and a Guinness guy. 

0:43:36 - Speaker 4

Yeah, sorry. 

0:43:49 - Speaker 1

Well, I'd love to talk more about the. I'd love to talk more about the. The record sure. You gotta ask the video to man and we haven't touched. We haven't even touched on the video. 

0:43:59 - Speaker 2

Yeah, I'm glad you like it. I, i yeah, that's a friend of my, my youngest son's It's aspiring filmmaker and videographer and, obviously, videos on what there used to be. I'm like I'm a survivor of the MTV era where You just saw your recoupable account go up and up and up with your record company because you'd spend more money making videos And you would make the record. But it's. But he's a creative young guy having feral is his name and I I Was reading the newspaper And there was an article I can't think this one Facebook change just named in Metta, and Mr Zuckerberg had proclaimed that the future of the world, the future of reality, is going to be virtual reality. 

And They ran a little clip of the journalists were testing it out with the, with those goggles or that, whatever that is. I said, wow, this is the future of reality. The graphics are kind of shitty, you know, and and And I bounced it off heaven and I want to make this video about these tech guys that are kind of changing the way we interact with each other and getting rich in the process. And could we make a virtual reality kind of video for this song about kind of love in the VR world? and and man he ran with it. He was like I know exactly what you're talking about. 

0:45:34 - Speaker 3

And it's clear who everybody is. It's very clear who everybody is. 

0:45:37 - Speaker 2

He ran into a little problem with the record. Here it was, it was clear, still in the legal department And hit the panic button real quick. But we just, i think. 

0:45:52 - Speaker 4

You know, it's a good thing when that happens And it was fun. 

0:45:55 - Speaker 2

The song I think Google Guy has a bit of a sense of humor to it And yeah, i got when all that stuff was going on, when they were talking about how their algorithm there were purports to bring people together was actually the algorithm itself was based on making people butt heads, because there was more engagement when the conversation was contentious, as opposed to fluffy, puffy stuff. And that young woman, francis Hogan, really kind of went official with it. She kind of blew the whistle on these, these guys, and I thought right away to myself like oh, what would what would Joe Strummer do with a concept like this? You know, like you wouldn't know all have very much and try to call the guy out. And it was actually the last song I wrote for the record And it came real, real quick because I kind of got my dander up just a little bit. 

I'm not a social media guy. I understand how people do it. It's a great way to stay in touch with friends all over the world and stuff, and I get it. But God, imagine if you're Instagramming or Facebooking with your pals. But there was a artificial intelligence kind of trying to get you guys to fight about something you may have said to each other in high school and dragging that your relationship through them. 

0:47:21 - Speaker 3

I'm sure it's already there. 

0:47:22 - Speaker 2

Exactly, you know. I mean, i'm in a. I was in a band with my high school friends and, oh my God, we fought about crap that was 35 years old. You know, sometimes it was kind of anyway, yeah, so I yeah anyway, i glad you liked the video. It was fun to do. I'm going to do a follow up. He's one of them for call Yeah, but I don't know, i haven't seen it, yet I'm dying. He's okay. I'll be anxious to check that out. 

0:47:56 - Speaker 4

I enjoyed the video and the song and the song. Honestly it brought me. There's this kind of 80s feel to it, like it's it's interesting kind of the juxtaposition of I don't know had money for nothing Yeah yeah, and then what? Yeah, I'm not, i'm not sure, yeah it's. Yeah, it's reminded me of I don't know a couple of things, but anyways, the the video is great, and it was just I love the personification of the characters, and it's just. 

I just really related it. I was, i was in, i was in Italy recently. We were staying with family and I'm kind of a handy guy, so I was helping them do some stuff and I said, well, can you work and we get this? you know, we needed something in particular. My aunt there says, well, we could just order it on Amazon, and sure enough it was there the next day. And I'm like I mean Italy and Jeff, jeff, still knocking on the front door delivering, yeah yeah, it's not so I conveniently unbelievable. 

0:48:57 - Speaker 2

I totally understood. And obviously the pandemic Unbelievable fall for those companies because all the stores are closed, you know, but Massive. You know I'm from a small, small ish city. You know we got 150,000, 200,000 people here. You know, if the if you don't support your local hardware store owner, who may very well be your neighbor down the street, you know it's, it's kind of like the kind of the 100 mile Right Diet approach to living. You know where you live in a community and if you got a couple Extra bucks for things like I get it like people go to the big box stores to buy 10,000 rolls of toilet paper and junk like that. But but you know I go to the local record store and my local stereo shop and my local guitar store and we shop at a small little market And it's important, you know it's. It's important if, if the pandemic taught us anything, it was to kind of value community Because we would support each other more. And meanwhile, that's what I love to do. 

Devon's portrayal of the of. They call themselves founders. I understand the founders in the orbiting space station above, above the world, that slowly falling apart. And frankly, that's what I try to articulate in the, in the lyric of the songs, that we all know the reason, and the reason is really us. It's up to us, you know, to build community and to support community And and everyone wants to save a buck. I understand that stuff, but at what cost, you know. And what cost? Yeah, in many cases, like mm. Hmm, there's a lot of each cylinder vans all over North America as we speak, idling in people's driveways dropping off stuff that they ordered on Amazon last night, you know, and there's a cost to that, ever, you know. And that's what I was trying to articulate anyway, yeah, yeah. 

0:51:21 - Speaker 4

What I notice nowadays on, i mean, i'm in Portland, we're in the city, you know, downtown Portland is about three miles away, and what I notice is, when we don't have any deliveries, like, i'll just stop, i'm mostly home. I'll stop in the house and think, boy, it's actually been quiet today. You know it's. You have to wait for the white, the white noise to go away in order to I have a Kingston question for you. 

0:51:45 - Speaker 1

These gentlemen we are recording, we're doing a live finale for this podcast in Toronto on September 1st. So Pete is coming from Spain and Tim is coming from Portland and we're doing it at the rec room in Toronto. We're doing like a live podcast. There's going to be a standup comedian, There's going to be a hip tribute band, et cetera. But as part of their coming to Toronto, I've booked us a day in Kingston and I booked an Airbnb just yesterday. What are some? what are some hip, hip must see spots, Some you mentioned a record store earlier, a guitar store. What are some cool spots that we should go when we're? Yeah, I got to hit the store. 

0:52:29 - Speaker 2

You know what there's there's. so there's so many of it like this. First off, about Kingston. You know I'm born and bred and raised here. 

I went to university here and you know, like most young men, like Rob Baker and I, grew up across the street from each other And all through high school together and you know, gordon, Paul and I lived together in university And John was a little bit younger than us behind us, but all went to the same high school Parents, on to each other, and nonetheless, like most young men, we couldn't wait to shape the dust off this one horse town off our boots. You know, move on, or big city, and as it turned out, you know, our career took this home, over Europe and North America and traveling all the time And we kept coming back home And because it was home, you kind of learn to fall in love with where you're from By leaving it, you know, and you kind of realize, oh, there's no better place to come back to. And it still is a really, it's a really special place. Even even with the, the dearth of of live music venues and various cities and stuff, we still have five, six places in town that run live entertainment nightly. You know, and I think that's a big reason Kingston is as it is is produce so many great recording artists, you know Sarah Harmer, headstones and the Glorious Suns, and because they all came up the way I came up, you know, you kind of start playing in downtown Kingston and you play the bigger bar and the bigger bar after that. So there's, there's some great live music venues. The place I'm playing in town is called the, called the the Brune factory, which is kind of a multi multimedia approach to live. It's a film place, it's comedy, it's an office building for the local promoter during the day And it's, it's great. It's very DIY in town, you know it's. Also Kingston is an interesting place because it's a university town, a very large, very good university here. So we kind of punch above our weight for for restaurants and actually activities to do. We have a local symphony orchestra to symphony halls. 

You know it's just there's, it's a, it's a really special place And it's also it's right at the confluence of Lake Ontario and the St Lawrence River. So it's where the Great Lakes kind of funnel all down and the area just east of us is the start of the Thousand Islands, which is again it's we kind of take it for granted. But you guys coming from out of town, you know it's worth jumping on a, on a boat, and you've never seen anything like it. It's, it's just absolutely spectacular, you know, and it's, yeah, it's just really, really cool. 

There's so many great rooms. You know, the club that we played our first gig was called the the toucan, but it still exists, you know, and it's still still there. It's not a great place to see music or play music, but it's still running live. It's pretty wicked. There's another place called the mansion. That that they're again. They're fighting the good fight. They're trying to bring acts in all the time and get people a place to play. You know, and it's in, it's kind of great. It's kind of a great place to be. I feel very comfortable here. You guys are like it. 

0:56:15 - Speaker 3

If people, if they have places to play there and there's places that they make available, i mean there's. there's no doubt that's why the city thrives. 

0:56:25 - Speaker 2

I really think so as well, because people, obviously they people get used to live music being a viable option. You know, that was something that we experienced as young musicians First time we went to Europe. You know, it was again like starting over. But we got to the Netherlands And it was like that was. It was the case of like, where are all these people come from? how do they? but it's because the the nature of the culture and it was back in the CD days, when they were Ridiculously expensive, you know. So you'd have to pony up whatever 30, 40 Gelder's they were called back then so people would literally would go see a band play live before they would pull me up for the record, which was perfect for a group like us, because you know they huh, there are all these Magnificently tall people standing there and all speaking English, hang them boards, every word, yeah, it was great. It's all like. That's all about the amazing thing. I am such a such a believer. It's just so important. 

0:57:36 - Speaker 1

I I totally feel the song sometimes. Yeah, did you write that? like thinking, live in mind, like, like that feels like a live song. 

0:57:46 - Speaker 2

Yeah, i Did it's, it's, It's for sure, it's. There's an anger to it for sure, and it's it's not the easiest thing when you're sitting by yourself in a pandemic to To write an uptempo song. But like I, like I was seeing earlier, i was using that experience, i would close the sliding doors of our family room and, and, like everybody, there were moments during when I was locked down or where I was Wasn't quite myself. You know I was feeling. You know, being locked down in the middle of the winter in Canada is You get some dark days for sure, not only Physically dark days, but but the mood kind of translates on you and that's that's really what that song's about. 

And and I Attempted to turn that frown upside down and kind of went back to the old punk rock me, and It's basically like a confessional more than anything, because it was true, sometimes I felt like I was losing my mind, you know, and and sometimes you know, weed, weeds legal up here and and and so maybe sometimes I'm they've, you know, smoked a bomber a little too early in the day, you know, or maybe a little Bailey's in my morning coffee just to take the edge off. Even quite confessional about that as well. Much sugar in, yeah. 

0:59:23 - Speaker 3

That's really cool of you sharing my songs with us Share. 

0:59:28 - Speaker 1

I mean, for me it's been. It's been 38 years of you sharing songs with me, so I really appreciate that and Love that you made time for us today, well. 

0:59:39 - Speaker 2

I appreciate that. I appreciate that I'm a music fan as well and I and I I Made music with guys I know really well, guys I love, you know, and and We always took it really, really seriously and we always never took whatever success we may have achieved, we never took that for granted, you know, and we knew it was because of the people that liked our music and that supported the group and we, you know, with the past, you know Gordon Lightfoot. It was also such a huge believer in live performance and the love and respect for his audience. you know We came up, you know, very much the same way, just like getting our getting in front of people and, you know, and thanking them. 

You know, and being truly grateful and trying to allow the music to reflect our growth as people and but our commitment to making really good music and you know I'm I Love it I'm still trying to do it on my own. You know, i'd give anything to have gourd still here and be working my, my normal day job, you know. But but In no small way he still is. You know, he wouldn't have wanted any of us to stop playing, you know, and to stop making music and Yeah, and so I'm kind of doing it to honor him, but it's also it's because it's the only thing I know how to do. I kind of They caught into my, it's my, my yearly cycle of like, oh I'm, you should be making a record soon. I think the song start pouring out. Anyway, i'd go on, but I appreciate you guys for doing this and listening as it is intently, as I Listen to music like that's the way I listen to it too, you know I turn it up. 

1:01:31 - Speaker 3

Yeah, pleasure's our pleasure We've. 

1:01:34 - Speaker 4

we've got great time, so thank you so much. 

1:01:37 - Speaker 2

I'll get a list of places to see in Kingston, and there's some that would be great. It's a pretty, it's a pretty special. It's a pretty special little town. You'll, you'll get the vibe right away. You know, september is a great time of year. Kids are just coming back to school and the and the sailors are still hanging around. It's a touristy town. So there's a. There's a good, it's a good vibe here. It's a nice place to visit. I can't wait. Yeah, i can't wait awesome, awesome. 

1:02:02 - Speaker 1

Well, thank you so much Thanks for a pleasure, guys. 

1:02:06 - Speaker 2

I really really appreciate your time. It's fun. 

1:02:08 - Speaker 3

Yeah, thank you boys. 

1:02:10 - Speaker 2

Okay, take care, we'll see you real soon. Yeah, thank you. 

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Title: That's Grammy shit!

Welcome to this episode where we dive deep into The Tragically Hip's album, Up To Here. Join us as we discuss the band's growth, refinement, and southern rock influences that make this album a memorable piece in their repertoire. We'll also explore the impact of producer Don Smith and the impact this record had on our friends Pete and Tim.

In this episode, we examine standout tracks like "When The Weight Comes Down," as well as the storytelling prowess of Gord Downie in songs like "Trickle Down". We'll also delve into the possible connections between The Tragically Hip and heavy metal bands like Metallica.

Join Pete and JD as they share their thoughts on the darkness found in different parts of Canada and how it influenced The Hip's music. Don't miss this exciting journey into the world of The Tragically Hip!

https://ratethispodcast.com/ghtth

Chapters:

- (0:00:00) - Getting Hip to the Hip

- (0:10:52) - Tragically Hip Album Review

- (0:27:13) - Analyzing Two Songs

- (0:40:10) - Tragic Hip Music Storytelling

- (0:52:59) - Review of the Tragically Hip's Album

- (1:06:56) - Canadian Band's Dark Songwriting Analysis

Keywords: The Tragically Hip, Up To Here, southern rock, Don Smith, album review, Gord Downie, storytelling, Metallica, Canada, music influences

Live tracks featured in the episode:

Blow at High Dough - Barrie ON 1990

Everytime You Go - London ON 1989

Transcript

0:00:00 - Speaker 1

We're now one episode into this grand experiment, and I'm not sure if we've learned anything concrete at this point. I think it's safe to say that the EP surprised Pete and Tim. Going into this, they were under the impression that the hip is a very special band with cultural significance, and the whole nine and Then their first foray into said music Gave them werewolf baby. Now, before you go sending me nasty emails, know that in my heart the EP has a charming place on the mantle. I wouldn't hide from the music on the EP, nor, however, what I seek it out. 

Now, though, we move on to a more honed and refined version of our bar band. from Kingston Up to here is a taste of the South, delivered on the backs of songs that have stood the test of time, Produced by a famed knob turner, Don Smith, who had previously worked with the likes of you, to the traveling willbaries and Keith Richards, to name just a few. At any rate, let's just say, the hip picked up what Don Smith was putting down, and together they birthed the classic. That's what I think anyway. What, though, will our friends Pete and Tim think of up to here on their first listen? Let's find out in this episode of getting hip to the hip. 

0:01:25 - Speaker 2

Long sliced brewery presents getting hip to the hip. 

0:01:35 - Speaker 1

Hey, it's JD here and welcome to getting hip to the hip, a tragically hip podcast. I'm here, as always, with my friends Pete and Tim, and I want to ask them right up front How are you doing, boys? 

0:01:47 - Speaker 3

Doing well, doing great. It's Monday, Monday morning in Portland and there's frost on the ground. 

0:01:52 - Speaker 1

Oh, Really not here. 

0:01:54 - Speaker 3

Yeah, Yeah, Oh, no, no. 

0:01:57 - Speaker 5

Molly is. it's Monday night in Malaga and You know it's a thunderstorm right now outside, so I hope my internet holds up, but It's getting chilly. man, We're definitely in the winter, That's for sure. 

0:02:12 - Speaker 1

Oh god, What does that mean? like 20 degrees. 

0:02:16 - Speaker 5

It's, it's 16 right now. You know that's. Oh I'm trying for you. 

0:02:21 - Speaker 1

What is it here right now? It's four. 

0:02:25 - Speaker 5

Oh god man, No thanks Geez. 

0:02:31 - Speaker 1

I'm a hardy Canadian, for four is good for this time of year, for is like your coat's unzipped and you're drinking a stout. 

0:02:38 - Speaker 5

I can't drink those stouts here. Let me tell you, man, I'm sticking a light beer, That's for sure. 

0:02:43 - Speaker 1

Oh, yeah, I'm, yeah I'm, I'm well into the stouts, That's for sure. So up to here, I believe it's recorded in Memphis. I'm gonna double check that right now. Yep, Memphis, Tennessee, and it's got that sort of muddy southern Field to it. you know it's like a well, It's like a well-worn in pickup truck. you know it's got some, it's got some mud on the sides, Really comfortable to drive. That's what this record is and it comes on the tail of their 87 EP. But in those two years the growth to me anyway seems Market. you know, like there is a market growth in terms of, you know the songwriting and the songwriting, The lyrics in particular. but the but the content, you know is is just a little more Worn in like a great pair of jeans. What do you guys think, Pete? Wow. 

0:03:43 - Speaker 5

Well, you said something in beginning of the Of your kickoff and it's really hard, because I wanted to make this note, because I know that you, there's probably some pretty hardcore hip fans listening to this. so, given the Yeah, given the fact that there's only a week to To listen to these, to really dig into them, you know, I'm just, Basically, on behalf of Tim and myself, begging for forgiveness. you know, don't send hate mail because it's, it's, It's tough, like it's. I know Tim is really a solid music connoisseur, Probably well more than I am, and you know No, but you know he's, he's pretty thoughtful, But, but, but I thought about it too. like, like bands that I really love, like God man, What would I, how, what would my reaction be for listening to two jokers Who never heard this before and have a week to listen to it? you know what? what would they? You know what I'm saying, Tim, Do you do? JD, Do you feel me like I? 

0:04:49 - Speaker 1

I feel like there's daggers toward us, you know first of all, Pete, at getting hip to the hip. calm is where you want to go with your complaints about. No, I'm kidding, but You got to think in terms of context. here everyone gets the conceit of the shell. people got this record, people got their hands on this record And they got to sit with it for a year before the next record came out. 

0:05:15 - Speaker 5

So yeah, yeah, you know, Just asking for forgiveness, but all in all, to what your your your. your point was JD, I mean I did. I know we're gonna go song by song, but I just want to say I I started off with this record. This is kind of the same way I did the other one, the last EP. first I started off on my computer, was not feeling it Pop the pop the earbuds in, went for a run with it, Really started to warm up to it and then I took it out in the car and and JD, you've been in my cars, You know that's got a premium audio sound system in it Yeah and oh man, Oh man, It is. 

I want to walk into a roadhouse somewhere in Memphis and this band's playing and just whoo, there's a lot of crunch man. Oh, I dig it. I got lots to say, but I'll send it over to Tim. 

0:06:10 - Speaker 3

Well, I had a similar Reflection. I was talking to my wife the other day and about the band and I Said or you know what if my favorite band was in a podcast, someone else was reviewing it, and What if they didn't like it? What if they loved it or what have you You know in either way? I thought, well, hopefully, if I, you know, if I'm an open-minded Pod listener to my favorite band, Hopefully it would be entertaining, Hopefully it'd be funny to hear these Two schmucks talking about what they think you know and with without much background at all. It's kind of like what I said last time without you know, ever trying a certain type of food. It's like, oh, my god, okay, Let's do this. but I am with this album. 

I, Yes, I started it in the car and it just seemed like really good road trip music. I totally concur with you, Pete, about it being in the boss, in the car Felt like road trip music, felt like, you know, I wanted to drive to go see a show or go see a show by them. Definitely worked in the car. listen to it at home a fair amount, I think. in general it feels, and no production value. definitely more polished Than the last album we listened to totally. yet You get very familiar, like the storytelling is still there, right? The song structures changed a little bit but like the. 

the DNA is definitely still there. Compared to the last album, Yeah, it's like pinnacle. 

0:07:51 - Speaker 1

Top perfection bar rock. Yeah, I heard, You know. 

0:07:54 - Speaker 3

George Thoreau, good like guitar. I just heard this bluesy rock and roll bar Kind of just awesome riffing and I you know, now that you mentioned it, Being in Memphis, I just absolutely heard some country Wow kind of rock and roll tones in there. Oh, that's big time, big time, Elvis, you know there's, There's definitely some of that in there, from Memphis for sure. more so, much more so than the last album. 

0:08:25 - Speaker 1

Interesting. So, experience wise, did you prefer this record to the last record or not? or where were you there? 

0:08:34 - Speaker 3

For me. I kind of likened the last record as a pizza with the works, like where is this going? kind of thing. Throw it all together and see what we get. and this one is for sure an evolution. So I would say, sure, I like it more. but it just to me also just feels like an evolution and I'm curious. I was describing it to a friend, and actually to my wife actually, and she was like it sounds like it's just going to get better And I said, well, I definitely hope so, As we listen. 

0:09:11 - Speaker 1

Yeah, well, I mean, that's what makes this interesting to me getting your first listens in on these records that were seminal to not only me but to a great swath of our country and places you know near and far. I am curious whether the evolution continues for you, And I think that that's going to be fascinating as we as we roll into things. So, Tim, thanks for that. Now, Pete, what have you got in terms of last questions or comments on this record, Or do you have any? Let me know. 

0:09:55 - Speaker 5

Oh, there was one question I was going to ask you to JD Diamond status. Yeah, So that's Canada's version of platinum, But I'm curious to know why they have that different status. when, for example, if you have the Stones or the Beatles who are from the UK, does the UK have a different? 

0:10:21 - Speaker 1

I don't know if they have a different one. I've never heard if they have a different one. I know that you guys have diamond, like America has diamond as well. 

0:10:28 - Speaker 2

It's 10 million copies. 

0:10:29 - Speaker 1

Yeah, it's 10 million copies. 

0:10:31 - Speaker 2

We do. 

0:10:32 - Speaker 1

It's 10 times what we have. So diamond in Canada is one million and platinum in Canada is 100,000. Okay, I see, And it jives out because America has roughly 10, 10 times the population. So, you know, 100,000 and a million. What's interesting, though, is the province of Quebec, which is, you know, I think, 11, 10 or 11 million people. they have artists that have, in the past, consistently hit platinum status, or diamond status, rather, with 100,000, pardon me, a million copies of a record, which is staggering, You know, when you figure, the rest of Canada has a difficult time putting together a million, a million sales in records. Now, this is all off the table, now that we don't sell records anymore, But back in the day, this was a, you know, a big marker of things. So, yeah, you have Quebec. that just is, you know, able to market themselves to. it's because they can put up stuff in French and they can, they can. 

you know they have access to that audience. 

0:11:52 - Speaker 5

That's crazy. Yeah, it was a lot of questions. 

0:11:55 - Speaker 1

What were you listening to in 89? Do you remember Either of you guys? 

0:11:59 - Speaker 3

Yes. 

0:12:00 - Speaker 1

Where are you at? 

0:12:02 - Speaker 3

I was senior in high school. 

0:12:04 - Speaker 1

Yeah. 

0:12:05 - Speaker 3

Yeah, it was everything from Southern California punk rock. Yeah, we had a lot of local punk rock going on and we had you know friends in punk rock bands But you know kind of flip the rock and roll coin. I was also listening to like, oh, a lot of new wave, Holy cow, a lot of new wave kind of influence for my sister And that's everything 80s new wave. And then also I was for a period there like a big fan of the cult. You know I like Epic Guitar. I don't always need it, but I like a band that has you know back bone drum bass, blah, blah. but I love a great guitar player And the hip has definitely some guitar going on. 

0:12:54 - Speaker 5

Yeah, 89. 89, I was. I was I'm a tad younger than you guys, but 89, it was coming out of like some late stage Steely Dan and and Huey Lewis sports was just, I mean, God damn Nice. I don't think there was a bigger album and we talked about that last week. you know some Huey Lewis vibes in there And then you know, I just feel like I went right into. you know Guns N' Roses and the Motley crew of that time before getting thrust into. you know 90s grunge, like everybody else did with Alice and Chains and and and you know Soundgarden and eventually Nirvana. 

0:13:45 - Speaker 1

I was a big Pearl Jam guy, That was kind of where I was at. 

Okay, Yeah, I was a Pearl Jam guy, and but that was later. That was, you know, into the 90s. Back in 89, when this came out, I was listening to hair metal. I was straight up listening to hair metal And I recalled, on the intro, the cold open of the first episode. you know, when I heard the hip for the first time and the impact that it made on me. you know, in spite of the, the garishness of the hair metal that I was listening to, there was something that I really liked about this pickup truck band from Kingston, And you know there's a lot to like on this record for sure. So what do you say? we get into it and attack this sucker track by track. Yeah, good to go, man, All right, So we kick off with Blow It High, Do Welcome back and welcome back to CFY's fourth annual Canada Day Festival for Canada's 123rd birthday. 

0:14:54 - Speaker 4

We're at very Ontario half the time of our lives. 

Believe me, this band is going to be very, very hot. We'd like you to listen now to Tragically Hip. He's a rapper like Tizorim, never like the stars To throw some passion, throws a passion in some. just bring him on. We're so close, the best that we get to listen now. But you can't look me in for the smile of your eyes. the further it's gone, the higher I go. And if I'm high I go, and if you blow the cry I go. Maybe I feel fine, I'm pretty, just genuine. 

It makes no sense. it makes no sense for a track to be unified And if I'm hip-sick you should leave it high. It was the strangest thing. I should move so fast, move so fast in the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go. And when you blow the cry, I go. Now that the speedway, the same evidence, the same. Well, I ain't no movie star but I can give it hand in a thing In the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go, And if I'm high, I go. Yeah, I'm gonna fly, I go, Gonna fly, I go, I fly. Now that the speedway. the same evidence, the same evidence. 

0:19:25 - Speaker 3

I mean to me that just crushed it. as the first song, It just hit the ground running, which I love. I'm really into checking out song orders and there was a while many, many, many years ago, I was hoping to be a fan of song three. There was a cadence to some albums that I really enjoyed and this song as a song one it was super good. This is kind of where I mentioned hearing guitar licks that you'd hear from George Thurgood or you know. it was very kind of smithereens, Tom Petty friendly in that way. Some of the lyrics like oh, what do I have? Don't get ahead of yourself. or faster it gets, the less you need to know. I love that line faster it gets, the less you need to know. It's like, just keep the momentum going, And that's also a song that was awesome in the car. 

0:20:21 - Speaker 5

Well, I mean, yeah, I mean, what a fucking banger of a first tune, The slide. I had the same thing. I very much got some Thurgood tunes or vibes in there, The way the song starts out, I think, with the drums and then a little crunch guitar, and then that in my notes I wrote down the layers, the way they layer the song into getting it, getting the ball rolling, and it just from no disrespect to the EP, but leaps and bounds, recording quality wise, just production, leaps and bounds. It was just. 

0:21:00 - Speaker 2

you tell me like well, this is going to be a fucking record. 

0:21:07 - Speaker 5

I was very excited from that first track, Absolutely All right, We'll stick with you and move into. 

0:21:13 - Speaker 1

I'll Believe in You or I'll Be Leaving You Tonight. 

0:21:17 - Speaker 5

Which it took me a minute to get the play on words there. I know I'm a bit dense, I'm a blonde, You can't see that for just you listeners out there, But the riff in there is just so catchy I think. at first I was like, oh, this is like a typical late 80s riff and I'll make that reference a couple of times for a few songs here. But the more I listened to it I was like I want to try to play that. I took out the guitar and I was like, oh, that's cool man, It's just cool, It's cool to play and it sounds cool And I can imagine playing it back in that time I mean, if I was alive in that time. it's just like I don't know. I'm sorry I'm trying hard time, particularly myself, but it's a really love that jam. 

0:22:11 - Speaker 1

We're not rock critics, so we're people who are telling it like it's Oh, yes, we are. Oh, I forgot, Put your quill away. What did you think of this one Lesser Bangs? 

0:22:26 - Speaker 3

Yeah, it's kind of a little bit of a similar feel. It was cranking in the car really well, I found myself I didn't know what to call it I was doing the chin back and forth to the cadence of the song. It was like kind of reminded myself. I was like I'm doing kind of the chicken thing right now. Just have this good tempo. The two minute mark around then is when Gord starts kind of talk singing, as he does sometimes, And then it moves into, as Pete mentioned, the big guitar riff. And I enjoy when the structure changes up a little bit. I think the last album I felt like there was more consistency and structure which made me lose my interest a little bit. So I like it when the tempo changes or there's like a build up, slow down, build up. you know This had a good speed to it. There's also definitely some country music influence in there. I mean, I could hear it right away. 

0:23:34 - Speaker 1

That's so interesting to me. I'd have to listen really hard to hear to find country in there. 

0:23:41 - Speaker 3

But if you listen to some, yeah, some old school kind of country and it just reminds me of, like, the era from when Elvis started to go a little more rock and roll, Like it. just it's very Memphis. It's definitely influenced by the region, I feel. 

0:23:58 - Speaker 1

All right. the next track on the record is another single from this record. It's probably one of the songs that if you do meet somebody that knows the Tragically Hip, they might know this song. 

0:24:11 - Speaker 3

Okay. 

0:24:11 - Speaker 1

It stands. you know it stood the test of time in their live set Throughout the nineties. it was a fertile place for them to play when they played it live. It was a fertile place for them to jam inside of and introduce or workshop new songs. So you'd get like a record two years down the road from a time that you saw them live and there'd be this worked out song. But you'd hear this rough you know this rough lyric phrase or a lick that maybe is familiar on a record two years down the road. It was such a cool little thing to hear them. you know, jam these songs out and you'd go see them. I would see them like multiple nights in a row and it would be different, Like it wasn't, like they were just fucking around and like it was spontaneous and it was very storytelling and yeah, So I'm talking way too much here. This is your show. New Orleans is sinking. 

0:25:12 - Speaker 3

Yeah. So you know, I'd love to hear a version of this song where they take it longer or they jam out it and or something like that. because first listen, you know the story is actually pretty doom and gloom sounding It's. you know it's kind of about maybe giving up, I don't know. It just felt like, you know, there was some dark, heavy thoughts in there and then it felt just as as a song on the album. it felt a little bit filler to me it was more staple. 

it was more regular hip. It just like had the typical structure I've heard thus far Wow. So I didn't think I loved it. That is fucking awesome. I like the idea of the song, but it just felt kind of like, okay, this is a, this is a song. three hip, hip song. 

0:26:05 - Speaker 4

No No. 

0:26:07 - Speaker 1

Oh wow, It'll be interesting to hear if this change. I hope so. 

0:26:13 - Speaker 3

Yeah, yeah, yeah, yeah, Yeah. No, I want to hear, I want to hear more versions of it. 

0:26:17 - Speaker 1

Yeah, you should. 

0:26:18 - Speaker 3

Like I was saying, like it was songs have some, have some change or cadence change or an up and a down, and this just felt like, okay, this is song three. What are we going to do for four? Oh wow, Sorry, hip hip fans who have that as a moment, It's not mine yet. 

0:26:36 - Speaker 5

Well, I'm going to read from my notes to, but before I do, real quick, I got to say this song just by the title and the way that it started. I got this really weird feeling and I'm going to indulge me for just one moment with a story I remember when Hurricane Katrina hit in 2005. Tim, you remember, I mean JD. I don't know if the news of it was as big in your neck of the woods as it was, Oh yeah. 

0:27:05 - Speaker 1

It was huge, It was huge. 

0:27:07 - Speaker 5

But the night the hurricane made, you know, landfall, so to speak. I remember listening to a guy. you may or may not have heard of him. He used to do some something called Freeform Radio. He's the godfather of Freeform Radio. His name is Jim Ladd, Nationally syndicated, but he's from LA, and I remember smoking weed on my patio there and he said ladies and gentlemen, this is going to be really bad. It was before like the hurricane even made landfall and this is going to be really bad. And he started. 

the song he played was When the Levy Breaks by Led Zeppelin And it was just really dark and haunting. So I got that same vibe when I started listening to this song and I was like, like Gord's fucking vocals on this are up into this song. from everything I've heard from the EP with the most extreme, in my opinion, just the most range, the most talent. Like if I was a record producer and I'd heard this as a demo, I'd be like sign this fucking band, this guy's off the charts. There's a mention of somebody named Colonel Tom in the song And I don't know who Colonel Tom is. JD, if you got a line on this, let me know. 

But my initial thought was go ahead, Tim or whoever knows. No, you tell us your initial thought. My initial thought was it was a David Bowie reference to Space Up, but I could be wrong. 

0:28:49 - Speaker 3

I just read two references. One was just, it was about the North versus the South. you know, some war back then, back then. But then I also read a reference said that it had to do with Elvis's manager, which made me think, okay, yeah, Colonel Tom Parker. So I think that's what it ties to in Memphis and all of that. 

0:29:10 - Speaker 5

That makes sense. 

0:29:12 - Speaker 1

Yeah they talk about. this is like Gord's first foray into writing most of the songs. He's handling most of the lyrics, but not all of the lyrics. And why am I saying this? Oh, because they talk about his notebook. He was notorious for having always having a notebook on him and just writing down phrases. And you know, like he would write full lyric, full lyrics or stanzas or whatever. But even if he heard something that he thought was cool, like a cool turn of phrase, he would write that down. So maybe it was even, you know, like Colonel Tom from Memphis, and that's literally the only thing that's relevant about that lyric is that one individual moment. You know it might not be the story of the rest of the song, you know. 

0:29:59 - Speaker 3

Sure Yeah. 

0:30:01 - Speaker 1

I don't know though. Yeah, Colonel Tom Parker. That's what I've always thought. 

0:30:05 - Speaker 5

Good, What a song, though, man? What a fucking song. I mean, it is just chock full of dirt, you know. 

0:30:13 - Speaker 1

It's a dirty song, right It's yeah. It is Dirty, Dirty, It's mighty yeah. 

0:30:18 - Speaker 3

You know it's, it's. I just thought it was also. yeah, I agree, I agree, I just yeah, let's just. 

0:30:24 - Speaker 1

There's other tracks that you like better. That's cool, That's totally cool. It's not. it's not on my top 10 list, So. 

0:30:30 - Speaker 3

I'd like to hear other versions of it maybe other live versions of it and see how they can do it Me too. 

0:30:36 - Speaker 1

It became a staple. for sure, It was a. it was a staple. 

0:30:38 - Speaker 3

Yeah, That's. that's exactly what my take of it was. 

0:30:42 - Speaker 1

Whereas the next song was not so much a staple Early on, it was, but it didn't live on in the set list for forever. but it's a great example of Gord, you know, sort of weaving a yarn here and telling a story and using actual Canadian history but giving it a unique spin. So you know, he's playing with things a little bit, but he's telling the story and then he makes it about his own family. What do you guys think of 38 years old? 

0:31:14 - Speaker 4

I've got my name in administration So People leave. don't have people left, nothing to feed. The last thing they wanna do is hang around here. Most of came from town from long French name, But one other dozen was a hometown shame. Same pattern on the table, same clock on the wall, Been one seat empty, 80 years and all Freezing slow time, away from the world. He's 38 years old, never kissed a girl. He's 38 years old, never kissed a girl. Music. 

We're sitting on the table. heard the telephone ring. Father said he'd tell him if he saw anything Other type from the window in the middle of the night. Held back the curtains for my older brother, Mike. See, my sister got a ring. so a man got killed. Love for which prison man's buried on the bill. Folks spend back a normal when they close the case. They still stare at the shoes. in the past, our place, Music, Music, Music. My mother called. the horror finally ceased. He whispered yeah, for the time being, Natalie, No, but show the squad, come make a phone. Said let's go, Michael's son, we're taking you home. Same pattern on the table, same clock on the wall, Been one seat empty, 18 years and all Freezing slow time, away from the world. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. Music, Music, Music, Music. 

0:35:03 - Speaker 5

Music. It's crazy. so I ended up this above all songs. I ended up doing the most research on, Started researching the prison and there was a guy who was shot there years ago And his last name was Trudeau and I was like, was he related to the prime minister or what? Like all this weird miraculous rabbit hole that I went down. 

But getting back to the song, I got to be totally honest with you. So I know you guys feel me on this. when you look at like records during this time that came out, You'd have the first one or two to three songs will be just these fucking bangers. And then song four just you look in the structure of the record is going to bring it down a little bit. It's kind of like, okay, everybody relax. you think about it like even playing a live show. That's just the way that the records were made back in the day. 

And I start hearing that and I'm hearing this song come in with the guitar And I'm like, oh, this is man. those first three songs are fucking bangers. And I'm like, no, they're just going to be this fucking cheesy. yeah, just, you know, Give me some acoustic, a little bit of love, whatever. And I got to say this is probably my favorite song in the record And it took some evolution on my part because first I started digging in the lyrics And I was like you know there's rape prisoners, murder, like all this crazy shit, And I'm like what the fuck is going on here. 

And then you know ultimately just the song itself, like the melody and everything involved, Which is it's just. it's a I probably my favorite song in the record. Sorry to spoil your alert, but yeah, loved it. loved it. 

0:37:00 - Speaker 1

It gave the record legs. I think this is the fourth single from the record, Maybe the third or fourth single. So there were four singles on the record and I want to say this is the third, But it might have been the fourth, so gave it some legs as well. 

0:37:13 - Speaker 3

Favorite song. I'm just confirming 38 years old favorite song. 

0:37:20 - Speaker 5

On this record. Yeah, I just think it's really 38 years old. was it never been kissed, never made love? 

0:37:31 - Speaker 3

Yeah, all that, yeah, Never kissed a girl. 

0:37:35 - Speaker 5

Just, I don't know man, I feel like and this is crazy, I can't believe I'm going to say this And I'll probably be if you kick me off this podcast after what I'm about to say. I totally get it, But a lot of hip lyrics, especially this song about something historical. I really get some Gordon Lightfoot vibes from man. 

0:38:02 - Speaker 1

Hey, there's nothing wrong with that. 

0:38:05 - Speaker 5

You know same name, I guess, but you know, I don't, I just and that guy I fucking fucking loved Gordon Lightfoot. If you don't like it and you want to kick me off the podcast, be my guest, That's the hill I will die on. 

0:38:16 - Speaker 3

We'll keep you. I think I thought, okay, this is some more kind of dark, gloomy storytelling And I feel like I, you know, on an album, I don't need too much of that, I don't need a lot of that, and me personally. And I also thought, okay, if I'm at a hip show, Some dude next to me is like yelling for this song to be played. I think that's a little weird. like when would they play this song at a live show? It's just like, it's just a little much. you know, Maybe Gordon knew that in the future, true crime would be a thing. you know, podcasts and TV shows and everything. Because it just feels like I mean a song about rape and killing. It's just like how many times you need to hear that? I don't need to hear it very many times. So I thought it was super heavy and you know the same thing Like lyric just too much. 

Yeah, storytelling is just a lot. you know, maybe I'm too sensitive or something, But I was like, yeah, if I'm at this show with my girlfriend and some dude just keeps yelling to hear this song, we're gonna move. 

0:39:24 - Speaker 1

I've always said that the hip is really funny with their, because I came from the same school that Pete did With. you know especially heavy metal where it was like banger, banger, banger and then like ballad. 

Yeah, the ballads would be where you would slow dance and you would make out on the dance floor, you know, after you were head banging and stuff like that. And I just think the tragedy hip does the same thing. they do two slow songs or two ballads on every record, kind of thing ish. But the subject matter is never something that you would want to slow dance or make out to Like. it's always fucking heavy, heavy shit And really when you think about it it's like C, G, D, A minor on an acoustic guitar. you know it's like a three or four chord song that fits in the realm of those heavy metal ballads. But then you put that story about family over top of it and it's like Jesus Christ, this is unreal, Yeah, and you know it overall just comprises them into this epic band that can go there. 

0:40:33 - Speaker 3

Like not many bands even do something like that lyrically or with storytelling, you know. So, you know it's so. part of me was like, okay, what makes me feel uncomfortable about this? Because I appreciate the music and all the effort and creativity. you know, it's like it's because bands don't really do this often Sinister type storytelling. maybe I know a person or two who kind of fits this mold of a character a little bit to a degree. you know it's just like, wow, okay, What's the next song for me? 

0:41:07 - Speaker 5

The song when I heard the guitar start and I got to tell you JD I don't know if I told you this, I know I didn't mention this to you, Tim, But the very much got some, you know, with those, those that rock ballads and nothing else matters, vibes from Metallica. And growing up in Downey, where I was born, you know, James Hetfield went to my high school, so, like you, you if you weren't a Metallica fan like you, Or you could be excommunicated from the city. 

like everybody was Metallica fan Like you. just you just weren't not, you know, a Metallica fan. and getting to Tim's question about why or you, JD, you said why the hip never. I mean it's the eternal question why the hip never broke through. You know, here you got this ballad that everybody's expecting to like dance to at a concert or whatever. but then there's lyrics of, like you know, rape and murder and stuff like they did. they did went outside the box, And that's kind of cool, because not a lot of bands do that Exactly. 

And so like they sacrificed the ability of being, you know, the ability of of fame or whatever it may be, to have to be a fucking cool outside the box band. I don't know. that's my view. 

0:42:36 - Speaker 3

Well, there's some also, like I was trying to say, there's some artistic merit to it. you know if, if not, a lot of bands go, go there with something. I mean I mean at the same time, era, late 80s. it's not like Morrissey wasn't talking about doom and gloom with Smith or the Cure or something. I mean it was right there, right in there, but I don't know when it. for me it just hits differently when it's comprised of the sound formula that the hip have, and there he's just like letting the listener have it with this character, and it's just guitar driven rock and roll, it's just. 

0:43:13 - Speaker 5

It's like a preacher that's telling the congregation like, like he's saying some, some shit to the congregation that, hey, you may not like what you're about to hear, but you're going to fucking hear it whether you like it or not. 

0:43:25 - Speaker 1

Exactly, I don't know that's. 

0:43:27 - Speaker 5

does that make sense to you, Tim? 

0:43:28 - Speaker 3

I mean, that's kind of the way I'm going to provide for you, For sure, for sure, yeah, yeah, yeah, I'm not going to jump the gun, but I kind of had a similar, you know, mindset, feel from the next song. 

0:43:41 - Speaker 1

Well, let's go into it. she didn't know. I was going to say it's sort of dark too. you know it's couched in this blues, bass, lick sort of thing. you get a nice groove in the back with the bass and the drums, but then those lyrics come in and it's like man, yeah, this is some more broken hearted, dark shit. 

0:44:10 - Speaker 3

At the same time, it does have this groove to it. there's almost this like I don't want to say pop, but there's this, there's this beat to it that is a little bit different than the other songs. it's I don't know, it's it's Interesting. 

A little bit different but there's like yeah, yeah, exactly it, it, it. to me it ties a little bit more back to the overall feel, not conceptually with lyrics, but from blow it high to like there's a drive to it, there's a good. it embraced me more just musically in the song it's, it's, it feels like a good sing along, like I could hear the song on the radio driving across Canada. 

0:44:51 - Speaker 1

You do, I'm. I'm very curious why it wasn't a single it's perfect length for a single it's. it's three minutes and 30 seconds. you know it's, you're in, you're out. there's a nice bridge. you get a little bit of silliness. maybe the subject matter, I don't know, but 38 years old, was a single, so yeah. so what do you got? 

0:45:12 - Speaker 5

Well, I kind of, you know, just sticking with what Tim said, you know the amount of tragedy fitting with the name of the band involved in the lyrics. I really think, because a lot of the, a lot of the sound that that that Memphis, correct, it was recorded in Memphis. Yeah, that that vibe is just, it is consistent. I mean, I feel like if you asked me where do you think this record was recorded, Pete, I probably would have said Memphis, if I, if, like you, had a gun to my head and I had to guess, just because this the overall sound of it. And one thing I noticed really strangely and I don't know if you got this too, Tim JD, you may have noticed this listening to it so many more times, but moving from the end of this song into boots or hearts, there's a vinyl crackle. 

there's a tape crackle and and maybe the hardcore hip fans will get this. So at the end of she didn't know if the song ends with like a tape crackle and then the begin. it's something you don't, at least I didn't hear on any other songs. you hear a tape crackle at the beginning of boots or hearts. 

0:46:39 - Speaker 3

I heard it. 

0:46:40 - Speaker 5

I know you're talking about you know I'm talking about it, just I heard it. 

0:46:44 - Speaker 3

I heard it on my, on my sono speaker. I heard it and I went back and replayed it and stuck my ear over there. I was like what the hell is that sound? I mean, I'm familiar with what that sound is but yeah, I thought it was like coming from outside or something because it wasn't on any other tune and I was like right right. 

0:47:03 - Speaker 1

I think if you did it on more tunes it would take away from it, but to me it's. to me it's like just an accoutrement. that's like there to remind you that this is rustic, this is, you know, this is coming out on CD, but this should be, you know, like vinyl was. vinyl wasn't as popular in 1989 as cassettes and CDs were. CDs were really just emerging, but cassettes were like huge but it was still recorded on tape, I would imagine yes, yeah, yeah, yeah for sure, for sure yeah so you add a little bit of that into it and it's like you know it makes it sound more like authentic. 

0:47:41 - Speaker 3

I don't know, that's just my, I mean back back then you know BC boys were doing some like needle-hitting the the disc sound to start off songs. or you know, back then people were take starting to take other sounds as the beginning of songs or even ending songs or whatever. so I think it kind of it fits, definitely fits for 1989 let's go to boots, baby there's a line in there. 

0:48:06 - Speaker 5

I don't know if there's one line in that song that gets me anybody. anybody want to throw a guess out there? I don't know. no, Tim. Gady, no, okay it's even babies raid raised by wolves. know the wind, he's just like what? 

0:48:24 - Speaker 3

yeah, man, dude, that was the second wolf, the second wolf reference earth song. right, you know for sure there's more to come imagine what it will. 

0:48:36 - Speaker 1

hardcore fan I'm not joking, there's more to come these f**king douchebags man this song to me it felt really long. 

0:48:46 - Speaker 3

that it was not long and it felt like a little more country than the last ones. definitely, you know boots or hearts come on. you know it's like okay, is this the crossover song to the south of the United States to get more fans? 

yeah, I just the lyrics was a single yeah, for sure, I can't imagine a single, but it was a single who was managing these guys at the time who were like we got it, we got it, we got, at least get the south, because if you get the southern belt of the US, that's like that could be a business, you know so yeah, when I heard the song, I was like, oh yeah, I get it. 

they were after something here and it seems very it's too much more country to me, so I just kept moving well, if you know, you also have to think too like. 

0:49:35 - Speaker 5

I don't know how long the recording process took for them, but if you're, you know you're Canadian boys. from where, what? which province are they from? JD? 

0:49:45 - Speaker 1

they're from Ontario, so they're from where I am, about two hours, about two hours east of where I live. they live in King. there, they came from Kingston okay, yeah, Kingston, that's right. 

0:49:56 - Speaker 5

so, if you know, maybe they, maybe they individually travel, but you're all there as a group of people, you're recording a record, it's your first full length studio album and you're spending time in Memphis, Tennessee. I mean, I see what you're saying, Tim. then maybe the manager, the the high rubs for maybe like, but guys, we got a, we got to do this. but also, you know, it's the same thing, as you know, that that culture takes a hold of you. you know you spend JD when you over in the UK for the pave tour for a while. how quickly did it? I mean, we don't say it in the United States, but how quick did it take you to say cheers instead of thanks? you know, yeah, yeah, it only takes a couple of days and then asking for the toilet. 

0:50:46 - Speaker 1

that's, that's the. that's the biggest thing for me. like I just thought, like it sounds so rude, like where's the hey man, where's the toilet? you know, it just sounds rude, but it's just what everybody says. yeah. 

0:50:59 - Speaker 3

I got it to say that really clear yeah. 

0:51:04 - Speaker 5

Tim, how long did it take you to say little symetheos when you were over here in Madrid? 

0:51:08 - Speaker 4

I mean, you know, I've traveled around yeah, yeah, yeah, not long it's a song called every time you go there, I got my hands, the numbers be up, my smile's right in my hands. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me. Well, down here, but I take two kids round the gas like no place. Say the thing is time when things start, The dance, the wilds of charity, no time to rise, to get afraid. They were pissing, pissing, playing a part. 

She's a lover, a man, a soul, a game of games, Say the door. I'll remain in the corner of your lips And I was made up of my smile. you're both a man. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me And it makes them feel. let me dance through the air to feel Love me, love, love, love, love, love, love, love, love, love, love. Well, I tell you, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, heart and eye feel me. Oh gosh. 

0:54:37 - Speaker 5

Go ahead Tim please. 

0:54:39 - Speaker 3

I feel like this is just a total hip song. It's got good structure, has awesome drum, backbone beat. I like the chorus ad. Not all their songs have a strong chorus, So I like that aspect of it. It felt like maybe the last quarter of the song felt a little repetitive, like excessively repetitive, Like it just kept going a little bit. But I don't know, man In the Big Snake Pit, it's a song about taking risks, falling in love. What else about it? It's still kind of on the emotional high spectrum to me. But it's a good song. It's a oh. what did I have a note here about? Oh, the drawn out dramatic ending with the vibrato Just becoming a hallmark signature of some of the hip, And I'm just slowly accepting it as one of their things, Because it was really shocking to me on the first EP to hear excessive vibrato. 

It's like woo Yeah. 

0:55:56 - Speaker 5

Let's go. I gotta say, gentlemen, this is the only song on the record that literally my notes are. I just it's just nothing. I listened so many times I'm like what the fuck am I missing? And I don't know. It's one of those songs where maybe, hopefully, in a year or two years, and I listen to it and be like dude, yeah, there it is, But I just didn't. it couldn't, it was a sleep placebo, I just didn't do it. I don't know why. 

0:56:34 - Speaker 3

Well then you should talk about the next one, because I was similar with when the weight comes down. 

0:56:41 - Speaker 5

Okay, I really liked the structure of the song. I liked the tone of the guitar, One of the things this and well, another one I'll get into But I really think there's a lot of thought put into the guitar tone there. Maybe people I just think at that time people were really obsessed. There wasn't a lot of tricks you could do on things like Logic or Pro Tools or whatever. So whatever was coming out of that speaker was what was going to be on the tape. The guys were like dialing shit in, but the harmonies on when the weight comes down. I think there's talent there, but it just takes away from the meat of the song. If I would and there's other songs on this record where I love the harmonies, but for me that song just it just sounds like maybe just in age Well, I don't know 10 more years. 

0:57:48 - Speaker 3

I very few notes. I just thought, yeah, it's all right. I thought it was kind of heavy weight comes down, I don't know. 

0:57:57 - Speaker 2

I didn't. 

0:57:58 - Speaker 3

at that point I was yearning for something a little bit more different through the tracks which I think I got with the next song. 

0:58:05 - Speaker 1

Well, that's good, because you're starting to disappoint me here. 

0:58:09 - Speaker 3

Well, trickle down. I mean Gord's voice. he gets a little more adventurous with going low and high and high and low. There's a kind of a change at a minute and a half where the lyrics pause and you get some actual music, Like he's storytelling a lot through these songs. He's singing, getting to the chorus. The jam keeps going through many songs, but this one there's actually a pause with lyrics and you get some good. you get some good guitar There's like kind of these swing back into the lyrics with guitar. I don't know, I thought that was just better, a better composed song. You know the idea about it. you know being poor, being on welfare, waiting for the check. you know I think it's a song that probably was appealing or easily identifiable across Canada or the US at the time being down and out on your luck financially. I mean, who has not been able to identify with that? So to me it was a pretty great song. This was up there more. 

0:59:27 - Speaker 5

Well, I trickle down my notes. I wrote half on a paper, half on my phone. Again, guitar tone. I remember one of my first guitar teachers had a Mesa Boogie triple rectifier stack and this guy was obsessed with tone and just very similar like early 90s, late 80s, sort of hair bandy, but just that tone, just there. that's there in that song And this reminded me of like when I was listening to that song I pictured Patrick Swayze. do you know the line in Roadhouse when he goes always be nice till it's time not to be nice. I feel like like I just like I just got that vibe dude, This is a banger, Love it This takes. I feel like the last couple of songs dipped down a little bit for the record. It's a bit of a, of a valley, so to speak, And then it's like man, put your, put your boots on, man, we're going back uphill And this song takes me right back there. 

1:00:38 - Speaker 4

And I loved it. Love it Same. 

1:00:40 - Speaker 2

Loved it. 

1:00:41 - Speaker 1

Yeah. So now that we're uphill and our boots are on, we get. we get what could be. I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in The 11th track. the last track on this record is on my top 10. Okay, But I don't think it should have been the last track on the record. I think the last track on the record should be another midnight. 

1:01:09 - Speaker 4

Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. I think this was the last track on the record. And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight. Perhaps we'll run our election day Pumping hands and kissing all the babies. 

Ain't no time for a shout of doubt. So maybe is there another way? Or where a storming catalach Racing for a roadblock in the distance, Flashin' by a lifetime in an instance. Can we take it back? Am I is dying? Am I is dying? And the river don't sleep? When the water runs cold And the calender burns And the story unfolds, And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight. Can we take it back? Can we take it back? Can we take it back? Can we take it back? And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight, For just another midnight, For another midnight. 

1:05:01 - Speaker 3

I'm down. I think opiate it is a. it's just. It left me either wanting to take a break from the hip for a bit and listen to something else Or, like just it was, I was a little stumped. 

1:05:14 - Speaker 1

Too dark for you, I guess. Well, let's focus on, let's focus on another midnight first then. So where do you, where do you stand on that track? 

1:05:27 - Speaker 3

I overall yeah, I overall liked it. I don't have a whole lot of notes about it Overall liked it. You know, I thought it fit well in there. There was, as I kind of said about Every time you go, there was a better mix between verse and chorus. you know, with song structure, I love the one lighter that we're all, or we're a stolen Cadillac, Like you know. I'm going to use that. I love that. That just makes me feel the pain of, you know, escape or trying to be better, do better, I don't know. I thought it was a pretty solid track. 

1:06:05 - Speaker 5

It's funny that line stood out to you. I mean, I noticed it. I love this song, man. I actually would have put this song at the end to close the record too, And I'll give you my thoughts on opiated. but the line that stuck out to me the most was Burning like a cigarette long season. And then the chorus, the core. I don't know if you'd call it the chorus, You'd call it maybe the pre-chorus, because Oh My, He's Dying is the chorus, more or less. I don't know, I don't write songs, I'm not a musician and I don't play one on television. But and the river don't sleep when the rottar one runs cold, That entire stanza, if you will. I don't know if we're going to call it. is it's fucking dude? I mean, that's Grammy. shit, man, That's. 

Grammy shit, It comes together with the music. so well, I'm like man, that's one of the things that when I listen to this record, I'm like, yeah, why did that band not fucking peak in the US and all over the world? Because that's so good, It's so good. 

1:07:19 - Speaker 3

I mean, this could have been like a track three. It was just a great song, good momentum, and it just had the makeup for it. 

1:07:30 - Speaker 1

for me, Yeah, I would have made it a single, for sure. 

1:07:33 - Speaker 5

Yeah, totally. 

1:07:35 - Speaker 1

It's a little long 356, but you could probably trim it up a bit, But I wouldn't because it's perfect. But yeah, I think it's a great, I think it's fucking great And it's just making me think. Tim's reaction to this album as a whole at this point is making me come back to the fact that these guys at this point are like 23, 24 years old. This is some dark shit for young men to be documenting And it makes me wonder if that's a reflection of. you know they've been advanced since 84 in Canada. At this point they have a manager. you know they're booking things. 

They're not just, you know, driving around willy-nilly touring, They're doing full on tours that are planned out and they spent a fuck of a lot of time on the road, And in Canada that's that means driving all night, like to get from city to city. you know you're driving hours you're driving. you know it's like the last song we listen to, Like another midnight, like. I know it's not couched in that way in the song, but you could take it that way because to me, What I'm getting at here is this is a road record, This is a. this is their first record. This is, you know, the EP is almost like those first four Beatles records where they're playing cover songs. They're still doing their garage act, but this is this is it. This is life on the road and all the shit that comes with it. 

1:09:20 - Speaker 3

So mr Leiden, like that to me, says you know a lot about the songwriting style, But I'm wondering what you think of the songwriting so, yeah, I briefly, you know, looked into Gord songwriting, how he did it, and so much of it led me to believe that he was, or they were, meeting Band, meeting people on the road and hearing these you know tough stories and you know, just Putting those into song, Yeah, that's the only thing I could come up with. he wasn't sitting around To me Making up these stories like they were influenced by something, and that's how a lot of great writers and poets are. like David Berman, I think a lot of what he wrote was about people he connected with at bars, sitting around on a barstool, you know. 

1:10:11 - Speaker 1

Interesting. Yeah, I'm not sure. What are you thinking there, Pete? 

1:10:17 - Speaker 5

To be honest with you, I feel What you said, JD, about. you know the darkness for these people, this young, and you know I often think about. you. know the way and Tim can relate to this. JD, You cannot, because, just by virtue of where you were born, you know A lot of the way we view Canada is, you know, and to put it in just the most beautiful terms, It's Snow, it's bears, It's manitoba, It's maple syrup, It's mounted police, everything's jolly, you guys have health care and Everything's grand north of the border, on the roof of the US. you know, in the most simplest terms now, When I look at and in JD this, you and I have talked about funny things like, You know, the show trailer park boys, right, and yes, I'm making a big Canadian reference there, Right, as funny as that show is, Tim, I don't know if you've ever watched it It's not very plenty plenty. 

Well, you know, as funny as that show is and I love it to my boat, to the core of my bones That reality in Some parts of Canada, you know, we don't view parts of Canada as being like, You know, some really dark, dreary parts of Portland, where you're at, or me being from LA, or Long Beach to me, To be more specific, There are some dark ass parts of Long Beach and it's, you know, That has I don't know what Kingston's like, I don't know where these guys grew up, but I'd have to imagine, you know, being on the road and seeing, being exposed to different, different things had influenced their, their lyrical content to this, to make them go to this really dark place. and Maybe that's why, again, they didn't, they didn't break through to the States. But I think it's all for the better, because I think the art would have suffered had they, had they done so, You know, are they not? Yeah? 

1:12:28 - Speaker 1

Yeah, Yeah, I'm, I'm interested in that. I mean, definitely the specter of Milhaven lives large for a Kingston er growing up in the 70s, I have to imagine, But I don't know. but I like the idea of the amalgam of their you know roots Combined with all this time on the road, Accounting for that sort of songwriting style. you know what I'm saying. 

1:13:00 - Speaker 3

It's gotta be why they had a good following in Detroit, you know, Cleveland, New York, All that whole region, because that's like some tough living around there and I in this, this Band, I think resonates with so much of that, so much of that. 

1:13:22 - Speaker 1

Yeah Well, fellas, That's up to here. There's only one thing left to do in this episode, and And that is for you to pick your playlist song, your MVP of the album, if you will, And let us know what that is. so I don't know. I'm gonna close my eyes and point. 

1:13:54 - Speaker 5

What are you doing this to me, man? 

1:13:56 - Speaker 3

I'm just gonna go. yeah, I'll go blow it. I do. I is, that's, you know, like you said, Pete, a sister banger. it got me right, right at the right, at the opening of the gate. 

1:14:07 - Speaker 1

I wonder if that's where your your view of the album as a whole comes from then as well, or it's influenced by The idea that you know your favorite track is the first track. You know it should get better than that, right, like again, We're talking about song Structure here, not structure Sequencing. you know, like blow it oh is like the perfect song to Open a concert or open an album, but It's also tough to get bigger than that. 

1:14:44 - Speaker 3

True, I think it we start to with trickle down, or every time you go, definitely every time you go, it just has a A more singable single, you know, on the radio aspect to it. I think I'm just trying to, you know, find What resonates most with me with this band and where I'm gonna see them Stay at, I guess sort of thematically, and how they evolve, you know, and and how I wanted them I maybe subconsciously to evolve, especially on the production side of things that for some did it Gotcha. 

1:15:23 - Speaker 1

All right cool. How about you Pete? 

1:15:27 - Speaker 5

It's a tough draw. I mean blow at the high-doh or 30 years old. I mean flip a coin. 

1:15:36 - Speaker 1

Won't do it. I won't do it, No no, no, it's fine. 

1:15:38 - Speaker 5

Okay, so I'd say the first track to it, Just it. just. there's the thing that the reason why I'm saying that over 30 years old because I remember listening the first time 30 years old be like And I don't want this the person Who's listening this playlist to start listening and be like You know, I want them to like, just fucking love you, right, You know me, I want them So Holy. but yeah, blow at the high-doh. 

1:16:11 - Speaker 1

All right. Well, thanks so much for doing this again, fellas. We'll talk again soon, and and We'll keep on getting hip to the hip, Looking forward to it. Thanks, JD pick up your shit. 

1:16:34 - Speaker 2

Thanks for listening to getting hip to the hip. Please subscribe, share, rate and review the show at getting hip to the hipcom. Find us on Twitter and Instagram at getting hip pot and Join our Facebook group at Facebookcom slash groups slash fully and completely. Questions or concerns email us at JD. at getting hip to the hipcom. We'd love to hear from you podcast, some such. 

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